Содержание:
The reading act, 1: Personal and environmental aspects.
of our sensory-intellectual interaction with the book.
The original or translated book in our hands and the academic.
education of readers into the adventure of reading.
Our first interaction with the book,
Direct and synesthesial sensory perception.
Our first interaction with a book,
Synesthesial mental-sensory perception.
Contemporary editions and earlier editions:
Leatherbound, clothbound, paperbound, and mended books.
The translator’s desired but neglected contribution to the book’s.
sensorial characteristics.
Our own book, the personally bound book, the dedicated book,
the borrowed book, the lost book, the secondhand book.
The love of books, the choices we face as they accompany us.
through life, their unknown end, and the marks of our reading.
Three instances of reduced interaction with books:
Limb deficiency, paralysis, anosmia.
A major reader’s limitation: Blindness and the Braille and audio.
reader’s experiences: From the blind book to the DAISY book.
The reader’s conditioning environment.
The reader’s own circumstances.
Conclusion.
Topics for discussion or research.
The reading act, 2: The verbal and nonverbal components.
n the translated text and the reader’s oralization of it.
A first approximation to the nonverbal components of the.
translated literary text.
The personal and interpersonal nonverbal elements.
n the literary text.
The more hidden interrelationships of verbal language,
paralanguage and kinesics in the target reader’s experience.
The person-environment sensible exchanges in the translated text.
and their cultural and historical aspects.
The role of synesthesia in the translated text:
A personal and cultural affair.
Native reader’s vs. foreign reader’s inteal and exteal personal.
oralization of the text, the translator’s participation, and the.
blind’s limitations.
The reader’s unconscious oralization or phantom text:
A reading act’s unexpected occurrence.
Conclusion.
Topics for discussion or research.
The reading act, 3: Vision, creation-recreation, and the relationship.
writer-translator-reader.
The physiology of vision and the fate of punctuation between source.
language and target language: From foveal to peripheral reading.
From the writer’s sign-channel reduction in the creative act to.
the native or foreign reader’s sign-channel amplification.
The characters’ and the environment’s inevitable plurality.
and their spatial and temporal locus in the translated text.
The possible translator’s assistance to improve the reader’s.
text decoding.
Those untranslatables: Linguistic and paralinguistic.
Conclusion.
Topics for discussion or research.
From reading act to viewing act: The translating nature.
of pictorial illustrations and of theater and cinema performances.
Theater and cinema productions as translation processes.
Pictorial illustrations as an accelerating instrument, and the spatial.
relationship between the illustrated text and its illustration.
The desirable or undesirable charactaristics of book.
pictorial illustrations.
The desirable personal association of translator and illustrator and.
their degree of fluency in the source culture.
Film adaptations as visual or audiovisual translations and live.
llustrations: Native vs. foreign reader/spectator.
Conclusion.
Topics for discussion or research.
The viewing-listening act in the theater and the cinema:
Translation and recreation from text to performance.
The more advanced stages of the theatrical and cinematic.
characters and their environment: Rehearsals and the behavioral.
and environmental margins.
Our sensory perception of the theater stage and the movie screen.
as translating and interacting vehicles.
The chronemics of the spectators’ interactive dimension in their.
total theatrical or cinematic experience.
The preparatory stages.
Central stages.
Conclusive stages.
Residual stages.
The ten mutual interrelationships in the theatrical or cinematic.
experience: Spectator, performer, character, play/film, environment.
The spectator-play/film relationship.
The spectator-character relationship.
The spectator-performer relationship.
The spectator-spectator relationship.
The spectator-environment relationship.
The performer-play/film relationship.
The performer-character relationship.
The performer-spectator relationship.
The performer-performer relationship.
The performer-environment relationship.
From silent films to the ubiquitous DVDs.
The blind and their listening act as theater and cinema spectators:
People, environment, verbal silences.
Conclusion.
Topics for discussion or research.
The sounds of paralanguage in translation: Our voices between.
cultures in the novel, the theater and the cinema.
A brief identification of paralinguistic phenomena.
The fate of textual paralanguage: From the original literary text.
to the staged play and the screened film.
Paralinguistic primary qualities: Description and transcription.
of personality and attitudes in translation.
Primary qualities in the theater and in the cinema.
Paralinguistic qualifiers: The challenge of voices between cultures.
Paralinguistic qualifiers in the theater and the cinema.
Paralinguistic differentiators, I: The labelling challenge.
Paralinguistic differentiators, II: The writing challenge.
