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Статті в журналах з теми "The Spanish trilogy"
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Orgeira Crespo, Raquel. "Problems in the Translation of Paul Austers The New York Trilogy." Babel. Revue internationale de la traduction / International Journal of Translation 46, no. 3 (December 31, 2000): 227–44. http://dx.doi.org/10.1075/babel.46.3.04org.
Повний текст джерелаАнотація:
In this paper I examine an original text, The New York Trilogy by Paul Auster, and its translation into Spanish. The source text chosen displays a wealth of instances of symbolic names, rhymes, wordplay, idioms, cultural references, colloquialisms and other stylistic features which are hard to transfer to Spanish without a significant loss of information. I attempt to identify those phenomena and discuss how the translator confronted them. I am particularly concerned with the lexical level. The conclusion of my paper is that the assessment of the translation problems posed by this literary work reveals the possibility of achieving an acceptable version at the readership’s level. This kind of studies are useful for the subsequent systematisation of strategies for the translational problems found in any literary text.
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Korzhukova, E. S. "Non-detective space of the Spanish noir: “The Invisible Guard” by Dolores Redondo." Linguistics & Polyglot Studies 9, no. 2 (June 29, 2023): 134–45. http://dx.doi.org/10.24833/2410-2423-2023-2-35-134-145.
Повний текст джерелаАнотація:
Spanish noir is only gaining popularity among the Russian audience, although it is quite famous in other countries outside Spain. Several works, mainly by foreign authors, studied this kind of black detective, certain features of the genre. However, in the context of the non-detective novel space of the works by the Spanish writer Dolores Redondo, such studies do not exist yet. That is why a comprehensive analysis of this phenomenon in the novel «El guardián invisible», 2013 («The Invisible Guard») from «Trilogía del Baztán» (Bastan Trilogy) seems to be relevant. The purpose of the study is to describe Spanish noir through the structural and analytical characteristics of the non-detective components of the genre. The research is based on literary, cultural and artistic analysis of the novel. The analytical base is not only the original text of the novel, but also a series of interviews by the author containing her interesting revelations. As a result of the research, it can be concluded that Spanish noir has left the boundaries of the classic detective story, thus turning into a kind of “regional” or “local” black detective story. Its integral elements are the inclusion of the plot space in a specific cultural and geographical context with its inherent historical, mythological and anthropological features, as well as an organic bond of the figure of the detective with this space. Non-detective features of the Spanish noir include representation of the way of life, traditions, beliefs, and the history of the place and its inhabitants. In non-Spanish readers’ view, Spanish noir not only immerses one into the world of an exciting mystical thriller, but also serves as a powerful cognitive impulse to study an unusual, non-stereotypical Spain in its historical and cultural diversity.
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Kubarek, Magdalena. "Raj utracony – losy Morysków w Trylogii grenadzkiej Raḍwy ‘Āšūr. Konteksty postkolonialne". Studia Orientalne 22, № 2 (2022): 29–47. http://dx.doi.org/10.15804/so2022202.
Повний текст джерелаАнотація:
The paper focuses on a historical novel, a genre that enjoys great popularity in Arabic literature. Based on historical material incorporated in literary fiction, the contemporary Arab writers try to deal with the most important subjects of ongoing intellectual discourse, such as colonialism, neocolonialism, and postcolonial identity. The analysed material is the novel The Granada Trilogy by Egyptian writer Raḍwà ‘Āšūr (Radwa Ashour), which in 1994, won the Best Book of the Year Award granted by the General Egyptian Book Organisation and the first prize at the first Arab Women’s Book Fair in 1995. It has been translated into many languages, including English and Spanish. The three-volume chronicle covers the period from 1491 to 1609, i.e., from the fall of Granada to the total expulsion of Muslims from Andalusia. The article aims to show that the author of The Granada Trilogy illustrates the gradual and deliberate elimination of Arab-Muslim culture in Spain as another act of the West-East confrontation, putting it in the colonial and neocolonial context of contemporary conflicts in the Arab World.
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Sevilla-Vallejo, Santiago, and Jesús Guzmán Mora. "Identidades transicionales: pasado y presente en Éramos tan jóvenes (Antonia Bueno Mingallón)." Revista de Filología de la Universidad de La Laguna, no. 44 (2022): 211–28. http://dx.doi.org/10.25145/j.refiull.2022.44.13.
