Search results for "Ian McEwan"
showing 3 items of 3 documents
M.Arnolda dzejolis "Duvra Pludmale" kā I.Makjuana romāna "Sestdiena" interteksts
2020
Vairāki literatūru zinātntieki ir pētijuši intekstualitātes tēmu. Šis bakalaura darbs mērķis ir izpētīt, kā Metjū Arnolda dzejolis “Duvras Pludmale” strādā kā interteksts Iana Makjuana romānam “Sestdiena”. Lai sasniegtu šo mērķi tika apkopoti teorētiskie matreāli par intertekstualitāti un pēc tam veikta teksta analīze kā arī interpretācija, lai parādītu intertekstualitāti starp Metjū Arnolda dzejolim “Duvras Pludmale” un Iana Makjuana romāna “Sestdiena”. Un pēc teksta analīzes tika veikti secinājumi. Šī bakalaura darba galvenie secinājumi ļāva parādīt, kā Metjū Arnolda dzejolis “Duvras Pludmale” ir ietekmējis Iana Makjuana romānu “Sestdiena” un izmantojot intertekstualitāti var izmantot, la…
La fraseologia com a tret estilístic en novel·les originals en anglés i les seues traduccions al català
2018
This paper is an analysis of the stylistic function of phraseology in three contemporary novels, originally written in English —Enduring Love, by Ian McEwan; The Road, by Cormac McCarthy; and Midnight’s Children, by Salman Rushdie—, and their corresponding translations into Catalan —Amor perdurable, La carretera and Els fills de la mitjanit. Taking into account some theoretical reflections on phraseology and translation, and by comparing the original novels and their translations, in this article we analyze some examples of phraseological units (PUs) that play a significant stylistic role and we also examine the techniques used by professional translators when faced with this sort of PUs. E…
Writing and Misleading on Screen: Atonement (Ian McEwan/Joe Wright)
2008
How does the film adaptation of Atonement by Joe Wright find original ways to adapt what lies at the core of the novel by Ian McEwan—the ins and outs of writing? The film endeavours to transfer, cinematically or not, the metafictional and definitely postmodern dimensions in McEwan's story. Wright first works on point of view, sticking to young Briony's in the first part and elaborating on her re-vision and revisiting of events the meaning of which she thinks she can grasp. But seeing is constantly equated with writing in the novel, and Wright's film convincingly plays around this equation. “Writing on screen” it does indeed, either thematically—with the definitions and aims of writing accor…