简介
This volume explores the translation of literary and humorous style, including comedy, irony, satire, parody and the grotesque, from Italian to English and vice versa. The innovative and interdisciplinary theoretical approach places the focus on creativity and playful rewriting as central to the translation of humour. Analysing translations of works by Rosa Cappiello, Dario Fo, Will Self and Anthony Burgess, the author explores literary translation as a form of exchange between translated and receiving cultures. In a final case study she recounts her own strategies in translating the work of Milena Agus, exploring humour, creation and recreation from the perspective of the translator and demonstrating the benefits of critical engagement with both the theory and the practice of translation. This unique contribution to the study of humour and literary style in translation will be of interest to scholars of translation, humour, comparative literature, and literary and cultural studies.
目录
Table Of Contents:
List of figures and tables vii
Acknowledgements ix
Chapter 1 Humorous style and translation: Creation, recreation and interpretation 1(20)
Making sense of humour 2(3)
The translation of humour 5(4)
Interdisciplinarity and diversity 9(6)
The case studies 15(3)
Creation and recreation 18(3)
Chapter 2 Outrageous fortune in the lucky country: The grotesque life of a migrant in translation 21(30)
Displacement and disjunction 24(3)
Finding a space in English 27(6)
Exaggerated bodies 33(4)
Views and reviews 37(6)
The contextual and paratextual spaces of translation 43(8)
Chapter 3 Playing for laughs: Satire, farce and tragedy in Dario Fo 51(26)
Setting the scene: The political and cultural context 54(5)
Voice and characterization 59(6)
Irony, farcical logic and physical comedy 65(3)
Translation and adaptation 68(2)
Accidental Death's afterlife in translation 70(7)
Chapter 4 Self-styled Wilde behaviour: Parody, imitation and wit 77(28)
Imitation and explicitation 78(4)
Self's parody 82(2)
Will Self translate? Intertextual and paratextual matters 84(4)
Artifice and artificiality 88(5)
Puns in the oven 93(2)
Understatement and contradiction 95(2)
Extra intertextuality 97(5)
Translating transgression 102(3)
Chapter 5 Apples and (clockwork) oranges: Intention, invention and intervention 105(28)
Nadsat all'italiana 108(4)
Nadsat and the reader's attitude 112(2)
Funny-peculiar and funny-ha-ha 114(3)
`Disjunctive poetics' and dramatic irony 117(7)
Metaphors of violence 124(2)
Language, poetics and ideology 126(7)
Chapter 6 First person: Translating theory into practice 133(28)
Voice and narrative style 137(3)
Location, location, location 140(4)
Food, sexuality and taboo 144(3)
The laughter and tears of migration 147(4)
Perceptions and reception 151(10)
Chapter 7 Translation as recreation: Constraints and creativity 161(8)
References 169(18)
Author index 187(4)
Subject index 191
List of figures and tables vii
Acknowledgements ix
Chapter 1 Humorous style and translation: Creation, recreation and interpretation 1(20)
Making sense of humour 2(3)
The translation of humour 5(4)
Interdisciplinarity and diversity 9(6)
The case studies 15(3)
Creation and recreation 18(3)
Chapter 2 Outrageous fortune in the lucky country: The grotesque life of a migrant in translation 21(30)
Displacement and disjunction 24(3)
Finding a space in English 27(6)
Exaggerated bodies 33(4)
Views and reviews 37(6)
The contextual and paratextual spaces of translation 43(8)
Chapter 3 Playing for laughs: Satire, farce and tragedy in Dario Fo 51(26)
Setting the scene: The political and cultural context 54(5)
Voice and characterization 59(6)
Irony, farcical logic and physical comedy 65(3)
Translation and adaptation 68(2)
Accidental Death's afterlife in translation 70(7)
Chapter 4 Self-styled Wilde behaviour: Parody, imitation and wit 77(28)
Imitation and explicitation 78(4)
Self's parody 82(2)
Will Self translate? Intertextual and paratextual matters 84(4)
Artifice and artificiality 88(5)
Puns in the oven 93(2)
Understatement and contradiction 95(2)
Extra intertextuality 97(5)
Translating transgression 102(3)
Chapter 5 Apples and (clockwork) oranges: Intention, invention and intervention 105(28)
Nadsat all'italiana 108(4)
Nadsat and the reader's attitude 112(2)
Funny-peculiar and funny-ha-ha 114(3)
`Disjunctive poetics' and dramatic irony 117(7)
Metaphors of violence 124(2)
Language, poetics and ideology 126(7)
Chapter 6 First person: Translating theory into practice 133(28)
Voice and narrative style 137(3)
Location, location, location 140(4)
Food, sexuality and taboo 144(3)
The laughter and tears of migration 147(4)
Perceptions and reception 151(10)
Chapter 7 Translation as recreation: Constraints and creativity 161(8)
References 169(18)
Author index 187(4)
Subject index 191
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