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Szerzők
Acél, Zsuzsanna
Ádám, Anikó
Adorjáni, Zsolt
Ágoston, Piroska
Alario, Leonardo R.
Alba Reina, Maria José
Almási, Zsolt
Alves, Ida Ferreira
Alves, Maria Theresa Abelha
Andersson, Daniel Christopher
Angelini, Maria Teresa
Antal, Beatrix
Babics, Zsófia
Báder, Petra
Balázs, Zsuzsanna
Barbieri, Edoardo
Bárkányi, Zsuzsanna
Bársony, Zsófia
Barta, László
Bartha-Kovács, Katalin
Bartoss, Réka
Basco, Louis
Bauernhuber, Enikő
Bencze, Ágnes
Benda, Mihály
Bene, Krisztián
Beránková, Eva
Bermúdez Medina, Lola
Bernardi, Ulderico
Berta, Tibor
Berzeviczy, Klára
Bisetto, Antonietta
Blackwell, Constance
Blum, Paul Richard
Bobay, Orsolya
Bocz, Zsuzsanna
Boda, László
Bodor, Mária Anna
Bolberitz, Pál
Bolpagni, Marcello
Bors, Edit
Botos, Máté
Boyon, Jérôme
Brambilla, Simona
Brix, Michel
Budetta, Enrica
Bylaardt, Cid Ottoni
Campos Carrasco, Nuria
Cannavacciuolo, Margherita
Cappelli, Guido M.
Carpentieri, Chiara Maria
Carriero, Leonardo
Cepraga, Dan Octavian
Cerda Montes de Oca, Susana
Charmet, Anne
Chodaková, Polina
Chovancová, Katarína
Cioba, Mianda
Claudon, Francis
Colombo, Michele
Consales, Ilde
Cselényi, István Gábor
Cselik, Ágnes
Cser, András
Csocsán de Várallja, Eugène
Csuday, Csaba
Csűry, István
Cuasante Fernández, Elena
Curlo, Vittoria
Cusimano, Christophe
Czerkawski, Jan
Czigány, Ildikó
Czöndör, Klára
D'Angelo, Biagio
Dagron, Tristan
Dardano, Maurizio
Darida, Veronika
De Vettor, Luisa
Deen Schildgen, Brenda
Del Lungo, Andrea
Demetracopoulos, John A.
Désfalvi-Tóth, András
Devís Márquez, P. Pablo
Dézsi, Melinda
Dobák-Szalai, Zsuzsanna
Dombi, Anikó
Domokos, György
Dondoli, Luciano
Draskóczy, Eszter
Drégeli, Krisztina
Duarte, Lélia Parreira
Dudley, John
Durnová, Anna
Ebbersmeyer, Sabrina
Edelheit, Amos
Egerland, Verner
Erb, Frederick III
Erb, Heather M.
Erős, Katalin Renáta
Ertl, Péter
Fábián, Zsuzsanna
Facca, Danilo
Fejérdy, Gergely
Finazzi-Agrò, Ettore
Fodor, Andrea
Foucault, Yann
Fouilleul, Thierry
Francisco, Denis Leandro
Frasso, Giuseppe
Fréchet, Claudine
Frenguelli, Gianluca
Fričová, Eva
Fritsch, Matthias J.
Fulka, Josef
Funk-Deckard, Michael
Füzesi, Piroska
Gajos, Mieczysław
Gángó, Gábor
Garrett, Jeffrey
Gatti, Giuseppe
Gazdik, Anna
Gazzotti, Marisa
Gecse, Mária Veronika
Gerfaud, Jean-Pierre
Gheno, Vera
Giolitto, Marco
Giuliani, Pierre
Giusti, Giuliana
Gleize, Joëlle
Gorilovics, Tivadar
Gotia, Andrei
Grall, Catherine
Guimarães, Elisa
Gulyás, Adrienn
Gutbrod, Gizella
Gyimesi, Timea
Hajnóczi, Eszter
Hajnóczi, Gábor
Hajnóczi, Kristóf
Hámori Nagy, Zsuzsanna
Hardi, Ferenc
Harmath, Erzsébet
Házas, Nikoletta
Hegyi, Ágota
Hende, Fanni
Hoffmann, Béla
Holló, Zsuzsanna
Hoppál, Bulcsú Kál
Horányi, Lilla
Horváth Faller, Eija
Horváth, Alexandra
Horváth, Kornélia
Horváth, Márton Gergely
Horváth, Miléna
Huszthy, Alma
Huszthy, Bálint
Ila-Horváth, Zsófia
Imrei, Andrea
Janeczek, Stanisław
Joubert, Jean-Marc
Junqueira, Maria Aparecida
Kaliska, Agnieszka
Kalla, Stéphane
Kaló, Krisztina
Kanász, Viktor
Kanozsay, Katalin
Kaposi, Márton
Kardos, Orsolya
Keglovich, Rita
Kelemen, János
Kéri, Henriett
Kharissov, Ildar
Király, Erzsébet
Kirsch, Fritz Peter
Kiss, Kornélia
Klimová, Katarína
Knasas, John F. X.