Повний текст джерелаАнотація:
Éramos tan jóvenes is the third part of the trilogy about the Spanish Transition to democracy by Antonia Bueno. In this play, the author presents the characters of Felipe, Mila and Lola, who meet in the funeral of Eva, the daughter of these, in the year 2001. By the use of the flashback, the piece goes through some of the most important events in the Spanish Transition from before the death of Franco since the last years of the 20th Century. The aim of this essay is, first, to analyze how the historical events are related to the lives of the three characters. And, secondly, to study the way in which the disorientation caused by the changes experienced in the Transition leads the characters to a diffuse identity because historical illusions are joined to their personal illusions.
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Pöppel, Hubert. "Kastration als <i>ultima ratio</i>: die katalanischen Frauenkrimis der Maria Antònia Oliver." Zeitschrift für Katalanistik 11 (July 1, 1998): 101–19. http://dx.doi.org/10.46586/zfk.1998.101-119.
Повний текст джерелаАнотація:
In recent years, Barcelona has stood out as the center of crime novels in Spain. In addition to works in Spanish, there is also a tradition of Catalan crime fiction. Maria Antònia Oliver is currently the representative of this tradition, largely due to the worldwide rise of the female crime novel. The article situates the author within the Catalan-Spanish crime novel movement in Catalonia. Secondly, it seeks out the traditions of the genre that explicitly or implicitly influence the three novels by Maria Antònia Oliver studied in some detail. It furthermore analyzes the character of the private detective Lònia Guiu and her relationship with the central theme of the trilogy: sexuality and sexual violence. Finally, the widespread use of concepts such as female crime novel and feminist crime novel is discussed based on these novels.
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Cochrane, Claire. "The haunted theatre." Cahiers Élisabéthains: A Journal of English Renaissance Studies 96, no. 1 (May 11, 2018): 75–88. http://dx.doi.org/10.1177/0184767818774857.
Повний текст джерелаАнотація:
Forests, the production by the iconoclastic Spanish-Catalan director Calixto Bieito staged at the ‘Old’ Birmingham Repertory Theatre in September 2012, functions here as the starting point for an exploration of the way a radical revisioning of Shakespeare in performance stimulated through an engagement with European modernism began in this now venerable theatre over 100 years ago. What was dubbed Bieito’s ‘epic arboreal mash-up’ was I suggest haunted by the material traces of groundbreaking past performances mounted by the Rep’s founder Barry Jackson, which included the first Shakespeare in modern-dress productions of the 1920s and the highly influential 1951–53 staging of the Henry VI trilogy.
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Kolotvina, Olga V. "THE KEY FEATURES OF THE AESTHETIC OF J. VAL DEL OMAR’S AUTHOR CINEMA (ON THE CASE STUDY OF THE FILM TRILOGY “ELEMENTARY TRIPTYCH OF SPAIN”)." Articult, no. 1 (2021): 49–58. http://dx.doi.org/10.28995/2227-6165-2021-1-49-58.
Повний текст джерелаАнотація:
The author analyzed the symbolic narrative of the films and the cinematic technologies, which were developed by J. Val del Omar for his film trilogy. This study revealed that the use of the suggestive metaphorics of Spanish poetry (St. John of the Cross, F. García Lorca, Rosalía de Castro) and the artistic heritage of Spanish mysticism dominates in his film aesthetics. As a result, the film director created an allegorical multidimensional narrative about the stages of the spiritual path of a person and as well as about the specifics of the national spirit of the Spain’s different regions. Such a multi-layered artistic image was modeled by the film director with support of creatively transformed transmedia techniques, as well as through the introduction of mystical-surreal strategies, which were implemented in the associative montage of metaphorical images and in the reactualization of the country's folklore heritage. To complete implementation of this artistic program, called by the film director “mecha-mystiс”, he developed immersive innovative cinematic technologies of multi-screen film projection, “tactile vision” and “diaphonic sound”.
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Parra Sánchez, Diego Ernesto. "La Transición a juicio en la trilogía negra de Juan Madrid: el hard boiled como vehículo para la crítica y la expresión del desencanto en la España postransicional." Acta Hispanica 21 (January 1, 2016): 117–29. http://dx.doi.org/10.14232/actahisp.2016.21.117-129.
