HUM383 - Miscelánea
https://hdl.handle.net/10481/21878
2024-03-19T14:01:29ZTurcimanarie e carte d’ogni sorte: Translation, Trade, and Paper in Sixteenth Century Venice
https://hdl.handle.net/10481/61930
Turcimanarie e carte d’ogni sorte: Translation, Trade, and Paper in Sixteenth Century Venice
Pérez Fernández, José María
The heading of Riccardiana MS 2523 proclaims its nature as a record of prices and tariffs for merchants and goods trading with Damasco and the rest of Siria. Dated on November 25th 1534, the "Tariffe mercantili del Levante" was put together under the supervision of patricians who belonged to some of the most prominent Venetian families. This tariffa was negotiated, drafted and enforced by the Venetian establishment for its deals with the Levant, and it is proof of the sophisticated administrative structures that Venice had developed to regulate and run the exchange of goods, the movement of people, and the circulation of value. This control required an equally complex and sophisticated system for the recording of information and its systematic processing so that the same standards could be applied over different products, locations, and practices. By registering and quantifying expenses incurred by translations and translators, it also incorporates the cost involved in the practice of cross-cultural and cross-linguistic exchange of information—a sine qua non for international trade. It incorporates, in other words, data regarding the material foundations of trade (goods, their prices, their weights and measures) alongside its inescapable immaterial dimension, by quantifying and listing expenses in translation (turcimanarie) and translators.
Pride and Prejudice. Translating and Adapting Lydia Bennet
https://hdl.handle.net/10481/51913
Pride and Prejudice. Translating and Adapting Lydia Bennet
Heredia Torres, María
This paper attempts to analyse how Lydia Bennet, one of the main characters in Jane Austen’s novel Pride and Prejudice, has been translated into Spanish and adapted to an audiovisual medium. In order to do this analysis, a translation (Ana María de la Fuente Rodríguez’s rendering, 2009) and an adaptation (The Lizzie Bennet Diaries, 2012-13) have been chosen. To achieve my purpose, Lydia’s idolect and what other characters and the narrator say about her, as well as the strategies followed by the Spanish translator, will be analysed in order to prove that language is used to characterized the characters and to see how language can influence our view of a character. In a different section, Lydia’s role in The Lizzie Bennet Diaries and how the character has been adapted will also be addressed. This adaptation is a web series set in California in the 21st century so several changes have been introduced to adapt the story for this specific context and for a young audience. Furthermore, the story is told through different platforms (YouTube, Twitter or Tumblr, for example) so fans can actually interact with the series and the main characters and the use of transmedia should also be addressed. Finally, we cannot forget that every adaptation is different and that they can have an impact in our view of certain events or characters so a short survey will be carried out in order to discover what people think about Lydia.