Corso in Tecniche di scrittura ed editing · Fifty Shades of Grey, E. L. James After, Anna Todd Me...

The boy’s wide eyes were way too bright a green, Clary noticed: the color

of antifreeze, spring grass. Colored contact lenses, probably. The bouncer

shrugged, abruptly bored.

“Whatever. Go on in.”

The boy slid past him, quick as an eel. Clary liked the lilt to his shoulders,

the way he tossed his hair as he went. There was a word for him that her

mother would have used — insouciant.

“You thought he was cute,” said Simon, sounding resigned. “Didn’t you?”

Clary dug her elbow into his ribs, but didn’t answer.

Inside, the club was full of dry-ice smoke. Colored lights played over the

dance �oor, turning it into a multicolored fairyland of blues and acid greens,

hot pinks and golds.

elpìs via G. Filippo Basile 28, 90141 Palermo(+39) 389 8326880

[email protected]

Elpìs Editrice

PROPONE LA I EDIZIONE DEL CORSO:

TRADUZIONE LETTERARIA

ElpìsCasa editrice

Ogni lezione del corso prevede un’introduzione teorica al mondo della traduzione con la lettura di saggi contenuti nell’opera “Dire quasi la stessa cosa” di Umberto Eco. Poi, grande spazio verrà dato alla traduzione dall’inglese all’italiano di brani tratti dall’elenco di libri che segue. In�ne, si stimolerà una critica alla traduzione attraverso il paragone fra la traduzione svolta in aula e quella pubblicata dalle case editrici.

- La passione

Fifty Shades of Grey, E. L. JamesAfter, Anna Todd

Me Before You, Jojo Moyes

- La distopia

1984, George OrwellFahrenheit 451, Ray Bradbury

The Man in the High Castle, Philip K. Dick

- George R. R. Martin

A Dance with DragonsFire and Blood

Wild Cards

- L’Urban Fantasy

City of Fallen Angels, Cassandra ClarePercy Jackson & the Olympians, Rick Riordan

Twilight, Stephenie Meyer

- Il thriller

Inferno, Dan BrownWhiteout, Ken Follett

Library of the dead, Glenn Cooper

- Il pulp

Fight Club, Chuck PalahniukTrainspotting, Irvine Welsh

Pulp, Charles Bukowski

- Il mistero

The Adventures of Sherlock Holmes, A. C. Doyle

Murder on the Orient Express, Agatha ChristieThirteen Reasons Why, Jay Asher

- J.R. R. Tolkien

The Lord of the RingsThe Hobbit

The Silmarillion

- H. G. Wells

The Time MachineThe War of the Worlds

The Invisible Man

- La fantascienza (1)

The Hunger Games, Suzanne CollinsDivergent, Veronica Roth

The Maze Runner, James Dashner


Jurassic Park, Michael CrichtonThe Minority Report, Philip K. Dick

I Am Legend, Richard Matheson

- I classici UK

Alice's Adventures in Wonderland, Lewis CarrollTreasure Island, Robert Louis StevensonA Clockwork Orange, Anthony Burgess

- I classici USA

Moby Dick or The Whale, Herman MelvilleThe Great Gatsby, Francis Scott Fitzgerald

A Farewell to Arms, Ernest Hemingway

TRADURREMO:- J. K. Rowling

Harry Potter and the Order of the PhoenixQuidditch Through the Ages

Fantastic Beasts and Where to Find Them

- L'incubo

The Raven, Edgar Allan PoeThe Call of Cthulhu, Howard Phillips Lovecraft

It, Stephen King

- La passione



- La distopia





Wild Cards

- L’Urban Fantasy



- Il thriller



- Il pulp



- Il mistero



- J.R. R. Tolkien


The Silmarillion

- H. G. Wells


The Invisible Man







- I classici UK


- I classici USA



Oth

ers i

n th

e Lo

ng N

ight

to si

re te

rrib

le h

alf-

hum

an c

hild

ren.