Paralinguistic differentiators, III: The culture’s insoluble hidden.
challenge of translated verbal descriptions for reading.
or performance.
Paralinguistic differentiators in the theater and the cinema.
Paralinguistic alteants: Problems of labelling and representation.
between languages.
Paralinguistic alteants in the theater and in the cinema.
The foreign readers’ perception of explicit or implicit paralanguage.
and the interference of their own repertoires.
Problems of interpretation and translation of paralanguage through.
time and space: Native/foreign reader/spectator.
The overall perception of paralinguistic continuity.
as readers or spectators.
Conclusion.
Topics for discussion or research.
The sounds beyond language and paralanguage in the novel,
the theater and the cinema: Evocation and live realization.
The paralinguistic echoic and pseudoechoic repertoires and.
the expressive possibilities of source language and target languages.
Bodily-elicited sounds in the novel: Self-adaptors, alter-adaptors,
object-adaptors, object-mediated adaptors.
Bodily-elicited sounds in the theater and in the cinema.
The sounds of animals and of humans communicating with them:
A challenge to literary writers, translators and researchers.
The eloquent sounds of the general environment.
The sounds of the environment in the theater and the cinema.
Conclusion.
Topics for discussion or research.
Translating kinesics: Spatial and temporal perspectives.
n the novel, the theater and the cinema.
An essential introduction to what kinesics truly includes.
and its basic facts.
Reading kinesics: The writer’s craft and the translator’s challenge.
The literary vocabulary of movement-denoting words.
and the English kinelexicon.
Native reader’s and foreign reader’s perception of the visual or.
audiovisual reality of kinesics and paralinguistic-kinesic constructs.
The narrative writer’s conveyance of kinesic behaviors and the.
foreign readers’ perception and interference of their own kinesics.
Explicit and implicit kinesics in narrative text and its uncertain.
fate in translation.
Kinesics in the theatrical text: Reading and performance.
Kinesics on the theater stage: From stage directions.
to live performance.
From narrative stage directions to visually unstageables.
n the theater: Microkinesics and nonverbal compensation.
On stage naturalness and theatricality: Balance and imbalance.
among the interactive components.
The shift in the perception of kinesics from silent to sound film and.
ts bearing on narrative literature and theater.
Conclusion.
Topics for discussion or research.
The reading act, 1: Personal and environmental aspects.
of our sensory-intellectual interaction with the book.
The original or translated book in our hands and the academic.
education of readers into the adventure of reading.
Our first interaction with the book,
Direct and synesthesial sensory perception.
Our first interaction with a book,
Synesthesial mental-sensory perception.
Contemporary editions and earlier editions:
Leatherbound, clothbound, paperbound, and mended books.
The translator’s desired but neglected contribution to the book’s.
sensorial characteristics.
Our own book, the personally bound book, the dedicated book,
the borrowed book, the lost book, the secondhand book.
The love of books, the choices we face as they accompany us.
through life, their unknown end, and the marks of our reading.
Three instances of reduced interaction with books:
Limb deficiency, paralysis, anosmia.
A major reader’s limitation: Blindness and the Braille and audio.
reader’s experiences: From the blind book to the DAISY book.
The reader’s conditioning environment.
The reader’s own circumstances.
Conclusion.
Topics for discussion or research.
The reading act, 2: The verbal and nonverbal components.
n the translated text and the reader’s oralization of it.
A first approximation to the nonverbal components of the.
translated literary text.
The personal and interpersonal nonverbal elements.
n the literary text.
The more hidden interrelationships of verbal language,
paralanguage and kinesics in the target reader’s experience.
The person-environment sensible exchanges in the translated text.
and their cultural and historical aspects.
The role of synesthesia in the translated text:
A personal and cultural affair.
Native reader’s vs. foreign reader’s inteal and exteal personal.
oralization of the text, the translator’s participation, and the.
blind’s limitations.
The reader’s unconscious oralization or phantom text:
A reading act’s unexpected occurrence.
Conclusion.
Topics for discussion or research.
The reading act, 3: Vision, creation-recreation, and the relationship.
writer-translator-reader.
The physiology of vision and the fate of punctuation between source.
language and target language: From foveal to peripheral reading.
From the writer’s sign-channel reduction in the creative act to.
the native or foreign reader’s sign-channel amplification.
The characters’ and the environment’s inevitable plurality.
and their spatial and temporal locus in the translated text.
The possible translator’s assistance to improve the reader’s.
text decoding.
Those untranslatables: Linguistic and paralinguistic.
Conclusion.
