Full Description
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.
Contents
Abbreviations used in this volume
Susanne M. Cadera and Anita Pavić Pintarić: Introduction: Creation of suspense through dialogue and its translation
Part I: Creating suspense in literature and film
Dirk Delabastita: Thrilled by Trilby? Dreading Dracula? Late-Victorian thrillers and the curse of the foreign tongue
Sanja Škifić and Rajko Petković: Stylistic and linguistic creation of suspense in Quentin Tarantino's Pulp Fiction and Reservoir Dogs
Soledad Díaz Alarcón: The voices of suspense and the French detective novel: Alain Demouzon's Melchior
Leah Leone: Reconstructing suspense: Borges translates Faulkner's The Wild Palms
Part II: Translation of language variation and foreign language use
Daniel Linder: Chester Himes's For Love of Imabelle in Spanish: Josep Elias's "absurdly" overcompensated slang
José Luis Aja Sánchez: "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)
Jean Anderson: Bringing home the banter: Translating "empty" dialogue in exotic crime fiction
Giuseppe De Bonis: 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
Jenny Brumme: The narrator's voice in translation: What remains from a linguistic experiment in Wolf Haas's Brenner detective novels
Guilhem Naro and Maria Wirf Naro: Reducing distance between characters, narrator and reader. Fictive dialogue in Steinfest's Nervöse Fische and its translation into French
Anna Espunya: Shifting points of view: The translation of suspense-building narrative style
Karen Seago: Red herrings and other misdirection in translation
Laila C. Ahmad Helmi: Resonant voices: The illocutionary reconstruction of suspense in the translation of dialogue
Bárbara Martínez Vilinsky: Analysis of the different features and functions of dialogue in a comparable corpus of crime novels
Anita Pavić Pintarić and Sybille Schellheimer: Translating emotions expressed in nonverbal features of dialogues in the novel: Schnee in Venedig
Camino Gutiérrez Lanza: English-Spanish subtitling and dubbing (1960s and 1970s): Voices of suspense in Polanski's Repulsion
Name index
Subject index
