Standard

Western monsters-Soviet pets? Translation and transculturalism in Soviet children's literature. / Viugin, Valerii.

Translation in Russian Contexts: Culture, Politics, Identity. 1st Edition. ред. Taylor & Francis, 2017. стр. 188-204.

Результаты исследований: Публикации в книгах, отчётах, сборниках, трудах конференцийглава/разделнаучнаяРецензирование

Harvard

Viugin, V 2017, Western monsters-Soviet pets? Translation and transculturalism in Soviet children's literature. в Translation in Russian Contexts: Culture, Politics, Identity. 1st Edition изд., Taylor & Francis, стр. 188-204. https://doi.org/10.4324/9781315305356

APA

Viugin, V. (2017). Western monsters-Soviet pets? Translation and transculturalism in Soviet children's literature. в Translation in Russian Contexts: Culture, Politics, Identity (1st Edition ред., стр. 188-204). Taylor & Francis. https://doi.org/10.4324/9781315305356

Vancouver

Viugin V. Western monsters-Soviet pets? Translation and transculturalism in Soviet children's literature. в Translation in Russian Contexts: Culture, Politics, Identity. 1st Edition ред. Taylor & Francis. 2017. стр. 188-204 https://doi.org/10.4324/9781315305356

Author

Viugin, Valerii. / Western monsters-Soviet pets? Translation and transculturalism in Soviet children's literature. Translation in Russian Contexts: Culture, Politics, Identity. 1st Edition. ред. Taylor & Francis, 2017. стр. 188-204

BibTeX

@inbook{36b55f64b8574c9e837b451cad2764b8,
title = "Western monsters-Soviet pets?: Translation and transculturalism in Soviet children's literature",
abstract = "My concern with a specific discourse from the history of Soviet art for children, on which this contribution focuses, has been stimulated by a broader interest in anthropophagy, or cannibalism, as a topos and in cannibalistic discourses in twentieth-century Russian culture as a whole. On the one hand, my chapter can be considered as a kind of extended commentary on a line from Samuil Marshak{\textquoteright}s later poem Robin-Bobin (1955), which was, in fact, a translation of a rhyme from the famous Mother Goose collection. On the other hand, I also examine here a specific quality of children{\textquoteright}s literature and cinema that manifests itself in peculiar representations of evil, cruelty, and violence and, as a result, in unique appropriations of the emotion of fear.",
author = "Valerii Viugin",
year = "2017",
month = jul,
day = "28",
doi = "10.4324/9781315305356",
language = "English",
isbn = "9781138235120",
pages = "188--204",
booktitle = "Translation in Russian Contexts",
publisher = "Taylor & Francis",
address = "United Kingdom",
edition = "1st Edition",

}

RIS

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N2 - My concern with a specific discourse from the history of Soviet art for children, on which this contribution focuses, has been stimulated by a broader interest in anthropophagy, or cannibalism, as a topos and in cannibalistic discourses in twentieth-century Russian culture as a whole. On the one hand, my chapter can be considered as a kind of extended commentary on a line from Samuil Marshak’s later poem Robin-Bobin (1955), which was, in fact, a translation of a rhyme from the famous Mother Goose collection. On the other hand, I also examine here a specific quality of children’s literature and cinema that manifests itself in peculiar representations of evil, cruelty, and violence and, as a result, in unique appropriations of the emotion of fear.

AB - My concern with a specific discourse from the history of Soviet art for children, on which this contribution focuses, has been stimulated by a broader interest in anthropophagy, or cannibalism, as a topos and in cannibalistic discourses in twentieth-century Russian culture as a whole. On the one hand, my chapter can be considered as a kind of extended commentary on a line from Samuil Marshak’s later poem Robin-Bobin (1955), which was, in fact, a translation of a rhyme from the famous Mother Goose collection. On the other hand, I also examine here a specific quality of children’s literature and cinema that manifests itself in peculiar representations of evil, cruelty, and violence and, as a result, in unique appropriations of the emotion of fear.

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