QUIEN MAL HACE BIEN NO ESPERE: EL REFRÁN COMO TÍTULO EN EL TEATRO. FUNCIÓN Y DIFICULTADES DE TRADUCCIÓN
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| Natura: | Recurso digital |
| Lingua: | spagnolo |
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Zenodo
2023
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| _version_ | 1866902101812051968 |
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| author | Jarilla Bravo, Salud Mª |
| author_facet | Jarilla Bravo, Salud Mª |
| contents | <p>The interpretative relationship that may arise between the reader and the work through the title, may undergo modifications, depending on the reader's skills and the linguistic changes that the work may have suffered.<br>This makes sense when we place the work within the culture in which it was developed and for which it was created, but it loses intensity and will often be empty of meaning when translated into another culture. A void that will be more difficult to fill in if the title has a paremiological burden, whether it is a proverb, a proverbial locution, a maxim, a proverb, etc.<br>The one-act play in verse Quien mal hace, bien no espere (1861) by Benito Pérez Galdós presents a paremiological structure in its title. With this element, Galdós joins the trend followed by famous Spanish playwrights of the Golden Age, such as Calderón de la Barca, Lope de Vega, etc. This study aims to analyse the paremiological structure and its function, as well as to discuss the difficulties of its understanding and translation.</p> |
| format | Recurso digital |
| id | zenodo_https___doi_org_10_5281_zenodo_14652280 |
| institution | Zenodo |
| language | spa |
| publishDate | 2023 |
| publisher | Zenodo |
| record_format | zenodo |
| spellingShingle | QUIEN MAL HACE BIEN NO ESPERE: EL REFRÁN COMO TÍTULO EN EL TEATRO. FUNCIÓN Y DIFICULTADES DE TRADUCCIÓN Jarilla Bravo, Salud Mª Benito Pérez Galdós literary translation paremiology Literature studies <p>The interpretative relationship that may arise between the reader and the work through the title, may undergo modifications, depending on the reader's skills and the linguistic changes that the work may have suffered.<br>This makes sense when we place the work within the culture in which it was developed and for which it was created, but it loses intensity and will often be empty of meaning when translated into another culture. A void that will be more difficult to fill in if the title has a paremiological burden, whether it is a proverb, a proverbial locution, a maxim, a proverb, etc.<br>The one-act play in verse Quien mal hace, bien no espere (1861) by Benito Pérez Galdós presents a paremiological structure in its title. With this element, Galdós joins the trend followed by famous Spanish playwrights of the Golden Age, such as Calderón de la Barca, Lope de Vega, etc. This study aims to analyse the paremiological structure and its function, as well as to discuss the difficulties of its understanding and translation.</p> |
| title | QUIEN MAL HACE BIEN NO ESPERE: EL REFRÁN COMO TÍTULO EN EL TEATRO. FUNCIÓN Y DIFICULTADES DE TRADUCCIÓN |
| topic | Benito Pérez Galdós literary translation paremiology Literature studies |
| url | https://doi.org/10.5281/zenodo.14652280 |