But t

he m

an th

ey fo

und

boun

d ha

nd a

nd fo

ot to

the

hold

fast

wal

l aw

aitin

g th

e ki

ng's

just

ice

was

old

an

d sc

raw

ny, n

ot m

uch

talle

r tha

n Ro

bb. H

e had

lost

bot

h ea

rs an

d a �

nger

to fr

ostb

ite, a

nd h

e dre

ssed

all i

n bl

ack,

the s

ame a

s a b

roth

er o

f the

Nig

ht's

Wat

ch, e

xcep

t th

at h

is fu

rs w

ere

ragg

ed a

nd g

reas

y. �

e br

eath

of m

an a

nd h

orse

min

gled

, ste

amin

g, in

the

cold

mor

ning

air

as h

is lo

rd fa

ther

had

the

man

cut

dow

n fr

om

the

wal

l and

dra

gged

bef

ore

them

. Rob

b an

d Jo

n sa

t tal

l and

still

on

thei

r hor

ses,

with

Bra

n be

twee

n th

em o

n hi

s pon

y, tr

ying

to se

em o

lder

than

seve

n, tr

ying

to

pret

end

that

he'd

seen

all

this

bef

ore.

A fa

int w

ind

blew

thro

ugh

the

hold

fast

gat

e.

Ove

r the

ir h

eads

�ap

ped

the

bann

er o

f the

Sta

rks o

f Win

terf

ell:

a gr

ey d

irew

olf r

acin

g ac

ross

an

ice-

whi

te �

eld.

In a hole in the ground there lived a hobbit. Not a nasty, dirty, wet hole, �lled with the ends of worms and an oozy smell, nor yet a dry, bare, sandy hole with nothing in it to sit down on or to eat: it was a hobbit-hole, and that means comfort. It had a perfectly round door like a porthole, painted green, with a shiny yellow brass knob in the exact middle. �e door opened on to a tube-sha-ped hall like a tunnel: a very comfortable tunnel without smoke, with pan- -elled walls, and �oors tiled and carpeted, provided with polished chairs, and lots and lots of pegs for hats and coats — the hobbit was fond of visitors. �e tunnel wound on and on, going fairly but not quite straight into the side of the hill — �e Hill, as all the people for many miles round called it — and many little round doors opened out of it, �rst on one side and then on another. No going upstairs for the hobbit: bedrooms, bath- -rooms, cellars, pantries (lots of these), wardrobes (he had whole rooms devoted to clothes), kitchens, dining- rooms, all were on the same �oor, and indeed on the same passage.�e best rooms were all on the le�-hand side (going in), for these were the only ones to have windows, deep-set round windows looking over his garden, and meadows beyond, sloping down to the river.�is hobbit was a very well -to-do hobbit, and his name was Baggins. �e Bagginses had lived in the neighbourho-od of �e Hill for time out of mind, and people considered them very respectable, not only because most of them were rich, but also because they never had any adventures or did anyth- -ing unexpected: you could tell what a Baggins would say on any question without the bother of asking him. �is is a story of how a Baggins had an adventure, and found himself doing and saying things altogether unexpected. He may have lost the neigh- -bours’ respect, but he gained — well, you will see whether he gained anything in the end.

