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Miti modern i identitetit

  • Kastrati, Diana
Congreso celebrado en la Universidad de Tirana (Albania), los días 2-3 de abril de 2012, Casa de España en Tirana. Universidad de Tirana. Universidad Rey Juan Carlos. Banco Santader., Filología II
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Orientalizmat në rrjedhën e italianizmave në gjuhën shqipe

  • Derjaj, Adriatik
  • Kaba, Flavia
Congreso celebrado en la Universidad de Tirana (Albania), los días 2-3 de abril de 2012, Casa de España en Tirana. Universidad de Tirana. Universidad Rey Juan Carlos. Banco Santader., Filología II
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Dramatické texty přeložené a cenzurované ve frankistickém Španělsku (šedesátá léta): divadlo a film jako kontrolovaná představení

  • Merino Álvarez, Raquel
Texto en checo. Editora de la obra Petra Vavroušová., [EN] When dealing with theatre translation the notion of adaptation is often quoted to define a process of accommodation to the stage. Likewise transformation and rewriting of playtexts for the screen is usually classified as adaptation within the field of drama. While the process of translation seems to involve a change of language, the process of adaptation is usually related to a change of media, genre, space, time or function. The study of censorship of drama in 20th century Spain presents the researcher with issues of textual adaptation derived from the process of (self)censorship. The autor, translator or producer, when faced with censorial restrictions, adapt the playtext to overcome censorship barriers and reach the stage. This process of intra-linguistic rewriting usually takes place following the indications of the censoring bodies but also as a form of self-censorship.
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