Повний текст джерелаАнотація:
Unlike countries like United Kingdom, France or The United States, Spain never had a remarkable tradition in the field of Crime Fiction. This lack of solid tradition was the consequence of different causes like censorship, a bad consideration at editorial level and the lack of a deep industrial revolution which brings the urban conflicts which make this type of literature emerge. With the arrival of the democratic Transition, these transformations took place and, as a consequence of this, Spanish Crime Fiction experiments and amazing development born, precisely, with the aim of building up a critical portrait over this political phenomenon and its most relevant milestones taking the hard boiled literary trend from the North American authors as model. Being this one the context reflected by the Juan Madrid´s noir trilogy on Transition, this article intends to display an approach to it and its role as an unbeatable platform to rise up a critical review of this period from three perspectives: the political, the social and economical and that in relation to the media.
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IBÁÑEZ-GARCÍA, ESTELA. "Flamenco Trilogy. 1981; 1983; 1986. Directed by Carlos Saura, 4 hours 15 minutes. Spain: Corporación de Radio y Televisión Española, S.A (Spanish Radio and Television Corporation)." Yearbook for Traditional Music 52 (November 2020): 252–56. http://dx.doi.org/10.1017/ytm.2020.24.
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Oceánide, O'Donoghue Bernard, Paddy Bushe, and Suso De Toro. "Literary Contributions by Paddy Bushe, Bernard O'Donoghue and Suso de Toro." Oceánide 13 (February 9, 2020): 127–31. http://dx.doi.org/10.37668/oceanide.v13i.49.
Повний текст джерелаАнотація:
Paddy Bushe was born in Dublin in 1948 and now lives in Waterville, Co. Kerry. He writes in Irish and in English. His collections include "Poems With Amergin" (1989), "Digging Towards The Light" (1994), "In Ainneoin na gCloch" (2001), "Hopkins on Skellig Michael" (2001) and "The Nitpicking of Cranes" (2004). "To Ring in Silence: New and Selected Poems" was published in 2008. He edited the anthology "Voices at the World’s Edge: Irish Poets on Skellig Michael" (Dedalus, 2010). His latest collections are "My Lord Buddha of Carraig Eanna" (2012), "On A Turning Wing" (2016) and "Móinéar an Chroí" (2017). He received the 2006 Oireachtas prize for poetry, the 2006 Michael Hartnett Poetry Award and the 2017 Irish Times Poetry Now Award. He is a member of Aosdána. In 2020, Dedalus Press publishes "Double Vision", a two-volume publication comprising Second Sight, the author’s own selection of his Irish language poems, accompanied by the author’s own translations, as well as "Peripheral Vision", his latest collection in English.
Bernard O’Donoghue’s was born in Cullen, County Cork in 1945, he has lived in Oxford since 1965. His first full-length collection, "The Weakness", emerged in 1991 with Chatto & Windus, following on from a trilogy of pamphlets. His second collection, "Gunpowder" (1995) won the Whitbread Poetry Award. More recently, he published the collection "Outliving" and a selection of his poetry by Faber in 2008, followed by "Farmers Cross" (2011), which was shortlisted for the T.S. Eliot Prize. In 2009 he was honoured by the Society of Authors with a Cholmondeley Award. Until recently, O’Donoghue taught and worked for Oxford University, specialising in medieval verse and contemporary Irish literature. His reputation as a scholar consolidated in 1995 with his critical work, "Seamus Heaney and the Language of Poetry", described as “excellent” by Ian Sansom in "The Guardian". More recently O’Donoghue edited the "Cambridge Companion to Seamus Heaney" and has produced a number of translations of medieval works, including "Gawain and the Green Knight" (2006) and, forthcoming from Faber, "Piers Plowman".
Xesús Miguel "Suso" de Toro Santos (1956-) is a Spanish writer. A modern and contemporary arts graduate, he has published more than twenty novels and plays in Galician. He is a television scriptwriter and regular contributor to the press and radio. Suso de Toro writes in Galician and sometimes translates his own work into Spanish. His works have been translated into several languages, and have been taught in European universities. There are plans to make three of his works into films: "A Sombra Cazadora" (1994), "Non Volvas" (1997), and "Calzados Lola" (2000).
Дисертації з теми "The Spanish trilogy"
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COGOTTI, CARLA MARIA. "Rete simbolica e dinamiche della memoria nella trilogia della guerra civile di Juan Eduardo Zúñiga." Doctoral thesis, Università degli Studi di Cagliari, 2015. http://hdl.handle.net/11584/266810.