Koest, Bernard
Koós, Eszter
Kormos, József
Körömi, Gabriella
Kotowska, Katarzyna
Koudriavtsev, Alexandre
Kováč-Petrovský, Dušan
Kovács, Marietta
Kozelská, Irena
Kpalap, Linus
Kricka, Anna
Kuffart, Hajnalka
Kun, Csilla
Kupčihová, Katarína
Kyloušek, Petr
La Rosa, Emanuele
Laky, Krisztina
Lalla, Sebastian
Lario-de-Oñate, M. Carmen
Larson, Pär
László, Tímea
Lautner, Péter
Lécrivain, Claudine
Lehrberger, James, O. Cist.
Lemba, Robert
Lobato, Abelardo
Loiacono, Rocco
Loreti, M. Alessio
Lőrinszky, Ildikó
Loureda Lamas, Óscar
Ludmann, Ágnes
Lukácsi, Margit
Lukovszki, Judit
Lupinu, Giovanni
Maár, Judit
Majorossy, Imre Gábor
Malinovská, Zuzana
Marádi, Krisztina
Marosvári, Mária
Marsó, Paula
Martin, Evelyne
Martínez-Radío Garrido, Evaristo C.
Martonyi, Éva
Matucci, Andrea
Matula, Jozef
Mátyus, Norbert
Maziarczyk, Anna
Mazzoleni, Marco
Medveczká, Mária
Menaker, Angelika
Menczel, Gabriella
Méndez Robles, Pedro Salvador
Mezei, Balázs M.
Miklós, Barbara
Miklós, Eszter Gerda
Miskolczi, István
Montagnon, Beatrix
Montes Nogales, Vicente E.
Mora, Luisa
Morani, Moreno
Mourão, Cleonice Paes Barreto
Müller, Sigrid
Mundevová, Lenka
Mussó, Zsófia
Nagy-Zekmi, Silvia
Najbar, Anna
Náray-Szabó, Márton
Nejeschleba, Tomaš
Neme, Rauf
Nemrava, Daniel
Nuzzo, Armando
Olay, Csaba
Őrsi, Tibor
Paál, Zsuzsanna
Pajorin, Klára
Pálková, Jana
Pallai, Károly Sándor
Paolini, Michele
Papp, Eszter
Pardo Jiménez, Pedro
Parry, Mair
Pastor, Pablo Tornero
Pataki, Elvira
Payet, Marie
Penello, Nicoletta
Petkova, Ingrid
Petrovszki Lajszki, Brigitta
Pleciński, Jacek
Podhorná-Polická, Alena
Pokorný, Martin
Por, Peter
Portalés Mananós, David
Prohászka, Erzsébet
Prokopp, Mária
Puskás, István
Pusztai, Gabriella
Quinn, Patrick
Radvánszky, Anikó
Rees, Valery
Renzi, Lorenzo
Révész, Enkratisz
Rey Mimoso-Ruiz, Bernadette
Riedenauer, Markus
Righi, Federico
Robiglio, Andrea A.
Rodríguez Mansilla, Fernando
Rokay, Zoltán
Rollin, Pascal
Romito, M. Bruna
Rónaky, Eszter
Rosenthal, Alexander S.
Rowland, Clara
Rózsavári, Nóra
Ruiz, María Jesús
Russell, Paul A.
Ruszel, Joanna
Sadkowska-Fidala, Agata
Sághy, Marianne
Salvi, Giampaolo
Samarini, Francesco
Sárdi, Krisztina
Saxlová, Tereza
Scheib, Andreas
Schneller, Dóra
Schoentjes, Pierre
Schuerewegen, Franc
Sciacovelli, Antonio Donato
Senardi, Fulvio
Seres, Krisztina
Seth, Catriona
Siest, Amélie Celinda
Šimková, Soňa
Sità, Michele
Skibińska, Elżbieta
Skřivánek, Hanna
Sliwa, Dorota
Solymosi, Milán
Sotkóné Grosz, Anikó
Šotolová, Jovanka
Soulages, François
Špička, Jiří
Squillacioti, Paolo
Stachová, Klára
Stančienė, Dalia Marija
Stanilewicz, Grażyna
Staszewska-Zatońska, Anna
Ştefănescu, Ariadna
Stojkovski, Boris
Stráner, Zsófia
Svoboda, David
Szabados, Edina
Szabó-Gilinger, Eszter
Szabó, Anita Noémi
Szabó, Ferenc S.J.