Topics for discussion or research.
From reading act to viewing act: The translating nature.
of pictorial illustrations and of theater and cinema performances.
Theater and cinema productions as translation processes.
Pictorial illustrations as an accelerating instrument, and the spatial.
relationship between the illustrated text and its illustration.
The desirable or undesirable charactaristics of book.
pictorial illustrations.
The desirable personal association of translator and illustrator and.
their degree of fluency in the source culture.
Film adaptations as visual or audiovisual translations and live.
llustrations: Native vs. foreign reader/spectator.
Conclusion.
Topics for discussion or research.
The viewing-listening act in the theater and the cinema:
Translation and recreation from text to performance.
The more advanced stages of the theatrical and cinematic.
characters and their environment: Rehearsals and the behavioral.
and environmental margins.
Our sensory perception of the theater stage and the movie screen.
as translating and interacting vehicles.
The chronemics of the spectators’ interactive dimension in their.
total theatrical or cinematic experience.
The preparatory stages.
Central stages.
Conclusive stages.
Residual stages.
The ten mutual interrelationships in the theatrical or cinematic.
experience: Spectator, performer, character, play/film, environment.
The spectator-play/film relationship.
The spectator-character relationship.
The spectator-performer relationship.
The spectator-spectator relationship.
The spectator-environment relationship.
The performer-play/film relationship.
The performer-character relationship.
The performer-spectator relationship.
The performer-performer relationship.
The performer-environment relationship.
From silent films to the ubiquitous DVDs.
The blind and their listening act as theater and cinema spectators:
People, environment, verbal silences.
Conclusion.
Topics for discussion or research.
The sounds of paralanguage in translation: Our voices between.
cultures in the novel, the theater and the cinema.
A brief identification of paralinguistic phenomena.
The fate of textual paralanguage: From the original literary text.
to the staged play and the screened film.
Paralinguistic primary qualities: Description and transcription.
of personality and attitudes in translation.
Primary qualities in the theater and in the cinema.
Paralinguistic qualifiers: The challenge of voices between cultures.
Paralinguistic qualifiers in the theater and the cinema.
Paralinguistic differentiators, I: The labelling challenge.
Paralinguistic differentiators, II: The writing challenge.
Paralinguistic differentiators, III: The culture’s insoluble hidden.
challenge of translated verbal descriptions for reading.
or performance.
Paralinguistic differentiators in the theater and the cinema.
Paralinguistic alteants: Problems of labelling and representation.
between languages.
Paralinguistic alteants in the theater and in the cinema.
The foreign readers’ perception of explicit or implicit paralanguage.
and the interference of their own repertoires.
Problems of interpretation and translation of paralanguage through.
time and space: Native/foreign reader/spectator.
The overall perception of paralinguistic continuity.
as readers or spectators.
Conclusion.
Topics for discussion or research.
The sounds beyond language and paralanguage in the novel,
the theater and the cinema: Evocation and live realization.
The paralinguistic echoic and pseudoechoic repertoires and.
the expressive possibilities of source language and target languages.
Bodily-elicited sounds in the novel: Self-adaptors, alter-adaptors,
object-adaptors, object-mediated adaptors.
Bodily-elicited sounds in the theater and in the cinema.
The sounds of animals and of humans communicating with them:
A challenge to literary writers, translators and researchers.
The eloquent sounds of the general environment.
The sounds of the environment in the theater and the cinema.
Conclusion.
Topics for discussion or research.
Translating kinesics: Spatial and temporal perspectives.
n the novel, the theater and the cinema.
An essential introduction to what kinesics truly includes.
and its basic facts.
Reading kinesics: The writer’s craft and the translator’s challenge.
The literary vocabulary of movement-denoting words.
and the English kinelexicon.
Native reader’s and foreign reader’s perception of the visual or.
audiovisual reality of kinesics and paralinguistic-kinesic constructs.
The narrative writer’s conveyance of kinesic behaviors and the.
foreign readers’ perception and interference of their own kinesics.
Explicit and implicit kinesics in narrative text and its uncertain.
fate in translation.
Kinesics in the theatrical text: Reading and performance.
Kinesics on the theater stage: From stage directions.
to live performance.
From narrative stage directions to visually unstageables.
n the theater: Microkinesics and nonverbal compensation.
On stage naturalness and theatricality: Balance and imbalance.
among the interactive components.
The shift in the perception of kinesics from silent to sound film and.
ts bearing on narrative literature and theater.
Conclusion.
Topics for discussion or research.