=LDR  03785nab a22002290u 4500
=001  spart13998
=003  ES-LoD
=005  20230516100052.0
=008  230516s2017\\\\sp\\\\\\\\\\\\\\\\\\eng\\
=022  \\$a0213-1854
=041  \\$aeng
=100  \\$aPabarčienė, Reda
=245  \\$aCross-Cultural Dialogues in the Translations of William Shakespeare's Sonnets into Lithuanian by Sigitas Geda$cPabarčienė, Reda
=260  \\$c2017
=520  3\$aThe whole cycle of William Shakespeare's sonnets was translated into Lithuanian at different periods by four poet-translators: in emigration (USA) by Alfonsas Šešplaukis-Tyruolis (1964), in Soviet Lithuania by Aleksys Churginas (1965), and after the restoration of Independence in Lithuania, translations done by Sigitas Geda (2009) and Tautvyda Marcinkevičiūtė (2011) came out of print. This article focuses on the sonnet translations done by the most famous poet Geda (an in-depth analysis of Sonnets 18, 72 and 116 is offered) and it concentrates on the issues of Shakespearean realia, popular cultural images as well as on the selection, transfer, transformation and representation of typical poetic elements. In his sonnet translations, Geda generally retained their structure, their syntactic and semantic nucleus - mainly, by means of extended metaphor and antithesis; although some failure in rendering the poetics of the original and, consequently, loss of meaning are noticeable. His translations demonstrate a rather improvised and inconsistent conveyance of historic cultural signs. It might be the case that Geda did not feel obliged to retain the dignified image of Shakespearean times and the Renaissance era at large, and he obviously favoured his own culture. When rendering the historic context of sonnets, he made them somewhat archaic-like by using down-to-earth language; thus making the sonnets sound more local and giving them folk-like characteristics, by emphasizing the lower register of their contrastive style. In this way, he did not attempt at competing with the translations done by Churginas that were dominant in Soviet times and still remain popular in the present day but he rather tried to bridge the gap between the 'high' culture of English Renaissance and the 'low' Lithuanian culture.
=538  \\$aapplication/pdf
=540  \\$aLICENCIA DE USO: Los documentos a texto completo incluidos en Dialnet son de acceso libre y propiedad de sus autores y/o editores. Por tanto, cualquier acto de reproducción, distribución, comunicación pública y/o transformación total o parcial requiere el consentimiento expreso y escrito de aquéllos. Cualquier enlace al texto completo de estos documentos deberá hacerse a través de la URL oficial de éstos en Dialnet. Más información: https://dialnet.unirioja.es/info/derechosOAI | INTELLECTUAL PROPERTY RIGHTS STATEMENT: Full text documents hosted by Dialnet are protected by copyright and/or related rights. This digital object is accessible without charge, but its use is subject to the licensing conditions set by its authors or editors. Unless expressly stated otherwise in the licensing conditions, you are free to linking, browsing, printing and making a copy for your own personal purposes. All other acts of reproduction and communication to the public are subject to the licensing conditions expressed by editors and authors and require consent from them. Any link to this document should be made using its official URL in Dialnet. More info: https://dialnet.unirioja.es/info/derechosOAI
=655  \4$atext (article)
=700  \\$aVeličkienė, Deimantė
=773  0\$tAlfinge: Revista de filología$x0213-1854$gNº. 29,  2017,  pags. 125-144
=856  40$uhttps://dialnet.unirioja.es/servlet/oaiart?codigo=6305612
=995  \\$aBiblioteca Nacional de España