F. Baader and T. Nipkow, Term rewriting and all that , Cambridge University Press, 2006.
 L. Bachmair, N. Dershowitz and J. Hsiang, Orderings for equational proofs , In 1st IEEE Symp. on Logic in Computer Science, 346-357. IEEE Computer Society Press, 1986.
 J. Corbin and M. Bidoit, A rehabilitation of Robinson’s unification algorithm , In R. Pavon, editor, Information Processing 83, 909-914, North-Holland, 1983.
 N. Dershowitz, L. Marcus and A. Tarlecki, Existence, uniqueness, and construction of rewrite
Basing on the definitions from , semi-Thue systems, Thue systems, and direct derivations are introduced. Next, the standard reduction relation is defined that, in turn, is used to introduce derivations using the theory from . Finally, languages generated by rewriting systems are defined as all strings reachable from an initial word. This is followed by the introduction of the equivalence of semi-Thue systems with respect to the initial word.
Our study presents a comparative analysis of selected texts from several translations of Queneau’s Exercices de style: the Romanian version (a collective work coordinated by Romulus Bucur), the English version (Barbara Wright) and the Italian one (Umberto Eco) that illustrate the variable degrees of difficulties in translating. The analysis is meant to confirm our research hypothesis: though disruptive and often hardly surmountable, translation constraint does not stifle translator’s creativity or his fidelity toward the original style; on the contrary, it stimulates the translational process and fosters the rewriting-creation.
Andrew M.McLean. Newark & London: University of Delaware Press, Associated University Press, 1998. 29-57. Print.
Guntner, Lawrence. “Rewriting Shakespeare: Bertolt Brecht, Heiner Müller and the Politics of Performance.” Shakespeare and European Politics. Ed. Dirk Delabastita et al. Newark: University of Delaware Press, 2008. 179-195. Print.
Harich, Wolfgang. “Der entlaufene Dingo, das vergessene Floss: Aus Anlass der Macbeth-Bearbeitung von Heiner Müller,” Sinn und Form 1 (1973): 189-218. Print.
Hegel, G.W. F. The Hegel
: Attitudes and Practice. International Journal of Bilingual Education and Bilingualism , 11 (6), 2008.
Lefevere, Andre. Translation, Rewriting and the Manipulation of Literary Fame . Shanghai: Shanghai Foreign Language Education Press, 2004a.
Lefevere, Andre. (ed.) Translation/History/Culture: A Sourcebook. Shanghai: Shanghai Foreign Language Education Press, 2004b.
Lefevere, Andre. Essays in Comparative Literature . Calcutta: Papyrus,1989.
Mieder, W. Proverbs Are Never Out of Season: Popular Wisdom in the Modern Age . New York: Oxford
The present study takes two tendencies into account that have shaped the cultural contact between the Romanian culture and the culture of the German minority in Romania. On the one hand, the re-writing of history respectively of the historical discourse according to cultural policy of the Romanian communist state is envisaged, on the other hand, the selection of articles on Romanian culture and literature published in the weekly Karpatenrundschau are analysed in order to trace tendencies cultural transfer.
Poetics of Home . Eds. Catherine Wiley and Fiona R. Barnes. New York and London: Garland Publishing, 1996. 145-174. Print.
Brown, Kevin and Jack Slater. “100 women: Jeanette Winterson helps children rewrite Cinderella.” BBC News . 22 November 2016. Web. 6 April 2017.
Carter, Angela. “Masochism for the Masses.” Shaking A Leg . Collected Journalism and Writings . London: Vintage, 2013. 233-239. Print.
Cuming, Emily. Housing, Class and Gender in Modern British Writing, 1880-2012 . Cambridge: Cambridge University Press, 2016. Print.
Schall. Perf: Asta Nielsen and Paul Conradi. Art Film, 1921. Film.
Hamlet . Dir. Laurence Olivier. Perf: Laurence Olivier and Basil Sydney. Two Cities, 1948. Film.
Hamlet . Dir. Muhsin Ertuğrul. Perf: Ayla Algan. İstanbul Şehir Tiyatroları: 1962-1963, 1964-1965. Stage.
Hamlet (in Kurdish). Dir. Celil Toksöz. Diyarbakır Devlet Tiyatrosu Stage Production, 2011. Stage.
Hutcheon, Linda. A Theory of Adaptation. New York and London: Routledge, 2006.
Lefevere, Andre. Translation, Rewrite and Manipulation of Literary Fame . London and New York
In 1860, the Dutch author Multatuli (pen name of Eduard Douwes Dekker) published Max Havelaar, which was to become the most famous nineteenth-century Dutch novel. In 2016, the book was rewritten by Martijn Adelmund as a book in which also zombies play a role. By doing so, Adelmund follows a fifteen-year-old American literary tradition to rewrite literary masterpieces as zombie books. Since Max Havelaar neither contains many characters nor descriptions of Indonesian nature and has a rather simple plot, Adelmund decided to mix the book with another nineteenth-century Dutch literary masterpiece: Louis Couperus’ De stille kracht. The purpose is to make secondary school pupils read the original Max Havelaar again and encourage them to compare the two versions in order to develop a critical understanding of Dutch colonial history and its present-day consequences. The review focuses on the way Adelmund combined the two classic books, reshaped the plot and added parts of his own. Attention is paid to the way in which the original language was modernized and to the question whether this book really can or will help young students to read the original. However noble Adelmund’s objectives may be, it is very improbable that he will manage to realize them since the quality of the novel he created leaves a lot to be desired.
In the nineteen twenties last century a young poet and diplomat from Warsaw, Jarosław Iwaszkiewicz, was taking part in an international congress of intellectuals in Heidelberg. During his stay in Germany he wrote The Lovers of Verona (the title in Polish reads Kochankowie z Werony), a play that offers a radical reinterpretation of the main message of Shakespeare’s Romeo and Juliet. Iwaszkiewicz’s vision of the young lovers, who are infected by insurmountable enmity, was determined by his pessimistic views on the nature of love and desire, expressed also in his other plays, prose and poetry. This article discusses the circumstances behind Iwaszkiewicz’s adaptation that shed light on the reasons for this unorthodox re-writing of Shakespeare’s famous tragedy. This is done to highlight the complex interrelations between authorial writing and translation activity which in case of writer-translators are determined by a net of political, social and personal factors.