Szerzők Acél, ZsuzsannaÁdám, AnikóAdorjáni, ZsoltÁgoston, PiroskaAlario, Leonardo R.Alba Reina, Maria JoséAlmási, ZsoltAlves, Ida FerreiraAlves, Maria Theresa AbelhaAndersson, Daniel ChristopherAngelini, Maria TeresaAntal, BeatrixBabics, ZsófiaBáder, PetraBalázs, ZsuzsannaBarbieri, EdoardoBárkányi, ZsuzsannaBársony, ZsófiaBarta, LászlóBartha-Kovács, KatalinBartoss, RékaBasco, LouisBauernhuber, EnikőBencze, ÁgnesBenda, MihályBene, KrisztiánBeránková, EvaBermúdez Medina, LolaBernardi, UldericoBerta, TiborBerzeviczy, KláraBisetto, AntoniettaBlackwell, ConstanceBlum, Paul RichardBobay, OrsolyaBocz, ZsuzsannaBoda, LászlóBodor, Mária AnnaBolberitz, PálBolpagni, MarcelloBors, EditBotos, MátéBoyon, JérômeBrambilla, SimonaBrix, MichelBudetta, EnricaBylaardt, Cid OttoniCampos Carrasco, NuriaCannavacciuolo, MargheritaCappelli, Guido M.Carpentieri, Chiara MariaCarriero, LeonardoCepraga, Dan OctavianCerda Montes de Oca, SusanaCharmet, AnneChodaková, PolinaChovancová, KatarínaCioba, MiandaClaudon, FrancisColombo, MicheleConsales, IldeCseke, ÁkosCselényi, István GáborCselik, ÁgnesCser, AndrásCsocsán de Várallja, EugèneCsuday, CsabaCsűry, IstvánCuasante Fernández, ElenaCurlo, VittoriaCusimano, ChristopheCzerkawski, JanCzigány, IldikóCzöndör, KláraD'Angelo, BiagioDagron, TristanDardano, MaurizioDarida, VeronikaDe Vettor, LuisaDeen Schildgen, BrendaDel Lungo, AndreaDemetracopoulos, John A.Désfalvi-Tóth, AndrásDevís Márquez, P. PabloDézsi, MelindaDobák-Szalai, ZsuzsannaDombi, AnikóDomokos, GyörgyDondoli, LucianoDraskóczy, EszterDrégeli, KrisztinaDuarte, Lélia ParreiraDudley, JohnDurnová, AnnaEbbersmeyer, SabrinaEdelheit, AmosEgerland, VernerErb, Frederick IIIErb, Heather M.Erős, Katalin RenátaErtl, PéterFábián, ZsuzsannaFacca, DaniloFejérdy, GergelyFinazzi-Agrò, EttoreFodor, AndreaFoucault, YannFouilleul, ThierryFrancisco, Denis LeandroFrasso, GiuseppeFréchet, ClaudineFrenguelli, GianlucaFričová, EvaFritsch, Matthias J.Fulka, JosefFunk-Deckard, MichaelFüzesi, PiroskaGajos, MieczysławGángó, GáborGarrett, JeffreyGatti, GiuseppeGazdik, AnnaGazzotti, MarisaGecse, Mária VeronikaGerfaud, Jean-PierreGheno, VeraGiolitto, MarcoGiuliani, PierreGiusti, GiulianaGleize, JoëlleGómez-Pablos, BeatrizGorilovics, TivadarGotia, AndreiGrall, CatherineGuimarães, ElisaGulyás, AdriennGutbrod, GizellaGyimesi, TimeaHajnóczi, EszterHajnóczi, GáborHajnóczi, KristófHámori Nagy, ZsuzsannaHardi, FerencHarmath, ErzsébetHázas, NikolettaHegyi, ÁgotaHende, FanniHoffmann, BélaHolló, ZsuzsannaHoppál, Bulcsú KálHorányi, LillaHorváth Faller, EijaHorváth, AlexandraHorváth, KornéliaHorváth, Márton GergelyHorváth, MilénaHuszthy, AlmaHuszthy, BálintIla-Horváth, ZsófiaImrei, AndreaJaneczek, StanisławJoubert, Jean-MarcJunqueira, Maria AparecidaKaliska, AgnieszkaKalla, StéphaneKaló, KrisztinaKanász, ViktorKanozsay, KatalinKaposi, MártonKardos, OrsolyaKeglovich, RitaKelemen, JánosKéri, HenriettKharissov, IldarKirály, ErzsébetKirsch, Fritz PeterKiss, KornéliaKlimová, KatarínaKnasas, John F. X.Koest, BernardKoós, EszterKormos, JózsefKörömi, GabriellaKotowska, KatarzynaKoudriavtsev, AlexandreKováč-Petrovský, DušanKovács, MariettaKozelská, IrenaKpalap, LinusKricka, AnnaKuffart, HajnalkaKun, CsillaKupčihová, KatarínaKyloušek, PetrLa Rosa, EmanueleLaky, KrisztinaLalla, SebastianLario-de-Oñate, M. CarmenLarson, PärLászló, TímeaLautner, PéterLécrivain, ClaudineLehrberger, James, O. Cist.Lemba, RobertLobato, AbelardoLoiacono, RoccoLoreti, M. AlessioLőrinszky, IldikóLoureda