1,721,136 research outputs found
ENTREVISTA CON RODDY DOYLE
No full textIn this interview, Roddy Doyle discusses his writing, politics, memory and ageing.En esta entrevista, Roddy Doyle reflexiona sobre sus obras, la política, la memoria y el envejecimiento
The Privilege to Write What You Want
Get PDFRoddy Doyle Talks to
Joanna KosmalskaThis interview is part of a literature project DEC-2011/01/B/HS2/05120 financed by the National Science Centre
New perspectives of Irishness in Roddy Doyle
No full textDie vorliegende Arbeit mit dem Titel New Perspectives of Irishness in Roddy Doyle hinterfragt das Konzept Identität und stellt die Auseinandersetzung mit irischer Identität in den Mittelpunkt. Die Arbeit beschäftigt sich damit, was es bedeutet, Irisch zu sein und bezieht sich dabei auf die folgenden drei Werke des irischen Autors Roddy Doyle: The Commitments, The Deportees und The Guts. Die Charaktere in diesen Geschichten begeben sich auf die Suche nach nationaler Zugehörigkeit und müssen sich dabei mit einem wandelnden Konzept des Irischseins auseinandersetzen. Die Arbeit untersucht nicht nur das Konzept Identität als Prozess, sondern hebt auch hervor, dass irische Identität gleichermaßen unvollendet bleibt und ständiger Veränderung unterworfen ist. Nachdem die irische Nation aufgrund ihrer besonderen Beziehung zu Großbritannien lange Zeit Unterdrückung und Unabhängigkeit erfahren musste, versuchten die Iren ein homogenes Konzept ihrer Nation zu etablieren, das nicht länger auf ihre Abhängigkeit von Großbritannien hinweisen sollte. Dabei wurde jedoch außer Acht gelassen, dass ethnische Minoritäten, wie etwa schwarze Amerikaner und Amerikanerinnen, immer schon irische Identität mitbestimmt haben. Die Romane und Kurzgeschichten von Roddy Doyle zeigen, dass die irische Nation akzeptieren muss, dass ihr Selbstbewusstsein einem ständigem Wandel unterworfen ist und Multikulturalität notwendigerweise einen bedeutenden Teil ihrer Identität ausmacht.New Perspectives of Irishness in Roddy Doyle deals with concepts of Irishness as revealed in selected works by the contemporary Irish author Roddy Doyle, i.e. The Commitments, The Deportees and The Guts. The characters in the stories are faced with changing concepts of Irishness that challenge their personal struggle to establish a sense of belonging. The thesis does not only highlight that identity has to be seen from the background of an ongoing process of transformation and redefinition without ever coming to an end, but illustrates that Irish identity is similarly subjected to redefinition. Due to the long period of British rule, a time which is characterised by social and political oppression, the Irish have tried to establish a homogenous national identity eliminating any aspect that indicates its dependence on the British. However, the existence of ethnic minorities, such as African-Americans, cannot be ignored when defining Irishness. The stories of Roddy Doyle show that the Irish nation is faced with changing concepts of Irishness that necessarily have to regard the multicultural dimension as inclusive
Roddy Doyle : A Star Called Henry
No full textMikowski Sylvie. Roddy Doyle : A Star Called Henry. In: Études irlandaises, n°25-1, 2000. pp. 226-228
The Fiction of Roddy Doyle
No full textRoddy Doyle is quite conceivably the most successful contemporary novelist of his generation. Recently Gerry Smyth, in a study on “the New Irish Fiction”’ that groans under its prodigious weight of colonial and de-colonial theorising, assigned Doyle the central role within the context of the fiction produced in Ireland during the last two decades. “Roddy Doyle”, Smyth remarks, is “one of the key modern Irish novelists” (p. 65). Perhaps that is correct. The question, though, is: key to what? “Doyle’s work is given a central place here”, Smyth suggests as if in answer to our question, “not on grounds of artistic value, commercial success or thematic typicality, although it could be argued that he rates highly on all three of these criteria” (p. 65). One must most energetically beg to differ with respect to the last part of this sentence.Roddy Doyle is quite conceivably the most successful contemporary novelist of his generation. Recently Gerry Smyth, in a study on “the New Irish Fiction”’ that groans under its prodigious weight of colonial and de-colonial theorising, assigned Doyle the central role within the context of the fiction produced in Ireland during the last two decades. “Roddy Doyle”, Smyth remarks, is “one of the key modern Irish novelists” (p. 65). Perhaps that is correct. The question, though, is: key to what? “Doyle’s work is given a central place here”, Smyth suggests as if in answer to our question, “not on grounds of artistic value, commercial success or thematic typicality, although it could be argued that he rates highly on all three of these criteria” (p. 65). One must most energetically beg to differ with respect to the last part of this sentence
"Tha' sounds like me arse!": a comparison of the translation of expletives in two German translations of Roddy Doyle's "The commitments"
Get PDFThe present study is a quantitative as well as qualitative investigation into the translation of swearwords in the dialogue of two German versions of Roddy Doyle's
The Commitments (1987). The novel was first translated into German in 1990 by Oliver Huzly and retranslated in 2001 by Renate Orth-Guttmann. The main question of interest
in the present study may be formulated as follows: 'How do two different translators deal with swearwords in the dialogue of an Irish-English literary work and what are the
results of their decisions?' More precisely, the main primary impression was that Oliver Huzly had a more source-text oriented approach when translating swearwords and did not consider their functions in Irish-English colloquial speech. An initial quantitative analysis comprises a comparison of frequencies and distribution of swearwords in the source text and its two translations. It was revealed that, from a quantitative point of view, the two German versions appear to be strikingly similar as they both contain a considerably lower number of swearwords than the original, pointing to milder and more standardised target texts.