Повний текст джерелаАнотація:
The aim of this PhD thesis is to explore Juan Eduardo Zúñiga’s private and literary path
in order to illustrate the author’s intellectual complexity and especially to offer a critical
analysis of the most significant part of his production, that is the so called “trilogy of the
Spanish Civil War”, which includes the short stories of Largo noviembre de Madrid
(1980), La tierra será un paraíso (1989) and Capital de la gloria (2003). Zúñiga
(Madrid, 1919) is among the most distinguished Spanish contemporary writers but his
work hasn’t been investigated at a profound level yet. The research aims to turn this
initial disadvantage into a challenge, demonstrating how the author’s personal evolution
intertwines with the historical context of the Spanish Civil War firstly and the Francoist
regime secondly through a constant dialog with this period, especially when he recovers
and saves from the oblivion the multiple voices of the Madrilenian intrahistoria, the
real protagonist of the historical changes.
Therefore the trilogy, which is almost an unexplored land, is at the core of the research.
After a brief but necessary recap of the most relevant events of contemporary Spain and
also Zúñiga’s biographical reconstruction (developed in the first part of the thesis), the
study will focus later on two narrative aspects that define and identify the cycle (in the
second part). Symbolism and Memory, effectively, permeate the trilogy due to their
repetition and interconnection, making the whole organic, systematic and cohesive. The
textus comes up as a real net, a bundle made of recurring “objects-symbol”, characters
and themes. It is also a lieu de mémoire where the construction and the destruction of
memories and identities (both individual and collective) are widespread narrative
operations that show the historical Spanish society opposition between vencedores (the
Nationalists) and vencidos (the Republicans).
Specific short stories from the three volumes have been selected in order to illustrate
and examine how symbols work and also how the dynamics of memory and oblivion
structure the diegesis. The result is a complex panorama made of tradition and
innovation created by Zúñiga to give testimony of the controversial age that he lived, as
citizen and historical witness, in order to transmit and preserve the historical memory
(memoria histórica) of the Spanish Civil War.
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Fontaine, Clarisse. "La trilogie de Rafael Chirbes ou l’histoire d’une génération." Thesis, Pau, 2017. http://www.theses.fr/2017PAUU1038/document.
Повний текст джерелаАнотація:
Le présent travail se consacre à l’étude de la trilogie de l’écrivain espagnol Rafael Chirbes (1949-2015), constitué de La larga marcha, La caída de Madrid et Los viejos amigos, et à travers laquelle l’auteur retrace l’histoire récente de l’Espagne, depuis la guerre civile jusqu’au retour d’un régime démocratique, en passant par le franquisme. L’étude narrative de chacun des trois romans couplée à une approche collective permettra d’observer comment l’histoire des personnages finit par retracer celle de l’Espagne et celle de la génération désenchantée de l’auteur lui-mêmeThis work is dedicated to the study of the trilogy of the Spanish writer Rafael Chirbes (1949-2015), made uo of the Larga marcha, La caída de Madrid and Los viejos amigos, and through which the author recounts the recent history of Spain, since the civil war until the return of a democratic regime, via the Francoism period. The narrative study of each novels coupled with a collective approach will allow us to observe how the story of the characters ends up recounting Spain’s History as well as the story of the author’s disillusioned generation
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Long, Jia. "De l’instance poétique au discours métadramatique dans la trilogie espagnole de Beaumarchais." Electronic Thesis or Diss., Sorbonne université, 2023. http://www.theses.fr/2023SORUL109.
