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Keywords (21)

  • John Berger (1)
  • Susan Sontag (1)
  • analogue photography (1)
  • compositional construction (1)
  • cultural transfer (1)
  • extralinguistic context (1)
  • freehand drawing (1)
  • image analysis (1)
  • interference (1)
  • phonetics (1)
  • pronunciation of diphthongs (1)
  • three-dimensional space (1)
  • translation procedure (1)
  • translation method (1)
  • translation strategy (1)
  • translation technique (1)
  • typology of realia and culturemes (1)
  • comparative grammar (1)
  • landscape architecture (1)
  • technical side of photography (1)
  • translation principle (1)
  • More...

Subjects (7)

  • Language and Literature Studies (1)
  • Photography (1)
  • Architecture (1)
  • Visual Arts (1)
  • Phonetics / Phonology (1)
  • Comparative Linguistics (1)
  • Translation Studies (1)

Authors (3)

  • Imola Katalin Nagy (2)
  • Andrea Căbuz (1)
  • Mira Marincaș (1)

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Series:Sapientia Tankönyvek

Result 1-4 of 4
Introduction to translation studies or fundamental notions and concepts in translation theory and practice
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Introduction to translation studies or fundamental notions and concepts in translation theory and practice

Introducere în traductologie sau noţiuni şi concepte fundamentale în teoria şi practica traducerii

Author(s): Imola Katalin Nagy / Language(s): Romanian

Keywords: translation principle; translation method; translation strategy; translation technique; translation procedure; typology of realia and culturemes; extralinguistic context; cultural transfer;

The volume entitled Introduction to translation studies or fundamental notions and concepts in translation theory and practice is dedicated to a synthetic presentation of the main concepts related to the phenomenon of translation. Translation, this complex process of mediation in the multilingual universe of the globalized world, tends to become the object of study of a relatively young discipline: translation studies. Translation studies, as a science that studies both the theory and practice of translation in all its forms (verbal, written, general, or specialized), has a strong interdisciplinary character, as evidenced by careful research on the evolutionary stages of its development. Translation studies is a discipline that does not offer, cannot offer immutable explanations, does not identify universally valid theories beyond temporal and/or spatial landmarks, but it offers interpretations, impregnated and influenced by the spatial and temporal context in which they occur. In this volume, we deal with the most important notions and concepts with which translation theorists operate. We define terms such as translation principle, translation method, translation strategy, translation technique, translation procedure, trying to clarify the hierarchical relationship between them. We value and, therefore, present the contributions of leading theorists in translation studies. Equivalence, this cornerstone of any translation approach, is another key point of the volume as we deal with the difficulties of translation: the translation of idioms, humour, and pragmatic aspects. The classification of texts into various types, based on different criteria, is the subject of another chapter. Closely related to the issue of text typology are the types of translations as different types of texts require different types of translation approach as well as the differences between the members of the target audience – specialized or secular – may influence the type of translation. We deal with the typology of realia and culturemes and their translation, but we also approach the translation of the literary text and study, of course, the specialized translation, the specialized language, and the terminological lexicon. We review the main features of literary and specialized translation. Intention, linguistic and extralinguistic context, cultural transfer, equivalence, skills, techniques and methods, and textual typologies are key concepts that appear in the volume entitled Introduction to translation studies or notions and fundamental concepts in the theory and practice of translation. The translational act involves several factors and several actors, which we try to approach and analyse in a synthetic and analytical approach.

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The Basics of Freehand Drawing in Landscape Architecture
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The Basics of Freehand Drawing in Landscape Architecture

A szabadkézi rajzoktatás alapjai a tájépítészetben

Author(s): Andrea Căbuz / Language(s): Hungarian

Keywords: landscape architecture; compositional construction; three-dimensional space; freehand drawing;

