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Jennifer K. Dick

    Jennifer K. Dick is een Amerikaanse dichteres, vertaalster en wetenschapper wiens poëzie put uit zowel lyrische als narratieve tradities. Haar werk sluit aan bij de post-L=A=N=G=U=A=G=E-school, waarbij de grenzen van taal en betekenis worden verlegd. Dick verkent de kruising van persoonlijke ervaring en bredere culturele contexten via haar kenmerkende stilistische aanpak. Haar verzen onthullen de complexiteit van het hedendaagse leven met scherpe intelligentie en poëtisch inzicht.

    That Which I Touch Has No Name
    Transmissibility and cultural transfer
    • 5,0(1)Tarief

      Edited by Stephanie Schwerter and Jennifer K. Dick, Transmissibility and Cultural Transfer: Dimensions of Translation in the Humanities brings together monumental voices in the social sciences—such as Jean-René Ladmiral from Paris and Peter Caws from Washington DC—to begin to address the Humanities’ specific issues with and debt to translation. Calling for a re-examination of how translations are read, critiqued, and taught in Philosophy, History, Political Science and Sociology departments, this book provides tools for reflection, bases for reconsideration of given translations, and historical observations on how thought has been shaped across national borders. The volume ends with four case studies—examples from auto-translation in postcolonial literature, cultural issues of translation in Chinese-language cinema, negotiating meaning between linguistically and culturally different audiences in the United States and Lebanon, to verbal-visual questions of translation in marketing to German and French clients. All in all, this book is a comprehensive, compact survey of the cultural and linguistic translation and transmission issues in the social sciences today. Transmissibility and Cultural Transfer: Dimensions of Translation in the Humanities is illuminating and informative. A great tool for study or debate.

      Transmissibility and cultural transfer
    • That Which I Touch Has No Name is dialogic, an attempt to unearth the equilibrium between the blank page and the self in urban and rural places. This multilingual, polyphonic book is an inking, a verbal construction, gnawing away at its own predecessors, at the way we read, and at language itself.

      That Which I Touch Has No Name