Szabó, Tibor
Szávai, Dorottya
Szijj, Ildikó
Szilágyi, Imre
Szőnyi, Gergely
Szőnyi, Tamás
Szörényi, László
Szovák, Márton
Szuhaj, Katalin
Takács, László
Tarabochia Canavero, Alessandra
Tassoni, Luigi
Tat, Alin
Tedesco, Alessandro
Teschke, Henning
Timenova-Valtcheva, Zlatka
Tombi, Beáta
Török, Tamara
Torre Giménez, Estrella de la
Toso, Fiorenzo
Tóth, Ágnes
Tóth, Andrea
Tóth, Gábor Mihály
Tóth, Gabriella
Tourrel, Jean-Paul
Trouvé, Alain
Turai, Laura
Vacovská, Marta
Vajk, Zsuzsanna
Valentová, Eva
Valenzuela, Luisa
Vanelli, Laura
Váradi, Márta
Vasoli, Cesare
Vasvári, Louise O.
Vázquez-Amador, María
Vecchi, Roberto
Viana, Joaquim
Volek, Peter
Vykypělová, Klára
Vyšniauskas, Gintautas
W. Somogyi, Judit
Walicka-Popis, Anna
Wildburg, Gabriella
Zabojnikova, Hviezdoslava
Zentai Horváth, Krisztina
Zoppello, Mariateresa
Zsák, Helga

A kategória cikkei a Verbumban:
  • Szerző Lécrivain, Claudine
    Füzet Vol. XIV/2013/1-2
    Kategória Le français dans le miroir des langues
    DOI 10.1556/Verb.14.2013.1–2.13
    Oldal pp. 193-210
    Kulcsszavak translation process; future of translation field; concept of translation
    Absztrakt The present article discusses the emerging future of the field of translation. It focuses on the impact of new technologies, new figures of the translator, the notion of the author, the reader and the space for the source text in some translation processes in order to help us confront the limitations of the traditional concept of translation.
  • Szerző Rey Mimoso-Ruiz, Bernadette
    Füzet Vol. XIV/2013/1-2
    Kategória Le français dans le miroir des langues
    DOI 10.1556/Verb.14.2013.1–2.14
    Oldal pp. 211-229
    Kulcsszavak art critics; artwork; painting; imagination
    Absztrakt When Le Clézio speaks about artworks, he does not follow the method of the observing theorists and art critics, but goes into an opposite direction: the narrative is dominant while the description conjures up impulses that have created the artwork and provide the key to reading. The description supplementing the narrative digresses, then launches the story, so that the imagination, beliefs and feelings are unified inside the work of art evoked: thus is born the poetic nature of the depicted subjects which transform the artwork into the metaphor of the invisible.
  • Szerző Marsó, Paula
    Füzet Vol. XIV/2013/1-2
    Kategória Le français dans le miroir des langues
    DOI 10.1556/Verb.14.2013.1–2.15
    Oldal pp. 230-238
    Kulcsszavak Rousseau; La profession de foi du vicaire savoyard; conscience; emotivity
    Absztrakt La profession de foi du vicaire savoyard [The Profession of Faith of the Savoyard Vicar] is one of Rousseau’s most important reflections on human nature, psychology andmorality, and apart from analyzing the arguments of the profession, questions arise from its semi-detached character about the relation of the Profession to Emile as a whole. The hybrid character of Emile — part a treatise, part a novel — invites an exploration of questions regarding genre, composition, and audience. Rousseau was a successful composer of music, who wrote seven operas as well as music in other forms, and made contributions to music as a theorist. In my opinion, Profession is a musical text, which is based on emotion. The main difficulty of Rousseauian theory of the conscience lies in the reports which it maintains with reason; Jean- Jacques Rousseau challenges this interpretation explicitly: conscience is a feeling.
