Quote:
Originally Posted by Andrew H.
Or film, for that matter. Or popular music...
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Re film: Hollywood rather goes and copies (not even really a remake) a good movie than localising the original. (as seen with "Nightwatch"- wasn't it even redone by the same director with US actors) I wonder why, really. Some kind of "there be dragons" mentality?
Would the average American be so shocked by the fact that there is life outside the American continent? (apart from the isles of Britannia and Australia and of course the sandy outer regions of the disc where Arabia is)
Re music: That's, I think, something different:
As music styles do sound differently, so do languages.
(there even is a NAME for that branch of linguistic studies - which I can't remember since years
In some cases trying to use a specific language combined with a specific musical style is the acoustic equivalent of "round peg in a square hole" As much as diversity in styles becomes more and more unwelcome so the limits in lyrics-wise salvageable languages harden.
Quote:
Originally Posted by Kumabjorn
This reminds me of a different phenomenon, a fair amount of Swedish authors, and let's face reality, they're never going to be global barnstormers, are quite popular in Germany and their works appear in German just a month or so after being released in Sweden. However, there is nothing coming the other way. I'm not overly familiar with the German literary scene but if I want to read someone like Oliver Pötzsch I have to get hold of the original because no Swedish translation is available. Perhaps some of our German members can shed some light on this discrepancy?
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Scandinavian and especially Swedish crime stories seem to be a crime sub-genere of its own in Germany. That's where the specific demand comes from.
Being no reader of crime stories in general I cannot say why it is so - what the attributes of the 'Swedish school' in treating the canvas of crime are, but there must be something distinctive enough for the readers that marketeers can work with