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The representation of phonetic features occurs generally within fictive dialogue, monologue or any discourse of characters or narrators in literary forms with realistic foundations. It is used in order to reflect dialect, ethnolect and sociolect, to reflect spontaneous and dynamic everyday speech or to create the idiolect of a specific character. But, obviously, phonetic features belong to spoken language. The author has to use specific graphic resources that evoke in the reader associations with the phonetic characteristics of oral speech. The present contribution deals with the difficulties underlying the translation of phonetic aspects in literary dialogue. The results of the study derive from a broader comparative analysis of Latin American narrative works and their translations into German and/or English. In order to show how phonetic features are represented and further transposed into the target language, only high-occurrence examples of fictive phonetic features are quoted.

In: The Translation of Fictive Dialogue

Abstract

This chapter will first deal with the concept of canonical translations from a theoretical point of view, as to date there is no established definition of this concept. It will be shown that there can be many factors to consider when we categorise a translation as canonical. Some examples will show how some traditional translations have been canonized over time. In the last part, the chapter will study the specific example of the Spanish translations of The Metamorphosis by Franz Kafka because of its undeniably profound reception in Spain, as proved by the number of translations. There are currently thirty-two retranslations on the Spanish publishing market, in addition to the first translation. Taking into account the criteria established in the first theoretical part, the chapter analyse the reception of the first translations of The Metamorphosis in order to assess whether or not it can be considered canonical, despite the existence of so many other versions.

Open Access
In: Retranslation and Reception

The present study focuses on the construction of literary dialogue and its transposition into another language. The construction of fictive dialogue in novels has to be considered a complex field because of the wide range of literary production. The mimesis of spoken language on the lexical and syntactical level is enhanced with the form of representation in order to recreate the different aspects of orality, including non-verbal elements. Especially innovative or experimental forms as part of the conversational style of a novel have a specific effect on the reader. If this effect cannot be transmitted through the translation, the reception in the target culture has been manipulated. In the following article we present some examples of German and Latin American narrative works from the 20th century with the aim of showing how they are transposed into other languages, namely into Spanish, German and/or English.

In: The Translation of Fictive Dialogue

The representation of phonetic features occurs generally within fictive dialogue, monologue or any discourse of characters or narrators in literary forms with realistic foundations. It is used in order to reflect dialect, ethnolect and sociolect, to reflect spontaneous and dynamic everyday speech or to create the idiolect of a specific character. But, obviously, phonetic features belong to spoken language. The author has to use specific graphic resources that evoke in the reader associations with the phonetic characteristics of oral speech. The present contribution deals with the difficulties underlying the translation of phonetic aspects in literary dialogue. The results of the study derive from a broader comparative analysis of Latin American narrative works and their translations into German and/or English. In order to show how phonetic features are represented and further transposed into the target language, only high-occurrence examples of fictive phonetic features are quoted.

In: The Translation of Fictive Dialogue

The present study focuses on the construction of literary dialogue and its transposition into another language. The construction of fictive dialogue in novels has to be considered a complex field because of the wide range of literary production. The mimesis of spoken language on the lexical and syntactical level is enhanced with the form of representation in order to recreate the different aspects of orality, including non-verbal elements. Especially innovative or experimental forms as part of the conversational style of a novel have a specific effect on the reader. If this effect cannot be transmitted through the translation, the reception in the target culture has been manipulated. In the following article we present some examples of German and Latin American narrative works from the 20th century with the aim of showing how they are transposed into other languages, namely into Spanish, German and/or English.

In: The Translation of Fictive Dialogue
The volume aims to be a reference work for all researchers interested in the study of fictional dialogue and its translation in suspense novels and films as well as in related genres. The volume also aims to determine the interplay between the creation of suspense and fictional dialogue. The particular interest in dialogue comes from the host of roles it plays in fiction. It helps create suspense and arouses a whole range of feelings in the reader or the audience related to the development of the plot.
Fictional dialogue is the discursive method of evoking orality, conferring authenticity and credibility on a plot and giving fictional characters a voice. As a narrative strategy, dialogue is an important resource that enables the writer to shape the character’s subjectivity. In thrillers the characters’ voice is part of the process of creating suspense, an element of uncertainty, anxiety and excitement, which is not exclusive to this genre. To clearly differentiate suspense from the tension created by other types of fiction, this volume aims to study the relationship between the characters’ voices and the building of suspense and to describe the translation difficulties arising from this particular interdependence.
In: The Voices of Suspense and Their Translation in Thrillers
In: The Voices of Suspense and Their Translation in Thrillers
In: The Voices of Suspense and Their Translation in Thrillers