  • Szerző Siest, Amélie Celinda
    Füzet Vol. XIV/2013/1-2
    Kategória Le français dans le miroir des langues
    DOI 10.1556/Verb.14.2013.1–2.16
    Oldal pp. 239-248
    Kulcsszavak translation, Choderlos de Laclos, István Örkény, Liaisons dangereuses
    Absztrakt Liaisons dangereuses by Choderlos de Laclos was first published in 1782 and deals with three different love affairs around the two main characters, Marquise de Merteuil and Vicomte de Valmont. The marquise challenges the vicomte to seduce pious Madame de Tourvel; the vicomte then challenges the marquise to seduce one of the marquise’s former lovers who is to marry Cécile Volanges; as a reward, the two libertines should be resuming their former affair. István Örkény’s translation, Veszedelmes viszonyok, was first published in 1973. Inasmuch as Örkény translated Liaisons dangereuses in the 20th century, how can he possibly render the spirit of Laclos’s work, with the same purposes and same intensity as were displayed in the novel? In this paper, I will first consider the importance of this translation in Örkény’s works, why he chose that particular title, the question about the characters and their specific language, the time and space background of the story, then I will analyse the editor’s foreword, the writer’s note and the translator’s personal afterword.
  • Szerző Vacovská, Marta
    Füzet Vol. XIV/2013/1-2
    Kategória Le français dans le miroir des langues
    DOI 10.1556/Verb.14.2013.1–2.17
    Oldal pp. 249-254
    Kulcsszavak Baudelaire; Le Corbeau; traduction
    Absztrakt The Raven by Edgar Allan Poe is undoubtedly considered to be one of the most remarkable works of art in the world of poetry. To capture the genius reflected in the poem became a challenge for translators from all over the world. In the context of French literature it was Baudelaire who first offered the translation of this famous poem to French readers. Despite the difficulties caused by the differences of both language systems and perfect premeditation of nearly mathematical composition of the original work, Baudelaire accomplished his task with honour. As a translator, he stays “conform” not only in his intentions to keep the language quality of this poem but he also wants the reader to recognise and appreciate Poe’s talent. However, this literary imperative leads him to the use of the means which belong to the “adaptive” translation method. These adaptations are most conspicuous when observing the musical aspect of the text.
  • Szerző Mundevová, Lenka
    Füzet Vol. XIV/2013/1-2
    Kategória Le français dans le miroir des langues
    DOI 10.1556/Verb.14.2013.1–2.18
    Oldal pp. 255-263
    Kulcsszavak informal language; translation of spoken language; language stratification; Guy de Maupassant; translation analysis
    Absztrakt In its theoretical part, the paper deals with typical features of spoken French and Czech as well as the distribution of these features in both languages. A description of phonological, morphological, lexical and syntactic elements of substandard French and Czech is included. The paper emphasizes differences between stratification of French and Czech that make literary translation of spoken languagemore difficult. The second part of the paper is devoted to a comparative translation analysis of Guy de Maupassant’s short story L’ivrogne [The Drunkard] and its two Czech translations (the oldest one from 1902 and the most recent from 1965), and focuses on the way the translators express informality of Maupassant’s language. A final critical evaluation of the translations is given in the conclusion.
  • Szerző Bauernhuber, Enikő
    Füzet Vol. XIV/2013/1-2
    Kategória Le français dans le miroir des langues
    DOI 10.1556/Verb.14.2013.1–2.19
    Oldal pp. 264-272
    Kulcsszavak interaction of arts; journalism; edition; translation; Hungarian–French literary relations
    Absztrakt This paper focusses on the interaction of the various branches of arts through the journalistic works of Zoltán Ambrus. Ambrus was a versatile Hungarian author, interested in the arts, especially painting. He was an outstanding literary critic and translator of the fin-de-siècle, whose literary, journalistic, critical, and translating oeuvre is rich in artistic connections and also in French aspects. The author’s oeuvre provides a good example of how arts, literature and journalism are interconnected in the late 19th century.
  • Szerző Tóth, Ágnes
    Füzet Vol. XIV/2013/1-2
    Kategória Le français dans le miroir des langues
    DOI 10.1556/Verb.14.2013.1–2.20
    Oldal pp. 273-282
    Kulcsszavak Maurice Carême; Bruges; relationship of text and image; photographic image in poetry
    Absztrakt Bruges by Maurice Carême is a work in collaboration with the Italian photographer, Fulvio Roiter, and contains 60 poems by Carême and 65 photos by Roiter. Since its first publication in 1963, the book has seen three editions. It aims to be a photoraphic image of the city of Bruges, it provides a visible and readable reflection of it — it can be “seen” and “read” at the same time. In this paper, I intend to show the iconicity of writing, the photographic image in poetry, the relationship of text and image, and the rhythms in the relationship between text and photos. The photoes can be watched and read, and thus the books brings our eyes to the images from the writing and to the writing from the images, from the great plane to details and vice versa. It helps to integrate into a whole the proximity, the intimacy, the interiority and the distance.
