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AMBIENTUM BIOETHICA BIOLOGIA CHEMIA DIGITALIA DRAMATICA EDUCATIO ARTIS GYMNAST. ENGINEERING EPHEMERIDES EUROPAEA GEOGRAPHIA GEOLOGIA HISTORIA HISTORIA ARTIUM INFORMATICA IURISPRUDENTIA MATHEMATICA MUSICA NEGOTIA OECONOMICA PHILOLOGIA PHILOSOPHIA PHYSICA POLITICA PSYCHOLOGIA-PAEDAGOGIA SOCIOLOGIA THEOLOGIA CATHOLICA THEOLOGIA CATHOLICA LATIN THEOLOGIA GR.-CATH. VARAD THEOLOGIA ORTHODOXA THEOLOGIA REF. TRANSYLVAN
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The STUDIA UNIVERSITATIS BABEŞ-BOLYAI issue article summary The summary of the selected article appears at the bottom of the page. In order to get back to the contents of the issue this article belongs to you have to access the link from the title. In order to see all the articles of the archive which have as author/co-author one of the authors mentioned below, you have to access the link from the author's name. |
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STUDIA DRAMATICA - Issue no. 2 / 2019 | |||||||
Article: |
BOOK REVIEW: UN MODEL POLISISTEMIC DE ANALIZĂ COMPARATIVĂ A TEXTULUI DRAMATIC DIN PERSPECTIVA TRADUCTOLOGIEI DESCRIPTIVE (A POLYSISTEMIC MODEL OF COMPARATIVE ANALYSIS OF THE DRAMATIC TEXT FROM THE PERSPECTIVE OF DESCRIPTIVE TRANSLATION STUDIES). Authors: DOMNICA RĂDULESCU. |
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Abstract: Cătălina Iliescu Gheorghiu’s recent book Un Model Polisistemic de analiza comparativa a textului dramatic din perspectiva traductologiei descriptive (A Polysistemic Model of Comparative Analysis of the Dramatic Text from the Perspective of Descriptive Translation Studies) is a meticulously crafted and unprecedented comparative study of two translations of the play The Third Stake by the celebrated Romanian writer Marin Sorescu within the theoretical frame of the model for descriptive and functional translation studies created by Jose Lambert and Hendrik Van-Gorp. The crucial goal of the comparative analysis between the two existing translations by Andreea Gheorghitoiu and respectively, Dennis Deletant is to demonstrate how the translators’ choices vary in terms of the levels of theatricality and cultural adaptability in the target language, although admittedly, they are both focused, by different degrees, on the literary value of the text and only secondarily on its dramatic or performative elements. | |||||||
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