Belfast, Beirut and Berlin are notorious for their internal boundaries and borders. As symbols for political disunion, the three cities have inspired scriptwriters and directors from diverse cultural backgrounds. Despite their different histories, they share a wide range of features central to divided cities. In each city, particular territories take on specific symbolic and psychological meanings. Following a comparative approach, this book concentrates on the cinematographic representations of Belfast, Beirut and Berlin. Filmmakers are in constant search of new ways in order to engage with urban division. Making use of a variety of genres reaching from thriller to comedy, they explore the three cities' internal and external borders, as well as the psychological boundaries existing between citizens belonging to different communities. Among the characters featuring in films set in Belfast, Berlin and Beirut, we may count dangerous gunmen, prisoners' wives, soldiers and snipers, but also comic Stasi-members, punk aficionados and fake nuns. The various characters contribute to the creation of a multifaceted image of city limits in troubled times.
What is a cultural error? What causes it? What are the consequences of such an error? This volume enables the reader to identify cultural errors and to understand how they are produced. Sometimes they come about because of the gap between the source culture and the target culture, on other occasions they are the result of the cultural inadequacies of the translator, or perhaps the ambiguity arises because of errors in the reception of the translated text. The meta-translational problem of the cultural error is explored in great detail in this book. The authors address the fundamental theoretical issues that underpin the term. The essays examine a variety of topics ranging from the deliberate political manipulation of cultural sources in Russia to the colonial translations at the heart of Edward FitzGerald’s famous translation The Rubáiyát of Omar Khayyám. Adopting a resolutely transdisciplinary approach, the seventeen contributors to this volume come from a variety of academic backgrounds in music, art, literature, and linguistics. They provide an innovative reading of a key term in translation studies today.
Belfast, Beirut and Berlin are notorious for their internal boundaries and borders. As symbols for political disunion, the three cities have inspired scriptwriters and directors from diverse cultural backgrounds. Despite their different histories, they share a wide range of features central to divided cities. In each city, particular territories take on specific symbolic and psychological meanings. Following a comparative approach, this book concentrates on the cinematographic representations of Belfast, Beirut and Berlin. Filmmakers are in constant search of new ways in order to engage with urban division. Making use of a variety of genres reaching from thriller to comedy, they explore the three cities' internal and external borders, as well as the psychological boundaries existing between citizens belonging to different communities. Among the characters featuring in films set in Belfast, Berlin and Beirut, we may count dangerous gunmen, prisoners' wives, soldiers and snipers, but also comic Stasi-members, punk aficionados and fake nuns. The various characters contribute to the creation of a multifaceted image of city limits in troubled times.
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