Multicultural Shakespeare-Translation Appropriation and Performance最新文献_第9页

Rosalind and Śakuntalā among the Ascetics: Reading Gender and Female Sexual Agency in a Bengali Adaptation of As You Like It 罗莎琳德和Śakuntalā在苦行僧:阅读性别和女性的性代理在孟加拉语改编的皆大皆非

IF 0.2

Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2018-12-01 DOI: 10.18778/2083-8530.18.07

A. Sarkar

{"title":"Rosalind and Śakuntalā among the Ascetics: Reading Gender and Female Sexual Agency in a Bengali Adaptation of As You Like It","authors":"A. Sarkar","doi":"10.18778/2083-8530.18.07","DOIUrl":"https://doi.org/10.18778/2083-8530.18.07","url":null,"abstract":"Abstract My article examines how the staging of gender and sexuality in Shakespeare’s play As You Like It is negotiated in a Bengali adaptation, Ananga-Rangini (1897) by the little-known playwright Annadaprasad Basu. The Bengali adaptation does not assume the boy actor’s embodied performance as essential to its construction of the Rosalindequivalent, and thereby it misses several of the accents on gender and sexuality that characterize Shakespeare’s play. The Bengali adaptation, while accommodating much of Rosalind’s flamboyance, is more insistent upon the heteronormative closure and reconfigures the Rosalind-character as an acquiescent lover/wife. Further, Ananga-Rangini incorporates resonances of the classical Sanskrit play Abhijñānaśākuntalam by Kālidāsa, thus suggesting a thematic interaction between the two texts and giving a concrete shape to the comparison between Shakespeare and Kālidāsa that formed a favourite topic of literary debate in colonial Bengal. The article takes into account how the Bengali adaptation of As You Like It may be influenced by the gender politics informing Abhijñānaśākuntalam and by the reception of this Sanskrit play in colonial Bengal.","PeriodicalId":40600,"journal":{"name":"Multicultural Shakespeare-Translation Appropriation and Performance","volume":"18 1","pages":"114 - 93"},"PeriodicalIF":0.2,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42501127","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Translation as Rewriting: Cultural Theoretical Appraisal of Shakespeare’s Macbeth in the Ewe language of West Africa 翻译即改写:莎士比亚《麦克白》在西非伊威语中的文化理论评价

IF 0.2

Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2018-12-01 DOI: 10.18778/2083-8530.18.04

G. E. Agbozo, C. R. Taber

{"title":"Translation as Rewriting: Cultural Theoretical Appraisal of Shakespeare’s Macbeth in the Ewe language of West Africa","authors":"G. E. Agbozo, C. R. Taber","doi":"10.18778/2083-8530.18.04","DOIUrl":"https://doi.org/10.18778/2083-8530.18.04","url":null,"abstract":"Abstract The cultural turn in translation theory brought attention to the idea that translation is not a purely linguistic phenomenon but one that is also constrained by culture. The cultural turn considers translation as a rewriting of an original text. In this paper, I attempt to find reflections of the cultural turn in a translation into an African language. As such, the paper reads William Shakespeare’s Macbeth in the Ewe language of West Africa, Shakespeare ʄe Makbet, as rewriting. Walter Blege is the translator and the Bureau of Ghana Languages is the publisher of the target text meant for Ewe language audience in Ghana. The target text is for learning and acquiring the Ewe language especially in the area of developing reading comprehension skills. Following Andre Lefevere and Jeremy Munday, this paper suggests that Shakespeare ʄe Makbet is a rewritten text as it follows some cultural constraints in its translation. The study provides insight into the motivations for some of the translator/rewriter’s choices. Given the less attention paid to the Ewe language and many other African languages, the paper proposes translation as a socio-psychological tool for revitalizing interest in the learning and acquisition of African and other lesser-known languages.","PeriodicalId":40600,"journal":{"name":"Multicultural Shakespeare-Translation Appropriation and Performance","volume":"18 1","pages":"43 - 56"},"PeriodicalIF":0.2,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49067570","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 2

