@misc{Parini_Ilaria_"Ayuh!”_2024,
 author={Parini, Ilaria},
 address={Kielce},
 howpublished={online},
 contents={Contents Irene Ranzato and Luca Valleriani – To make you see: Linguistic and translational insights in audiovisual literature (Introduction) 5 Agata Hołobut and Monika Woźniak – Jane Paraphrased: Insights into dialogue-writing techniques in two BBC adaptations of Pride and Prejudice and their Polish translations 19 Filippo Saettoni – A diachronic analysis of apologies and thanks in five Little Women adaptations and their Italian dubbings 59 Giovanni Raffa – “The (video)game is afoot”: Subtitling deductions in Sherlock Holmes’s adaptations 83 Olaia Andaluz-Pinedo – Beyond performance: Spanish audiovisual translations of The Crucible 105 Patrick Zabalbeascoa – A case for rewriting Lolita 129 Davide Passa – La Cage Aux Folles: The use of Gayspeak in the English, French and Italian adaptations for the big screen 151 Ilaria Parini – “Ayuh!”: Stephen King’s accented characters go to the cinema 169 Montse Corrius Gimbert, Eva Espasa Borrás and Laura Santamaria Guinot – Deborah Feldman’s story in Unorthodox: Transformation through language variation and music 193 Silvia Bruti and Gianmarco Vignozzi – Pinocchio and its lasting legacy: A study across adaptations and dubbings 215},
 year={2024},
 publisher={Jan Kochanowski University Press},
 language={angielski},
 abstract={Stephen King is one of the most popular and best-selling contemporary American writers, as well as one of the most prolific ones. Moreover, he is one of the most adapted authors ever. Apart from the distinguishing horror atmosphere and the presence of supernatural elements, there are other features that characterize his works, and one of them is undoubtedly the use of accents to describe the way his characters speak (and, consequently, their geographical origins), through the technique of eye dialect (Krapp 1926), which consists in using unconventional spelling to indicate particular pronunciations. Distinct geographical accents generally tend to be used also in the dialogues of the audiovisual adaptations of King’s works. This study investigates the use of geographical accents in Stephen King’s Pet Sematary and in its two film adaptations (1989 and 2019), as well as the strategies (if any) used to transpose them in both the Italian translation of the novel and in the Italian dubbed versions of the two films. It is a well-known fact, indeed, that the translation of geographical varieties turns out to be particularly challenging both for literary translators and for dubbing dialogue writers.},
 title={"Ayuh!” : Stephen King’s accented characters go to the cinema},
 type={tekst},
 doi={10.25951/13699},
}