The qualitative investigation is rooted in the framework of Descriptive Translation Studies and based on Toury’s (1995) coupled-pairs method. Instances of swearing in the
novel are isolated according to the function they perform in an utterance and coupled with the corresponding target-text segments with the aim of identifying translational patterns by one or both translators. The results showed a total of ten translational patterns that partly contradicted the results of the quantitative investigation as it was revealed that while both translators were inclined to omit swearwords in their translations both also showed a tendency to intensify swearing. The patterns are then subject to a subsequent explanatory nvestigation, which focuses on the notion of multiple causality in translation. It was found that one of the four ristotelian causes, the efficient cause (the translator him/herself), was the prime factor in shaping the translational patterns and that the two translators had very distinctive approaches to the translation of expletives in the text, further contradicting the quantitative data. Finally our impression was confirmed that one translator channelled more source-text interference thereby producing a German text that is potentially more vulgar.
The present study is the first to examine the functions that swearing can fulfil in two different languages. Specifically, this study constitutes the first attempt to
systematically examine swearing in a large corpus and draw conclusions about how two translators deal with the different functions of swearing in an Irish-English work of
literature
The Snapper by Roddy Doyle and Alys, Always by Lucinda Coxon
Get PDFCritiques de la pièce The Snapper de Roddy Doyle (adaptée de son roman), mise en scène de Róisín McBrinn (6 juin 2019 – 24 août 2019, The Gate Theatre – Dublin) et Alys, Always de Lucinda Coxon (adapté du roman d’Harriet Lane), mise en scène de Nicholas Hytner (25 février 2019 – 30 mars 2019, The Bridge Theatre – Londres).Theatre reviews of The Snapper by Roddy Doyle (adapted from his novel), directed by Róisín McBrinn (6 June 2019–24 August 2019, The Gate Theatre—Dublin) and Alys, Always by Lucinda Coxon (adapted from Harriet Lane’s novel), directed by Nicholas Hytner (25 February 2019--30 March 2019, The Bridge Theatre–London)
Le Père enfanté : Jimmy Sr. dans The Snapper de Roddy Doyle
No full textEscarbelt Bernard. Le Père enfanté : Jimmy Sr. dans The Snapper de Roddy Doyle. In: Études irlandaises, Hors-Série 1996. Irlande : espoirs. pp. 39-49
Écriture et engagement dans The Commitments de Roddy Doyle
Get PDFCet article propose d’utiliser les outils de la stylistique afin de mettre au jour les différents aspects linguistiques et textuels de la tension entre engagement et désengagement dans The Commitments, de Roddy Doyle. Nous démontrons que le désengagement qui prend forme au niveau diégétique et qui trouve un écho dans la représentation du discours fictionnel et dans la position de l’instance narratrice sert finalement de faire valoir à l’engagement sans conteste de l’auteur. C’est en effet la voix de ce dernier que l’on entend distinctement s’exprimer en miroir de la polyphonie stylistique du roman.Using the tools of stylistics in order to put highlight the different linguistic and textual aspects of the tension between commitment and disengagement in The Commitments, by Roddy Doyle. It shows that the disengagement that occupies the diegetic space and is echoed in the representation of fictional speech and in the narrative focalisation of the novel is in fact a pretext that serves to better foreground the author’s undeniable commitment. Indeed, through the looking glass of stylistic polyphony, it is Doyle’s own voice that can be heard very distinctively in the novel
The novels of Roddy Doyle
Get PDFThis dissertation is a critical examination of the five published novels of Roddy Doyle, The Commitments, The Snapper, The Van, Paddy Clarke Ha Ha Ha, and The Woman Who Walked into Doors. Since this dissertation will be the first of its kind about Doyle, its basic purpose will be to introduce the novels to the reading public and to convince the reading public that Doyle, although a very popular artist, is also a gifted writer who should be taken seriously. There are six chapters: an introduction and a chapter devoted to each novel. The introduction offers an overview of Doyle's works and a discussion of the qualities of his novels each subsequent chapter will examine. Each chapter discusses one of Doyle's novels by examining the following: his innovative use of language; his manipulation of his audience's reaction via humor and comedy; the role, however slight, of religion and politics; his overall social vision as projected in the novels both individually and as part of the complete body of work. The analysis also examines other prominent aspects of the individual novels, namely, the function of music in The Commitments; Sharon's character development in The Snapper, the grimness and despair of The Van; the use of double-writing in Paddy Clarke; and the way Paula's life may be seen as a metaphor for the abuses women suffer in a patriarchal society in The Woman. An extensive interview with Doyle, which he was gracious enough to grant me several months ago, is included as an appendix
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