Receptive Aesthetic Criteria: Reader Comparisons of Two Finnish Translations of Hamlet 接受美学标准：《哈姆雷特》两个芬兰语译本的读者比较

IF 0.2

Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2018-12-01 DOI: 10.18778/2083-8530.18.03

Nely Keinänen

{"title":"Receptive Aesthetic Criteria: Reader Comparisons of Two Finnish Translations of Hamlet","authors":"Nely Keinänen","doi":"10.18778/2083-8530.18.03","DOIUrl":"https://doi.org/10.18778/2083-8530.18.03","url":null,"abstract":"Abstract This article examines the subjective aesthetic criteria used to assess two Finnish translations of Hamlet, one by Eeva-Liisa Manner (1981) and the other by Matti Rossi (2013), both accomplished translators for the stage. A survey consisting of one general question (“Briefly describe your idea of how Shakespeare translation should sound in Finnish, and what you think are the qualities of a good Shakespeare translation”) and five text extracts was distributed on paper and electronically, generating 50 responses. For the extracts, respondents were asked whether one or the other translation most closely dorresponded to their idea of what a Shakespeare translation should sound like and why, along with questions on whether they would prefer to see or read one or the other. The results show that there are no strong shared expectancy norms in Finland regarding Shakespeare translation. Manner was generally felt to be more concise and poetic, while Rossi was praised for his exquisite use of modern Finnish. Respondents agreed that rhythm was an important criterion, but disagreed on what sorts of rhythms they preferred. Translation of the “to be or not to be” speech raised the most passions, with many strongly preferring Manner’s more traditional translation. The results suggest that Shakespeare scholars would do well to take variations in expectancy norms into account when assessing and analysing Shakespeare in translation.","PeriodicalId":40600,"journal":{"name":"Multicultural Shakespeare-Translation Appropriation and Performance","volume":"18 1","pages":"23 - 42"},"PeriodicalIF":0.2,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43703612","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

The Political Hamlet according to Jan Kott and Jerzy Grotowski 简·科特和耶日·格罗托夫斯基的《政治哈姆雷特

IF 0.2

Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2018-06-30 DOI: 10.18778/2083-8530.17.06

Wanda Świątkowska

引用次数: 0

Performing Shakespeare’s Words: Textual Authority in Light of the Theory of Indeterminacy 表演莎士比亚的文字:基于不确定性理论的文本权威

IF 0.2

Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2018-06-30 DOI: 10.18778/2083-8530.17.04

Jacek Mydla

引用次数: 0

Shakespeare’s Hamlet/Hamlet, Shakespeare 3.0, and Tugged Hamlet, The Comic Prince of The Polish Cabaret POTEM 莎士比亚的哈姆雷特/哈姆雷特，莎士比亚3.0，和拉格哈姆雷特，波兰歌舞表演的喜剧王子

IF 0.2

Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2018-06-30 DOI: 10.18778/2083-8530.17.08

Monika Sosnowska

{"title":"Shakespeare’s Hamlet/Hamlet, Shakespeare 3.0, and Tugged Hamlet, The Comic Prince of The Polish Cabaret POTEM","authors":"Monika Sosnowska","doi":"10.18778/2083-8530.17.08","DOIUrl":"https://doi.org/10.18778/2083-8530.17.08","url":null,"abstract":"Abstract Shakespeare’s dramas are potentialities. Any Hamlet may be understood as the space in which Shakespeare’s thoughts are remembered, as a reproduced copy of the unspecified, unidentified source, the so called original. Simultaneously, it may be conceived of as the space where Shakespeare’s legacy and authority is tested, trifled and transgressed. Nowadays Shakespeare’s dramas are disseminated in multifarious forms such as: printed materials, audio and video recordings, compact audio discs, digital videos and disc recordings. Since I am fond of the cultural phenomenon called Hamlet, not a singe text or performance, but a continuum of human interaction with intermediated and transcoded versions of the drama, in this article I focus on the abovementioned single play. I accentuate the title character’s profound meaning in Shakespeare studies and his iconic status in Western culture in different media. I exploit W.B. Worthen’s concept of “Shakespeare 3.0.” to demonstrate Shakespeare’s presence in digital reality on the example of a comic rendering of Hamlet (Tugged Hamlet, 1992) by the Polish cabaret POTEM. Their cabaret sketch, although it was not created for the Internet audience, is available on-line via YouTube, consituting “Shakespeare 3.0.” Furthermore, I pose several questions and attempt to answer them in the course of my analysis: to what extent does the image of a mournful and contemplative Hamlet pervade different dimensions of culture, especially our collective imagination?; what chances of realization has a cultural fantasy of challenging the myth of a witty and contemplative Hamlet when re-written and presented as a pastiche or satire?; was the Polish cabaret POTEM succesful in their comic performance?","PeriodicalId":40600,"journal":{"name":"Multicultural Shakespeare-Translation Appropriation and Performance","volume":"17 1","pages":"81 - 93"},"PeriodicalIF":0.2,"publicationDate":"2018-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41638987","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

