Judit Pieldner
Biographic Data
| ID | 3429069 |
|---|---|
| NAME | Judit Pieldner |
| GIVEN NAMES | Judit |
| FAMILY NAME | Pieldner |
| SIGNATURE | PIELDNER J |
| AFFILIATIONS | Sapientia Hungarian University of Transylvania |
| ORCID | 0000-0002-9383-624X |
| VERIFIED | Yes |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 1 |
| WORKS AS AUTHOR | 5 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2014 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 1 |
“Foreignness Is a Safe Shield.” Translation as Cultural Transmission in Andrea Tompa’s Home
Winner of the PEN Translates Award and included in the longlist for the Dublin Literary Award, the English version of Andrea Tompa’s Haza [Home] (2020), translated by Jozefina Komporaly and published by Istros Books in 2024, adds intriguing questions to the infinitely rich cultural, thematic, linguistic, and stylistic tapestry of the original. Of autobiographical inspiration, Andrea Tompa’s novel presents various patterns of emigration and explor…
Walking a Tightrope between Languages
Literary translation, in general, has its own multiple difficulties; many of the challenges in translating Margaret Atwood’s Hag-Seed are due in particular to its transtextuality (juggling through a rhizomatic nexus of texts, eminently Shakespeare’s The Tempest, rewritten into a contemporary story) and its multilayered complexity (employing multiple voices and registers, mixing styles and genres, combining prose and verse) that make the novel an …
The Camera in House Arrest. Tactics of Non-Cinema in Jafar Panahi's Films
In close intratextual connection with earlier pieces of Jafar Panahi's oeuvre, pre-eminently The Mirror ( Ayneh , 1997) and Offside (2006), his recent films made in illegality, including This Is Not a Film ( In film nist , Jafar Panahi and Mojtaba Mirtahmasb, 2011), Closed Curtain ( Pardeh , Jafar Panahi and Kambuzia Partovi, 2013) and Taxi Tehran (Jafar Panahi, 2015), reformulate the relationship between cinema and the "real," defying the limita…
History, Cultural Memory and Intermediality in Radu Jude’s Aferim
A historical drama that can be interpreted at the juncture of theoretical discourses (heritage film, auteur film), genres (historical film, western, road movie) and representational modes (connecting to, but subverting the master narrative of Romanian historical cinema), Radu Jude’s Aferim! (2015) has attracted the attention of the international public by the unique response that it gives to the tradition of representation of the (Romanian) histo…
Archival and Fake Found Footage as Medial Figurations in Hungarian Experimental Filmmaking
In the theoretical discourse of archival footage a shift can be detected from the paradigm of recontextualization to that of rhetorical strategy. In terms of this shift, archival footage is no longer regarded as a mode of transparent representation of “reality”, but rather as figuration that creates productive tension in the course of interaction of moving images. Archival footage acquires a prominent role in Hungarian experimental filmmaking. Th…
The Camera in House Arrest. Tactics of Non-Cinema in Jafar Panahi's Films
In close intratextual connection with earlier pieces of Jafar Panahi's oeuvre, pre-eminently The Mirror ( Ayneh , 1997) and Offside (2006), his recent films made in illegality, including This Is Not a Film ( In film nist , Jafar Panahi and Mojtaba Mirtahmasb, 2011), Closed Curtain ( Pardeh , Jafar Panahi and Kambuzia Partovi, 2013) and Taxi Tehran (Jafar Panahi, 2015), reformulate the relationship between cinema and the "real," defying the limita…
Archival and Fake Found Footage as Medial Figurations in Hungarian Experimental Filmmaking
In the theoretical discourse of archival footage a shift can be detected from the paradigm of recontextualization to that of rhetorical strategy. In terms of this shift, archival footage is no longer regarded as a mode of transparent representation of “reality”, but rather as figuration that creates productive tension in the course of interaction of moving images. Archival footage acquires a prominent role in Hungarian experimental filmmaking. Th…
History, Cultural Memory and Intermediality in Radu Jude’s Aferim
A historical drama that can be interpreted at the juncture of theoretical discourses (heritage film, auteur film), genres (historical film, western, road movie) and representational modes (connecting to, but subverting the master narrative of Romanian historical cinema), Radu Jude’s Aferim! (2015) has attracted the attention of the international public by the unique response that it gives to the tradition of representation of the (Romanian) histo…
The Camera in House Arrest. Tactics of Non-Cinema in Jafar Panahi's Films
In close intratextual connection with earlier pieces of Jafar Panahi's oeuvre, pre-eminently The Mirror ( Ayneh , 1997) and Offside (2006), his recent films made in illegality, including This Is Not a Film ( In film nist , Jafar Panahi and Mojtaba Mirtahmasb, 2011), Closed Curtain ( Pardeh , Jafar Panahi and Kambuzia Partovi, 2013) and Taxi Tehran (Jafar Panahi, 2015), reformulate the relationship between cinema and the "real," defying the limita…
Walking a Tightrope between Languages
Literary translation, in general, has its own multiple difficulties; many of the challenges in translating Margaret Atwood’s Hag-Seed are due in particular to its transtextuality (juggling through a rhizomatic nexus of texts, eminently Shakespeare’s The Tempest, rewritten into a contemporary story) and its multilayered complexity (employing multiple voices and registers, mixing styles and genres, combining prose and verse) that make the novel an …
“Foreignness Is a Safe Shield.” Translation as Cultural Transmission in Andrea Tompa’s Home
Winner of the PEN Translates Award and included in the longlist for the Dublin Literary Award, the English version of Andrea Tompa’s Haza [Home] (2020), translated by Jozefina Komporaly and published by Istros Books in 2024, adds intriguing questions to the infinitely rich cultural, thematic, linguistic, and stylistic tapestry of the original. Of autobiographical inspiration, Andrea Tompa’s novel presents various patterns of emigration and explor…
Art (3 works) · Literature (3 works) · Philosophy (3 works) · Aesthetics (2 works) · Art history (2 works) · Cinema and Media Studies (2 works) · Filmmaking (2 works) · History (2 works) · Political science (2 works) · Romanian (2 works)