The Voices of Suspense and Their Translation in Thrillers.

By: Cadera, Susanne M
Contributor(s): Pintarić, Anita Pavić
Series: Approaches to Translation Studies: Publisher: New York : BRILL, 2014Copyright date: ©2014Description: 1 online resource (300 pages)Content type: text Media type: computer Carrier type: online resourceISBN: 9789401210690Subject(s): American fiction -- 20th century -- History and criticism.;Conversation in literature.;Dialogism (Literary analysis);Dialogue in literature.;English fiction -- 20th century -- History and criticismGenre/Form: Electronic books. Additional physical formats: Print version:: The Voices of Suspense and Their Translation in ThrillersDDC classification: 813.5409 LOC classification: PS379 -- .V653 2014ebOnline resources: Click to View
Contents:
Intro -- The Voices of Suspense and Their Translation in Thrillers -- Table of contents -- Abbreviations used in this volume -- Introduction: Creation of suspense through dialogue and its translation -- Part I. Creating suspense in literature and film -- Chapter 1: Thrilled by Trilby? Dreading Dracula? Late-Victorian thrillers and the curse of the foreign tongue -- Chapter 2: Stylistic and linguistic creation of suspense in Quentin Tarantino's Pulp Fiction and Reservoir Dogs -- Chapter 3: The voices of suspense and the French detective novel: Alain Demouzon's Melchior -- Chapter 4: Reconstructing suspense: Borges translates Faulkner's The Wild Palms -- Part II. Translation of language variation and foreign language use -- Chapter 5: Chester Himes's For Love of Imabelle in Spanish: Josep Elias's "absurdly" overcompensated slang -- Chapter 6: "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) -- Chapter 7: Bringing home the banter: Translating "empty" dialogue in exotic crime fiction -- Chapter 8: The semiotic implications of multilingualism in the construction of suspense in Alfred Hitchcock's films -- Part III. Transferring narrative structure, plot and semiotic elements in translation -- Chapter 9: The narrator's voice in translation: What remains from a linguistic experiment in Wolf Haas's Brenner detective novels -- Chapter 10: Reducing distance between characters, narrator and reader. Fictive dialogue in Steinfest's Nervöse Fische and its translation into French -- Chapter 11: Shifting points of view: The translation of suspense-building narrative style -- Chapter 12: Red herrings and other misdirection in translation.
Chapter 13: Resonant voices: The illocutionary reconstruction of suspense in the translation of dialogue -- Chapter 14: Analysis of the different features and functions of dialogue in a comparable corpus of crime novels -- Chapter 15: Translating emotions expressed in nonverbal features of dialogues in the novel: Schnee in Venedig -- Chapter 16: English-Spanish subtitling and dubbing (1960s and 1970s): Voices of suspense in Polanski's Repulsion -- Name index -- Subject index.
Summary: 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.
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Intro -- The Voices of Suspense and Their Translation in Thrillers -- Table of contents -- Abbreviations used in this volume -- Introduction: Creation of suspense through dialogue and its translation -- Part I. Creating suspense in literature and film -- Chapter 1: Thrilled by Trilby? Dreading Dracula? Late-Victorian thrillers and the curse of the foreign tongue -- Chapter 2: Stylistic and linguistic creation of suspense in Quentin Tarantino's Pulp Fiction and Reservoir Dogs -- Chapter 3: The voices of suspense and the French detective novel: Alain Demouzon's Melchior -- Chapter 4: Reconstructing suspense: Borges translates Faulkner's The Wild Palms -- Part II. Translation of language variation and foreign language use -- Chapter 5: Chester Himes's For Love of Imabelle in Spanish: Josep Elias's "absurdly" overcompensated slang -- Chapter 6: "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) -- Chapter 7: Bringing home the banter: Translating "empty" dialogue in exotic crime fiction -- Chapter 8: The semiotic implications of multilingualism in the construction of suspense in Alfred Hitchcock's films -- Part III. Transferring narrative structure, plot and semiotic elements in translation -- Chapter 9: The narrator's voice in translation: What remains from a linguistic experiment in Wolf Haas's Brenner detective novels -- Chapter 10: Reducing distance between characters, narrator and reader. Fictive dialogue in Steinfest's Nervöse Fische and its translation into French -- Chapter 11: Shifting points of view: The translation of suspense-building narrative style -- Chapter 12: Red herrings and other misdirection in translation.

Chapter 13: Resonant voices: The illocutionary reconstruction of suspense in the translation of dialogue -- Chapter 14: Analysis of the different features and functions of dialogue in a comparable corpus of crime novels -- Chapter 15: Translating emotions expressed in nonverbal features of dialogues in the novel: Schnee in Venedig -- Chapter 16: English-Spanish subtitling and dubbing (1960s and 1970s): Voices of suspense in Polanski's Repulsion -- Name index -- Subject index.

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.

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Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2019. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries.

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