James L. Harner: In Memoriam 詹姆斯·l·哈纳:纪念

IF 0.2

Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2018-06-30 DOI: 10.18778/2083-8530.17.09

Laura Estill

引用次数: 0

Whose authority may I ask? Polish, English, German, Shakespearean or directorial? On the boundaries between ethnicity, nationality, religion and theatricality in Jan Klata’s Shakespearean productions 我可以问谁的权限?波兰语、英语、德语、莎士比亚语还是导演语?论扬·克拉塔莎士比亚作品中的种族、民族、宗教与戏剧性的界限

IF 0.2

Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2018-06-30 DOI: 10.18778/2083-8530.17.05

J. Fabiszak

引用次数: 1

Shakespeare, Authority and Hauntology: Postdramatic Performance in Walny Theatre’s Hamlet 莎士比亚、权威与鬼魂学:沃尔尼剧院《哈姆雷特》的后戏剧表演

IF 0.2

Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2018-06-30 DOI: 10.18778/2083-8530.17.03

Edyta Lorek-Jezińska

引用次数: 0

Grzegorz Wiśniewski’s Production of Richard III in Teatr Jaracza in Łódź—Textual Authority, the “Director’s Cut”, and Theatre Status Grzegorz Wiśniewski在罗兹Jaracza剧院制作的《理查三世》——文本权威、“导演剪辑”和剧院地位

IF 0.2

Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2018-06-30 DOI: 10.18778/2083-8530.17.07

M. Cieślak

{"title":"Grzegorz Wiśniewski’s Production of Richard III in Teatr Jaracza in Łódź—Textual Authority, the “Director’s Cut”, and Theatre Status","authors":"M. Cieślak","doi":"10.18778/2083-8530.17.07","DOIUrl":"https://doi.org/10.18778/2083-8530.17.07","url":null,"abstract":"Abstract Grzegorz Wiśniewski’s 2012 Richard III in Teatr Jaracza in Łódź was a very successful production with critics and audiences alike. At the 2012 Gdańsk Shakespeare Festival it won the Golden Yorick, a prestigious Polish award for the best staging of a Shakespearean play in the season. Wiśniewski, a renown Polish theatre director and professor at the National Film School in Łódź, has his own way of understanding theatre, its role in culture, and Shakespeare’s place in it. Wiśniewski believes in the theatre of the middle path, as he calls it, that is neither classical/conservative, nor radically avantgarde. He wants to attract wide audiences and offer them intellectual and well-balanced cultural entertainment. Without diminishing the weight of such cultural and literary icons as Shakespeare, he vivisects texts to make productions that can easily speak to a contemporary audience. This paper analyzes Wiśniewski’s Richard III to show how the director manages to achieve balance between his own auteur power, the authority and complexity of Shakespeare’s text, and theatre’s cultural mission.","PeriodicalId":40600,"journal":{"name":"Multicultural Shakespeare-Translation Appropriation and Performance","volume":"17 1","pages":"69 - 80"},"PeriodicalIF":0.2,"publicationDate":"2018-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49310764","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0