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Aprehendiendo la vida de los libros. Una aproximación al trasvase de los símbolos literarios en las traducciones al español y al rumano de Fahrenheit 451

100%
Ienceanu L.
Concordia Discors vs Discordia Concors: Researches into Comparative Literature, Contrastive Linguistics, Cross-Cultural and Translation Strategies
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2022
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vol. 18 (Intermediality: Translation, Adaptation, Performance II)
229-260
EN
The research at hand aims to trace the translatorial strategies deployed by Fahrenheit 451’s translators into Spanish and Romanian in rendering metaphorical phrases featuring or related to the literary symbols pointing to burning books. The major focus is on assessment of the degree of poetic resemblance, adjustment or deviation to or from the connotative load of the text under scrutiny. In addition, revealing light will be shed on the hermeneutics of the avimorphous and ignimorphous symbols connected to books.
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Prosta droga do melancholii. O antyutopii 451 stopni Fahrenheita Raya Bradbury’ego i jej filmowych adaptacjach

99%
Lewicki A.
Przestrzenie Teorii
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2019
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issue 32
257-272
EN
Lewicki Arkadiusz, Prosta droga do melancholii. O antyutopii 451 stopni Fahrenheita Raya Bradbury’ego i jej filmowych adaptacjach [The Easy Route to Melancholy. 451 degrees Fahrenheit by Ray Bradbury and its Film Adaptations]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 257–272. ISSN 1644-6763. DOI 10.14746/pt.2019.32.13. The article is an attempt to interpret Ray Bradbury’s anti-utopian novel 451 degrees Fahrenheit, published in 1953, and two film adaptations of this book: the film directed in 1966 by François Truffaut and Ramin Bahran television adaptation from 2018. All versions have a similar story structure and tell about the near future, in which the main task of the fire department is burning books. The differences consist in shifts of emphasis within the world presented. The author proves that the 1966version shows a possible world, which is “an audio world”, while in Ramin Bahrani’s work we are dealing with the “pictorial world”; in the 1966 film the written word is replaced by sounds and the spoken word, and in the version from 2018 by paintings. These differences indicate not only different possibilities for interpreting Ray Bradbury’s novel, but also transformations that took place at different levels of the reality surrounding us.
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