Повний текст джерелаАнотація:
Beaumarchais fait son entrée dans le théâtre français en crise. Comment écrire en tant que dramaturge ? Trois procédés s’offrent à lui : développer une théorie de la fusion déjà entamée par d’autres précurseurs : Fontenelle, Nivelle de la Chaussée, Destouches, Voltaire et Diderot. Tout d’abord, en préconisant la fusion du comique et du dramique, il stimule des effets de gaieté et d’attendrissement chez son public, annonce officiellement la naissance du nouveau genre : le Drame. Ceci dépasse la séparation nette entre le tragique et le comique, faisant ainsi au sein du genre théâtral un premier pas vers une révolution qui implique de nombreuses possibilités. Ensuite, en introduisant des éléments narratifs dans le genre théâtral, il effectue une fusion entre le roman et le théâtre, révolutionne ainsi le concept de genre dramatique. La poétique dramatique chez lui n’est pas qu’une question d’esthétique formelle, mais relève de l’extension littéraire de sa vie de combattant aux plans historique, social, politique de son époque. Dans une perspective de réception, son utilisation du discours métadramatique permet à son public d’être en permanence entre distance et illusion. Ceci révolutionne le rapport scène-public et exercera une influence considérable sur sa postérité. Au sens large, le discours métathéâtral de Beaumarchais dépasse son temps. La circulation séculaire de la trilogie espagnole permettra au public chinois d’étudier l’adresse singulière de Beaumarchais sur sa poétique dramatique et ses riches connotations idéologiques qui se mêlera dans l’histoire, la société et l’esthétique chinoises. Ainsi, Beaumarchais et ses œuvres s’intégreront à la généalogie de la littérature étrangère classique en Chine, et deviendront un événement typique de la littérature mondialiséeBeaumarchais made his dramaturgical entry when French theatre was undergoing a crisis. How to write as a playwright? He solved this issue on three levels and developed a theory of fusion already started by other precursors: Fontenelle, Nivelle de la Chaussée, Destouches, Voltaire and Diderot. First of all, by advocating the fusion of the comic and the dramatic, he stimulated the effects of gaiety and tenderness in his audience, officially announcing the birth of the new genre: Drama. This overcomes the clear separation between the tragic and the comic, thus taking the first step within the theatrical genre towards a revolution that opens up a whole range of possibilities. Then, by introducing narrative elements into the theatrical genre, he achieved the fusion between the novel and the theatre, revolutionising the concept of dramatic genre. For him, dramatic poetics was not just a question of formal aesthetics, but of the literary extension of his life as a fighter, which relates to the historic, social and political context of his time. From a reception perspective, his use of metadramatic discourse allowed his audience to be constantly wavering between distance and illusion. This revolutionised the relationship between stage and audience, and had a considerable influence on his posterity. In the broadest sense, Beaumarchais’ metatheatrical discourse transcended his time. The secular circulation of the Spanish trilogy will enable Chinese audiences to study Beaumarchais' singular address on his dramatic poetics and its rich ideological connotations, which will blend into Chinese history, society and aesthetics. In this way, Beaumarchais and his works will become part of the genealogy of classical foreign literature in China, and a typical event in the world literature
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Montemezzo, Luciana Ferrari. "Trilogia Dramatica da Terra Espanhola, de Federico Garcia Lorca : a tradução como processo e como resultado." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270312.
Повний текст джерелаАнотація:
Orientador: Orna Messer LevinTese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-10T17:51:33Z (GMT). No. of bitstreams: 1 Montemezzo_LucianaFerrari_D.pdf: 4166038 bytes, checksum: aaf5edb8bff2b06db7a15edbc0c713ae (MD5) Previous issue date: 2008
Resumo: Um texto traduzido é, ao mesmo tempo, processo e resultado. O processo refere-se às condições e critérios que levaram à sua efetivação, bem como à pesquisa demandada em torno do tema e da obra a ser traduzida. O resultado é a concretização deste processo, materializada e pronta para o consumo. Nossa tese buscou não só apresentar o resultado das traduções de Bodas de Sangue (1933), Yerma (1934) e A Casa de Bernarda Alba (1936), do dramaturgo espanhol Federico García Lorca (1898-1936), mas também explicitar o processo de pesquisa que, em nossa opinião, em muito pode colaborar para as futuras montagens das peças. Nossa opção se sustenta na hipótese de que o tradutor ¿ sobretudo o tradutor de teatro ¿ deve assumir sua intervenção: não desestrangeirizar completamente a obra, deixando marcas no texto que indiquem sua procedência, a fim de que o leitor-espectador perceba que está diante de um texto traduzido. Dessa maneira, nossa tradução procurou manter alguns aspectos relevantes da cultura espanhola, salientando as diferenças envolvidas no trânsito cultural entre Espanha e Brasil. A tradução promove uma crítica aprofundada do texto, já que o analisa em detalhes, e se detém em minúcias que, via de regra, passam despercebidas nas demais formas de leitura, o que nos leva a crer que nosso trabalho poderá contribuir no sentido de orientar atores, cenógrafos e diretores que se interessem pelas obras aqui traduzidas. Para dar o devido destaque à nossa concepção de tradução intervencionista, utilizamos as Notas do Tradutor (N.T.) como espaço de explicitação de critérios e opções tradutórias, bem como de diálogo com outros críticos e comentadores das obras em questão