- J. K. Rowling



- L'incubo


It, Stephen King

- La passione



- La distopia





Wild Cards

- L’Urban Fantasy



- Il thriller



- Il pulp



- Il mistero



- J.R. R. Tolkien


The Silmarillion

- H. G. Wells


The Invisible Man







- I classici UK


- I classici USA



In a hole in the ground there lived a hobbit. Not a nasty, dirty, wet hole, �lled with the ends of worms and an oozy smell, nor yet a dry, bare, sandy hole with nothing in it to sit down on or to eat: it was a hobbit-hole, and that means comfort. It had a perfectly round door like a porthole, painted green, with a shiny yellow brass knob in the exact middle. �e door opened on to a tube-sha-ped hall like a tunnel: a very comfortable tunnel without smoke, with pan- -elled walls, and �oors tiled and carpeted, provided with polished chairs, and lots and lots of pegs for hats and coats — the hobbit was fond of visitors. �e tunnel wound on and on, going fairly but not quite straight into the side of the hill — �e Hill, as all the people for many miles round called it — and many little round doors opened out of it, �rst on one side and then on another. No going upstairs for the hobbit: bedrooms, bath- -rooms, cellars, pantries (lots of these), wardrobes (he had whole rooms devoted to clothes), kitchens, dining- rooms, all were on the same �oor, and indeed on the same passage.�e best rooms were all on the le�-hand side (going in), for these were the only ones to have windows, deep-set round windows looking over his garden, and meadows beyond, sloping down to the river.�is hobbit was a very well -to-do hobbit, and his name was Baggins. �e Bagginses had lived in the neighbourho-od of �e Hill for time out of mind, and people considered them very respectable, not only because most of them were rich, but also because they never had any adventures or did anyth- -ing unexpected: you could tell what a Baggins would say on any question without the bother of asking him. �is is a story of how a Baggins had an adventure, and found himself doing and saying things altogether unexpected. He may have lost the neigh- -bours’ respect, but he gained — well, you will see whether he gained anything in the end.

- J. K. Rowling



- L'incubo


It, Stephen King

IMPORTANTE!

Prima lezione gratuita e senza impegno!Materiali forniti durante il corsoConsigli mirati dell’editorRateizzazione della quota di iscrizione

PER QUANTO TEMPO

45 ore

DOVE

Presso la sede della Elpìs, via G. Filippo Basile 28 (zona Dante - Sammartino)

CON CHI

Gianluca Di Pasquale, traduttore letterario

COME

Iscrivendosi tramite l’apposito modulo sottostante

MA SOPRATTUTTO... PERCHÉ?

Per sviluppare al meglio le proprie capacità di traduzione, con tecniche, regole base e consigli utili per lavorare nel mondo dell’editoria;

Per imparare ad analizzare un testo con occhio critico e distaccato e per sapere in che modo intervenire su di esso;

Per ampliare le proprie conoscenze sul mondo letterario inglese e angloamericano, analizzando generi e stili di�erenti;

Per scoprire i software per la traduzione assistita che usano i professionisti del settore;

Per incrementare il proprio curriculum con un u�ciale ATTESTATO DI FREQUENZA

rilasciato da una casa editrice.

MODULO DI ISCRIZIONE

NOME

INDIRIZZO

PROFESSIONE

cellulare: email:

CITTÀ

n°

COGNOME

FORMULA DI PAGAMENTO:

Unica soluzione

2 rate mensili

4 rate mensili

Data Firma

Data Firma del genitore

Costo totale del corso:

€ 200,00 + Iva

Sei minorenne?

Io sottoscritto __________________________________________ in qualità di genitore di _____________________________________________

AUTORIZZO

mio/a �glio/a a partecipare al “Corso in Traduzione letteraria” presso la casa editrice Elpìs, secondo i tempi e le modalità indicate sul presente modulo o comunicate durante lo svolgimento del corso stesso.

Indicaci la tua disponibilità:

Per venire incontro alle vostre esigenze, vi diamo la possibilità di indicare il periodo, i giorni e le fasce orarie che preferireste. Al raggiungimento di un numero minimo di partecipanti, se possibile, sarete inseriti nel gruppo che svolgerà il corso nei giorni e orari da voi indicati. Altrimenti, sarete informati circa le alternative tra cui scegliere.

Potete selezionare più di un’opzione:

Sessione invernale (data da de�nirsi)

Sessione primaverile (data da de�nirsi)

Indi�erente

sabato

indi�erente

sabato 10:00 - 13:00

16:00 - 19:00

Il periodo

I giorni e gli orari

Corso in Tecniche di scrittura ed editing · Fifty Shades of Grey, E. L. James After, Anna Todd Me...

Documents

Transcript of Corso in Tecniche di scrittura ed editing · Fifty Shades of Grey, E. L. James After, Anna Todd Me...