This educational material was born from the idea of synthesising a material, which would be a visual support for students who are getting familiar with the profession of landscape architecture, focusing on aspects that are important in this regard. It is intended to serve as support material for art-based subjects in their first year of study. But it may also prove useful in the coming years in the development of other designs and projects. I took into account the fact that most students did not pursue studies in art. And those students who nevertheless have experience in artistic creation can also certainly benefit from the approaches and syntheses of the information presented. Basic art tools and techniques are introduced at the beginning. Following that, I present ways to illustrate different plants and trees with different tools in various styles. The theory of the compositional construction of an image is based on these, after which the possibilities of using colours are discussed.This is followed by the presentation of the rules for the construction of the three-dimensional space in perspective with means of drawing. In conclusion, the importance of sketching is discussed, as well as the application of all the presented information in landscape architecture drawing. All information provided herein serves as a basis for the students, besides which their own contribution in the actual elaboration of the drawings is also exceptionally important. The basis of creative work is how it is done, but the soul is what is presented. This can only be added by the individual artists. My goal is to provide students with the necessary tools to help them express themselves, show everything that lies within them, all their knowledge, creativity, and personality. As a motivation, the vast majority of the drawings in this manual were made by students from previous years during the courses I taught them in their first year of study.

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Photography basics
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Photography basics

BAZELE FOTOGRAFIEI

Author(s): Mira Marincaș / Language(s): Romanian

Keywords: technical side of photography; image analysis; John Berger; Susan Sontag; analogue photography;

The handbook comprises two major parts: an introduction to the technical side of photography (with the simplest ways of understanding and seeking information for one’s personal technical development) and an in-depth part of critical perception, image analysis, and deep study of the fields of photography. The book set out to establish a guideline for individual study, but more importantly for a perpetual pendulum swinging between the duality a student of photography faces, in particular: technique versus content, making versus theorizing the image. Not all students will become photographers, most of them will follow other, more attractive lines of study offered by this department, such as directing and camera operator, and some will be theorists or historians of photography. As a basic course that covers both aspects, it was a stylistic challenge to make a readable transition to simplicity, equally including descriptive elements for recommended body attire while making a photograph and introductory notions of John Berger’s or Susan Sontag’s philosophy. Sometimes the footnotes, containing extensive biographical data regarding the artist’s life, are meant to shorten the time needed for contextualization; an artist’s work is largely and organically influenced by their personal life. Thus deeper understanding can exist if we perceive not only the work but also the person in the same interpretive frame. Analogue photography, a shift towards going back to the roots, is also present, as it is the basis of the photography course in the second year of study. Although presented only schematically, the techniques are meant to put what is important, the individual artistic expression, into a well-outlined framework. The recommended bibliography and filmography offer opportunities for individual immersion as well as an opening to new territories unexplored in this photography course – one that will be written by the next generation. The illustrations in the book are iconic references to the history of photography, joined by some photography exercises by university students. As an educator, I feel fulfilled promoting the students’ work and feel indebted to them for their interest and passion for photography. Without them, this handbook would be meaningless.

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Comparative Romanian–Hungarian Grammar. The Field of Phonetics
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Comparative Romanian–Hungarian Grammar. The Field of Phonetics

Gramatică comparată româno-maghiară. Domeniul fonetic

Author(s): Imola Katalin Nagy / Language(s): Romanian

Keywords: comparative grammar; phonetics; interference; pronunciation of diphthongs;

Our volume entitled Comparative Romanian–Hungarian Grammar. The Field of Phonetics aims to provide a comparative study of the phonetic structure of Romanian and Hungarian, to draw attention to the differences that underlie the interference phenomena, and to offer some methods and practices that can help to reduce interference phenomena. The differences between the two languages, the difficulties encountered by Hungarian speakers (pronunciation errors related to the Romanian phonemes ă and î/â and the interference of the Hungarian vowels ö and ü, the difficulties in pronouncing the final i, the pronunciation of diphthongs as hiatus, the transposition of the Hungarian consonants ty and gy), the stress of the first syllable under the influence of the mother tongue are all crucial phonological points, the theoretical and especially practical aspects of which are described in this volume. The guiding principle of the book is that the articulation base can only be developed through practice and many examples and that incorrect pronunciation can only be eliminated through constant practice and exposure to beautifully and correctly articulated Romanian texts. To this end, we have tried to help all those who are interested in a comparative approach to the phonetics of Romanian.

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Result 1-4 of 4

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