Abstract: A translated text is, at one and the same time, a process and a result. The process concerns the conditions and criteria that led to its production and also the necessary research about the theme and the work to be translated. The result is the realization of this process, which is materialized and ready for consumption. Our doctoral work aimed not only at presenting the result of the translation of Bodas de Sangue (1933), Yerma (1934), and A Casa de Bernarda Alba (1936), by Spanish playwright Federico García Lorca (1898-1936), but also making the research process explicit as, in our opinion, this process can much contribute to future productions of these plays. Our decision is based on the hypothesis that the translator ¿ particularly the translator of drama ¿ should acknowledge his intervention; that is, he should not erase the foreignness of the work completely by leaving marks in the text that indicate its origin so that the reader-spectator can notice that he is in the presence of a translated text. Therefore, our translation tried to keep some relevant aspects of the Spanish culture, by stressing the differences inherent in the circulation of culture between Spain and Brazil. Translation allows deep criticism of the text by analyzing it fully and paying close attention to its minute details that are usually unnoticed in other types of reading; so, we believe that our work can contribute to assisting actors, stage-designers, and directors who may be interested in the works translated here. In order to properly highlight our concept of interventionist translation, we used the Notes by the Translator (N.T.) as the domain of explanation of criteria and translation choices and also of dialogue with other critics and commentators of the works in question
Doutorado
Literatura Geral e Comparada
Doutor em Teoria e História Literária
Книги з теми "The Spanish trilogy"
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1949-, Thomas Charles Philip, ed. The empire trilogy: Three plays of the Spanish American war of 1898 : a trilogy of plays. San Juan, Puerto Rico: Ediciones Gallo Galante, 2003.
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2
Feizer, Dzhein. The Diamond Slipper: Charm Bracelet Trilogy #1. New York: Bantam Books, 1997.
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3
Aeschylus. The Oresteia trilogy. Mineola, N.Y: Dover Publications, 1996.
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Dioso, Marconi M. A trilogy of wars: The Philippine revolutionary wars of 1896-7, the Spanish-American War in the Philippines in 1898, and the Filipino-American War, 1899-1902. Pittsburgh, PA: Dorrance Pub., 2005.
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Trilogia de Madrid. Barcelona: Seix Barral, 1985.
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Fernández, José Ramón. Trilogía de la juventud. Madrid: Fundación Autor, 2001.
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Yagüe, Javier G. (Javier García), 1961- author, Pallín Yolanda 1965 author, and Doménech Fernando editor, eds. Trilogía de la juventud. Madrid: Cátedra, 2019.
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Horst, Eberhard. Die spanische Trilogie: Isabella - Johanna - Teresa. Düsseldorf: Classen, 1989.
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Horst, Eberhard. Die Spanische Trilogie: Isabella-Johanna-Teresa. Dusseldorf: Claassen, 1989.
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Trilogía vallenata. [Bogotá?]: Ministerio de Cultura, 2002.
Знайти повний текст джерелаЧастини книг з теми "The Spanish trilogy"
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Marsh, Steven. "Metropolitan Masquerades: The Destabilization of Madrid in the Neville Trilogy." In Popular Spanish Film under Franco, 63–96. London: Palgrave Macmillan UK, 2006. http://dx.doi.org/10.1057/9780230511873_4.
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"The Phantasm of Civil War in Josena Aldecoa’s Novelistic Trilogy." In Spanish Women Writers and Spain's Civil War, 161–75. Routledge, 2016. http://dx.doi.org/10.4324/9781315546667-15.
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Roberto, John Alexander. "Cross-Cultural Languages Behind Technology-Enhanced Language Learning." In Cross-Cultural Perspectives on Technology-Enhanced Language Learning, 16–46. IGI Global, 2018. http://dx.doi.org/10.4018/978-1-5225-5463-9.ch002.
Повний текст джерелаАнотація:
Technology-enhanced language learning (TELL) is the result of the evolution of digital language, that is, a special code created by human beings to interact with computers. Digital language has, in turn, allowed for the creation of more specific languages. On the web, TELL is supported by three cross-cultural languages: natural language, visual language, and artificial language. A natural language, such as English or Spanish, becomes cross-cultural when it is processed by automatic means. A visual language is a system of communication using visual elements, such as pictograms. An artificial language, such as programming languages, is designed to communicate instructions to a machine. The author calls this trilogy of languages W3langs. This chapter explores the relationship between TELL and W3langs.