Lamas, ÓscarLudmann, ÁgnesLukácsi, MargitLukovszki, JuditLupinu, GiovanniLupoli, RosaMaár, JuditMaczák, IbolyaMajorossy, Imre GáborMalinovská, ZuzanaMalovecký, MojmírMarádi, KrisztinaMarosvári, MáriaMarsó, PaulaMartin, EvelyneMartínez-Radío Garrido, Evaristo C.Martonyi, ÉvaMatucci, AndreaMatula, JozefMátyus, NorbertMaziarczyk, AnnaMazzoleni, MarcoMedveczká, MáriaMenaker, AngelikaMenczel, GabriellaMéndez Robles, Pedro SalvadorMezei, Balázs M.Miklós, BarbaraMiklós, Eszter GerdaMiskolczi, IstvánMohácsy, EszterMontagnon, BeatrixMontes Nogales, Vicente E.Mora, LuisaMorani, MorenoMourão, Cleonice Paes BarretoMüller, SigridMundevová, LenkaMussó, ZsófiaNagy-Zekmi, SilviaNajbar, AnnaNáray-Szabó, MártonNejeschleba, TomašNeme, RaufNemrava, DanielNuzzo, ArmandoOlay, CsabaŐrsi, TiborPaál, ZsuzsannaPace, BrunoPajorin, KláraPálková, JanaPallai, Károly SándorPaolini, MichelePapp, EszterPardo Jiménez, PedroParry, MairPastor, Pablo TorneroPataki, ElviraPayet, MariePenello, NicolettaPetkova, IngridPetrovszki Lajszki, BrigittaPleciński, JacekPodhorná-Polická, AlenaPokorný, MartinPor, PeterPortalés Mananós, DavidProhászka, ErzsébetProkopp, MáriaPuskás, IstvánPusztai, GabriellaQuinn, PatrickRadvánszky, AnikóRees, ValeryRenzi, LorenzoRévész, EnkratiszRey Mimoso-Ruiz, BernadetteRiedenauer, MarkusRighi, FedericoRobiglio, Andrea A.Rodríguez Mansilla, FernandoRokay, ZoltánRollin, PascalRomito, M. BrunaRónaky, EszterRosenthal, Alexander S.Rowland, ClaraRózsavári, NóraRuiz, María JesúsRussell, Paul A.Ruszel, JoannaSadkowska-Fidala, AgataSághy, MarianneSalvi, GiampaoloSamarini, FrancescoSárdi, KrisztinaSaxlová, TerezaScheib, AndreasSchneller, DóraSchoentjes, PierreSchuerewegen, FrancSciacovelli, Antonio DonatoSenardi, FulvioSeres, KrisztinaSeth, CatrionaSiest, Amélie CelindaŠimková, SoňaSità, MicheleSkibińska, ElżbietaSkřivánek, HannaSliwa, DorotaSolymosi, MilánSotkóné Grosz, AnikóŠotolová, JovankaSoulages, FrançoisŠpička, JiříSquillacioti, PaoloStachová, KláraStančienė, Dalia MarijaStanilewicz, GrażynaStaszewska-Zatońska, AnnaŞtefănescu, AriadnaStojkovski, BorisStráner, ZsófiaSvoboda, DavidSzabados, EdinaSzabó-Gilinger, EszterSzabó, Anita NoémiSzabó, Ferenc S.J.Szabó, TiborSzávai, DorottyaSzijj, IldikóSzilágyi, ImreSzőnyi, GergelySzőnyi, TamásSzörényi, LászlóSzovák, MártonSzuhaj, KatalinTakács, LászlóTarabochia Canavero, AlessandraTassoni, LuigiTat, AlinTedesco, AlessandroTeschke, HenningTimenova-Valtcheva, ZlatkaTombi, BeátaTörök, TamaraTorre Giménez, Estrella de laToso, FiorenzoTóth, ÁgnesTóth, AndreaTóth, Gábor MihályTóth, GabriellaTourrel, Jean-PaulTrouvé, AlainTuhári, AttilaTurai, LauraVacovská, MartaVajk, ZsuzsannaValentová, EvaValenzuela, LuisaVanelli, LauraVáradi, MártaVasoli, CesareVasvári, Louise O.Vázquez-Amador, MaríaVecchi, RobertoViana, JoaquimVolek, PeterVykypělová, KláraVyšniauskas, GintautasW. Somogyi, JuditWalicka-Popis, AnnaWildburg, GabriellaZabojnikova, HviezdoslavaZentai Horváth, KrisztinaZoppello, MariateresaZsák, Helga
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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. |
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| 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. |
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| 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. |
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magyar | english