LEADER 05969nam 2200721 450 001 9910458033103321 005 20200520144314.0 010 $a94-012-1069-1 035 $a(CKB)2550000001290867 035 $a(EBL)1686944 035 $a(SSID)ssj0001255452 035 $a(PQKBManifestationID)11732105 035 $a(PQKBTitleCode)TC0001255452 035 $a(PQKBWorkID)11245809 035 $a(PQKB)10992757 035 $a(MiAaPQ)EBC1686944 035 $a(OCoLC)879551433$z(OCoLC)880564907$z(OCoLC)961516913$z(OCoLC)962684530$z(OCoLC)994350607 035 $a(nllekb)BRILL9789401210690 035 $a(PPN)236946250 035 $a(Au-PeEL)EBL1686944 035 $a(CaPaEBR)ebr10869725 035 $a(CaONFJC)MIL605113 035 $a(OCoLC)879551433 035 $a(EXLCZ)992550000001290867 100 $a20140524h20142014 uy 1 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt 182 $cc 183 $acr 200 04$aThe voices of suspense and their translation in thrillers /$fedited by Susanne M. Cadera and Anita Pavic Pintaric 210 1$aAmsterdam, Netherlands :$cRodopi,$d2014. 210 4$d©2014 215 $a1 online resource (289 p.) 225 1 $aApproaches to Translation Studies ;$vVolume 39 300 $aIncludes indexes. 311 $a90-420-3822-5 311 $a1-306-73862-8 320 $aIncludes bibliographical references and indexes. 327 $tPreliminary Material --$tAbbreviations used in this volume --$tCreation of suspense through dialogue and its translation /$rSusanne M. Cadera and Anita Pavi Pintari? --$tThrilled by Trilby? Dreading Dracula? Late-Victorian thrillers and the curse of the foreign tongue /$rDirk Delabastita --$tStylistic and linguistic creation of suspense in Quentin Tarantino?s Pulp Fiction and Reservoir Dogs /$rSanja ?kifi? and Rajko Petkovi? --$tThe voices of suspense and the French detective novel: Alain Demouzon?s Melchior /$rSoledad Díaz Alarcón --$tReconstructing suspense: Borges translates Faulkner?s The Wild Palms /$rLeah Leone --$tChester Himes?s For Love of Imabelle in Spanish: Josep Elias?s ?absurdly? overcompensated slang /$rDaniel Linder --$t?Se so? sparati a via Merulana?: Achieving linguistic variation and oral discourse in the French and Spanish versions of Quer pasticciaccio brutto de via Merulana (chapter 1) /$rJosé Luis Aja Sánchez --$tBringing home the banter: Translating ?empty? dialogue in exotic crime fiction /$rJean Anderson --$tThe semiotic implications of multilingualism in the construction of suspense in Alfred Hitchcock?s films /$rGiuseppe De Bonis --$tThe narrator?s voice in translation: What remains from a linguistic experiment in Wolf Haas?s Brenner detective novels /$rJenny Brumme --$tReducing distance between characters, narrator and reader. Fictive dialogue in Steinfest?s Nervöse Fische and its translation into French /$rGuilhem Naro and Maria Wirf Naro --$tShifting points of view: The translation of suspense-building narrative style /$rAnna Espunya --$tRed herrings and other misdirection in translation /$rKaren Seago --$tResonant voices: The illocutionary reconstruction of suspense in the translation of dialogue /$rLaila C. Ahmad Helmi --$tAnalysis of the different features and functions of dialogue in a comparable corpus of crime novels /$rBárbara Martínez Vilinsky --$tTranslating emotions expressed in nonverbal features of dialogues in the novel: Schnee in Venedig /$rAnita Pavi? Pintari? and Sybille Schellheimer --$tEnglish-Spanish subtitling and dubbing (1960's and 1970's): Voices of suspense in Polanski?s Repulsion /$rCamino Gutiérrez Lanza --$tName index --$tSubject index --$tEarlier volumes in the APPROACHES TO TRANSLATION STUDIES series. 330 $aThe volume aims to be a reference work for all researchers interested in the study of fictional dialogue and its translation in suspense novels and films as well as in related genres. The volume also aims to determine the interplay between the creation of suspense and fictional dialogue. The particular interest in dialogue comes from the host of roles it plays in fiction. It helps create suspense and arouses a whole range of feelings in the reader or the audience related to the development of the plot. Fictional dialogue is the discursive method of evoking orality, conferring authenticity and credibility on a plot and giving fictional characters a voice. As a narrative strategy, dialogue is an important resource that enables the writer to shape the character?s subjectivity. In thrillers the characters? voice is part of the process of creating suspense, an element of uncertainty, anxiety and excitement, which is not exclusive to this genre. To clearly differentiate suspense from the tension created by other types of fiction, this volume aims to study the relationship between the characters? voices and the building of suspense and to describe the translation difficulties arising from this particular interdependence. 410 0$aApproaches to translation studies ;$vVolume 39. 606 $aAmerican fiction$y20th century$xHistory and criticism 606 $aConversation in literature 606 $aDialogism (Literary analysis) 606 $aDialogue in literature 606 $aEnglish fiction$y20th century$xHistory and criticism 608 $aElectronic books. 615 0$aAmerican fiction$xHistory and criticism. 615 0$aConversation in literature. 615 0$aDialogism (Literary analysis) 615 0$aDialogue in literature. 615 0$aEnglish fiction$xHistory and criticism. 676 $a813.5409 702 $aCadera$b Susanne M. 702 $aPavic? Pintaric?$b Anita 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910458033103321 996 $aThe voices of suspense and their translation in thrillers$92161534 997 $aUNINA