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Clare, Janet. "‘She’s Turned Fury’: Women Transmogrified in Revenge Plays." In Revenge and Gender in Classical, Medieval and Renaissance Literature, 220–36. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474414098.003.0012.
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This chapter explores early modern responses to Hecuba, arguing that whereas Euripides’ Hecuba is a sympathetic tragic heroine and successful avenger, this model was not replicated in early modern plays. Instead the two aspects of Hecuba’s role, that of lamenting mother and ruthless avenger, bifurcate in English revenge tragedy. Pitiful, mourning mothers such as Isabella from Thomas Kyd’s The Spanish Tragedy are unsuccessful, while savage ones, such as Tamora from Shakespeare’s Titus Andronicus and Queen Margaret in Shakespeare’s Henry VI trilogy, are abhorrent and aberrant, inflicting violence from a position of power. In contrast to Germany and France – where artistic treatments of the Biblical Judith decapitating General Holofernes offer a heroic, political image of female vengeance – the chapter argues that in early modern England revenge was definitively not a woman’s business.
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Tierney, Dolores. "Guillermo Del Toro’s Transnational Political Horror: Cronos (1993), El Espinazo Del Diablo (The Devil’S Backbone 2001) and El Laberinto Del Fauno (Pan’S Labyrinth 2006)." In New Transnationalisms in Contemporary Latin American Cinemas. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9780748645732.003.0005.
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Chapter 3 looks at Guillermo del Toro’s horror trilogy Cronos, El espinazo del diablo and El laberinto del fauno. Using the frameworks of feminism, Marx and Freud it explores how horror and horrific tropes function in these films on a political level to address particular issues relevant to Mexico (the impact of NAFTA) and Spain (the recovery of historical memory of Spanish Civil War repression). It traces how these three films respond to and reproduce a shared Hispanic imaginary, history and politics by adapting and adopting Hollywood horror conventions as these have been read in political terms by Robin Wood (1985), Tanya Modleski (1999) and Barbara Creed (1999). Ultimately, it suggests that Cronos, El espinazo del diablo and El laberinto del fauno (Crimson Peak is analysed in the Epilogue) speak not only to local/national issues but also to transatlantic political concerns enabled by the progressive discourse at the heart of horror cinema.
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Deleyto, Celestino. "Motherland: Space, Femininity, and Spanishness in Jamon jamón (Bigas Luna, I992)." In Spanish Cinema, 270–85. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198184157.003.0018.
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Abstract AMÓN jamón (1992) was the first and commercially most successful film of Bigas Luna’s ‘Trilogía Ibérica’, followed the next year by Huevos de oro and, finally, La teta y la luna (1995). The three films provide different but interconnected views of contemporary Spain: Jamón jamón is set in a rural area of Aragón; the central and longest part of the action of Huevos de oro takes place among the sky-scrapers of Benidorm, Spain’s most popular tourist resort on the Mediterranean; and the story of La teta y la luna is situated in a little village in the autonomous region of Catalonia. The films are, therefore, more consciously than, for example, those of Pedro Almodóvar, explicit attempts to present a cultural tapestry of Spain in the last decade of the twentieth century. In all three cases, the main emphasis is on gender relationships and sexuality.
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Nanney, Lisa. "Filmic Narrative into Narrative Film." In John Dos Passos and Cinema, 159–82. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781942954873.003.0009.
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After 1937 and the Spanish Civil War, although Dos Passos remained concerned with the individual’s struggle for self-determination, his work now focused on his conviction that the paramount monolithic force threatening personal liberties was Communism. That concern likewise shaped his attempts in the 1950s and 1960s to adapt U.S.A. into film. A dramatic revue of U.S.A., by Paul Shyre with Dos Passos, was staged between 1953 and 1960. NBC scheduled but never produced a television adaptation of The Big Money in 1957, and a lawyer, Nick Spanos, held a film option on U.S.A. during the 1950s and early 1960s but never secured a production deal. In 1956, however, Dos Passos undertook the project himself, creating a full screen treatment of U.S.A. that he titled “One Life Is Not Enough.” Never produced, its manuscript focuses on just a few characters, narrative arcs, and modal segments, but does retain his critique of the film industry. Its attempt to translate the trilogy’s film-inflected style into cinematic form lacks the novels’ innovative dynamic, however. Nor does this treatment allow form to articulate ideas as had the also-unproduced “Dreamfactory.” Overt anti-Communism drives the later treatment; its ideological agenda simplifies its aesthetics.