  • Szerző Horányi, Lilla
    Füzet Vol. XIV/2013/1-2
    Kategória Le français dans le miroir des langues
    DOI 10.1556/Verb.14.2013.1–2.21
    Oldal pp. 283-294
    Kulcsszavak Africa; colonialism; Georges Simenon; Other; postcolonial studies
    Absztrakt In this paper, we examine how the Other is represented in two exotic novels of Georges Simenon, Le Coup de lune (1933) and Le Blanc à lunettes (1937), which take place in Africa and deal with the colonial experience of two European men. Through a postcolonial reading, we show that the representation of the Other is related to the notions of absence, silence and look. Our analysis will also reveal to what extent a rapprochement is possible between European colonizers and Native people.
  • Szerző Pallai, Károly Sándor
    Füzet Vol. XIV/2013/1-2
    Kategória Le français dans le miroir des langues
    DOI 10.1556/Verb.14.2013.1–2.22
    Oldal pp. 295-302
    Kulcsszavak Oceania; French Polynesia; contemporary literature; identity; Philippe Neuffer
    Absztrakt The cultural, ethnic and linguistic diversity of Oceania and French Polynesia offers a platform of constant psycho-philosophical renegotiation. The fluid, hybridized and highly stratified forms of identity have to be comprehended in an approach that enables the conceptualization of cultural, archipelagic plurality. The linguistic multiplicity of Polynesia, the diverse paradigms of insularity, the colonial history, the philosophical and historical complexities outline the silhouettes of a region of permanent interconnection, dialogue and exchange. The short stories of Philippe Neuffer constitute a corpus in which the presence of heritage, musical and textual polyphony and immanent self-reflection open a field where identity and alterity are analyzed in the dimension of insanity andmultilingualism. These paradigms prove to be able to deconstitute the hegemony of the French language and to renew the monolithical interpretations.
  • Szerző Tóth, Andrea
    Füzet Vol. XIV/2013/1-2
    Kategória Le français dans le miroir des langues
    DOI 10.1556/Verb.14.2013.1–2.23
    Oldal pp. 303-311
    Kulcsszavak epistemic conditional; evidentiality; commitment; translation
    Absztrakt This paper aims to discuss the values associated with the French epistemic conditional and to give an overview of its discursive functions, as well as of their rendering in the process of translation. Our investigations are based on a journalistic parallel corpus. Our method is contrastive in that wemake remarks as to the extent to which equivalence is reached in the target text with respect to the speaker’s commitment and the diversification of uttering sources.
  • Szerző László, Tímea
    Füzet Vol. XIV/2013/1-2
    Kategória Le français dans le miroir des langues
    DOI 10.1556/Verb.14.2013.1–2.24
    Oldal pp. 312-322
    Kulcsszavak prosodic features; rhythm; stress; intonation
    Absztrakt The article undertakes the task to compare the prosodic features of French and Hungarian. We will consider the manifestations and characteristics of the rhythm, stress and intonation of the two languages. The paper briefly reviews phonetic theories, linguistic definitions and provides poetic examples for the presentation of the musicality of the languages, and offers methodological means to understand and correct prosodic mistakes. Rhythm, stress and intonation as illustrated by poems, dialogues and gestures are remembered more easily. The article would like make teachers aware of the importance of teaching prosodic elements.
  • Szerző Chodaková, Polina
    Füzet Vol. XIV/2013/1-2
    Kategória Le français dans le miroir des langues
    DOI 10.1556/Verb.14.2013.1–2.25
    Oldal pp. 323-335
    Kulcsszavak loanwords; pronunciation; rap; reggae
    Absztrakt This paper investigates the presence of loanwords in rap and reggae music, with a focus on their pronunciation. First, a corpus of 200 French and Czech songs is explored in search of numerous anglicisms, jamaicanisms and other lexical borrowings not listed in the dictionary Petit Robert 2012. We show that these neologisms are positioned in a center/periphery concentric scheme. Furthermore, by contrasting the phonemic inventories of the languages from a violable constraints perspective, the distribution of certain segments (affricates, glides, rhotic consonants) is shown in more detail. Interestingly, the loanwords do not seem to follow any diachronic pattern, and their distance from native vocabularies of French and Czech is not mirrored in the artists’ phonetic realisation. As a result, the great variation encountered is attributed to the musical stylisation, and the affiliation of the loanwords to the hip-hop and reggae sociolects.
2012 PPKE BTK Romanisztikai Intézet© Horváth Márton