DOCSLIB.ORG

A Skopos-Based Analysis of Breytenbach's Titus Andronicus By

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Skopos-Based Analysis of Breytenbach's Titus Andronicus By A skopos-based analysis of Breytenbach’s Titus Andronicus by Benjamin Stephen Green Thesis presented in partial fulfilment of the requirements for the degree MPhil in Translation Studies Supervisor: Prof. Anna Elizabeth Feinauer Faculty of Arts and Social Sciences Department of Afrikaans and Dutch March 2012 Stellenbosch University http://scholar.sun.ac.za Declaration By submitting this thesis/dissertation electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that reproduction and publication thereof by Stellenbosch University will not infringe any third party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification. March 2012 Copyright © 2012 University of Stellenbosch All rights reserved Stellenbosch University http://scholar.sun.ac.za Abstract Breyten Breytenbach's Afrikaans translation of William Shakespeare's Titus Andronicus is a little known member of the corpus of Afrikaans Shakespeare plays. Published without annotations in South Africa in 1970 and performed in Cape Town in the same year, it has never been performed again and the text has attracted no academic review or led to any subsequent editions. However, situated in 1970 in the heyday of the Apartheid regime, the play's production broke attendance records in Cape Town and was accompanied by substantial public controversy. In this thesis, the author analyses Breytenbach's translation in order to determine whether the translator had an ideological agenda in performing the translation. The analysis is based on a preliminary discussion of culture and ideology in translation, and then uses the Skopostheorie methodology of Hans J. Vermeer (as developed by Christiane Nord) to assess the translation situation and the target text. The target text has been analysed on both a socio-political and microstructural level. The summary outcome of the analysis is that the translator may possibly have tried to promote an anti-Apartheid ideology by translating the play. The outcome is based on several contextual factors such as the socio-political situation in South Africa in which the translated play was published and performed, the translator's stated opposition to the Apartheid system, the choice of Titus Andronicus for translation and production, and to a lesser extent the level of public controversy that accompanied the target text's production in the theatre. Opsomming Breyten Breytenbach se Afrikaanse vertaling van William Shakespeare se Titus Andronicus is 'n min bekende eksemplaar van die versameling Shakespeare toneelstukke in Afrikaans. Dit is sonder enige annotasies in 1970 in Suid-Afrika uitgegee, en is dieselfde jaar in Kaapstad opgevoer. Sedertdien is dit nooit weer opgevoer nie, en die teks het geen akademiese kritiek ontlok nie. Die teks is ook nooit weer herdruk nie. Maar in 1970, tydens die toppunt van die Apartheidregime, het hierdie toneelstuk se opvoering bywoningsrekords oortref en dit is deur aansienlike openbare omstredenheid gekenmerk. In dié tesis ontleed die skrywer Breytenbach se vertaling om te bepaal of die vertaler 'n ideologiese agenda in die vertaling van die toneelstuk gehad het. Die ontleding word op 'n voorlopige bespreking van kultuur en ideologie in die vertaalproses gegrond, en maak dan gebruik van die Skopostheorie van Hans J. Vermeer (soos verwerk deur Christiane Nord) om die omstandighede ten tyde van die vertaalproses sowel as die doelteks self te ontleed. Die doelteks is op sowel sosiaalpolitiese as mikrostrukturele vlak ontleed. Die samevattende uitkoms van die ontleding is dat die vertaler moontlik 'n anti-Apartheid ideologie probeer bevorder het deur hierdie toneelstuk te vertaal. Hierdie uitkoms is gegrond op verskeie samehangende faktore, soos die sosiaalpolitiese omstandighede in Suid-Afrika waarin die toneelstuk uitgegee en opgevoer is, die vertaler se vermelde teenkanting teen die Apartheidstelsel, die keuse van Titus Andronicus vir vertaling en opvoering, en tot 'n mindere mate die vlak van openbare omstredenheid wat gepaard gegaan het met die doelteks se opvoering in die teater. Stellenbosch University http://scholar.sun.ac.za Acknowledgements Thanks to: My parents, without whose financial support this research would not have been possible (and to my mother for the proofreading of the text, and my family generally). Paul Regenass, archivist at Artscape (Cape Town), for his friendly and enthusiastic assistance, which proved invaluable in researching a theatre production that took place 41 years ago. Stellenbosch University http://scholar.sun.ac.za Table of contents Chapter 1 – Introduction 1 Chapter 2 – Source text and author 8 2.1 Introduction 8 2.2 Titus Andronicus – the play and its context of origin 9 2.2.1 Social context of Titus Andronicus 9 2.2.2 Shakespeare – a profile of the playwright and his work 19 2.3 Analysis of the source text 22 2.3.1 Analysis of the text 22 2.3.1.1 Shakespeare and the Renaissance 25 2.3.1.2 Monarchy in Elizabethan England 27 2.3.1.3 Some notes on Shakespeare's textual technique 29 2.3.1.4 Summary 31 2.3.2 Issues of “race” and discrimination in Titus Andronicus 31 2.3.2.1 Postcolonial explanation 35 2.3.2.2 Economic explanation 37 2.3.2.3 Summary 39 2.3.3 Graphic violence in Titus Andronicus 39 2.3.4 Character assessments 43 2.3.4.1 Aaron 43 2.3.4.2 The baby 45 Chapter 3 – Target text and translator 48 3.1 South Africa in 1970 – sketching the target text's social context 48 3.1.1 Apartheid, racism and literature in 1970 South Africa 48 3.1.1.1 Legislation 50 3.1.1.2 Racialisation of society 54 3.1.1.3 Enforcement and resistance 57 3.1.1.4 Censorship 60 3.1.1.5 Religion 63 3.1.1.6 Summary 64 3.1.2 Nationalism and the Afrikaans language 66 3.2 Breytenbach the man – a profile of the translator 68 Stellenbosch University http://scholar.sun.ac.za 3.3 Summary 75 Chapter 4 – Culture, ideology and translation 76 4.1 Chicken soup 76 4.2 Culture – towards a basic definition 82 4.3 Language and culture 87 4.4 Ideology – going beyond culture 91 4.4.1 Ideology defined 91 4.4.2 Culture vs Ideology 93 4.4.3 Culture, ideology and religion 99 4.5 Culture and ideology in the process of translation 100 4.5.1 Skopostheorie, culture and equivalence 101 4.5.1.1 Formal correspondence 105 4.5.1.2 Skopos theory 108 4.5.2 Culture and ideology in translation 117 4.5.3 Domestication and foreignisation 122 4.6 Culture and nature – a brief discussion of “race” 127 Chapter 5 – Methodology of analysis 132 5.1 The butterfly sum – a metaphor for the translator's skopos 132 5.2 Translating for theatre 142 5.3 Translating Shakespeare 146 Chapter 6 – Macrostructural analysis of the target text 148 6.1 Introduction 148 6.2 The text – macrostructural review 149 6.2.1 Choice of translator 153 6.2.2 Choice of play 156 6.3 Audience reaction and state censorship 164 6.3.1 Censorship in 1970 South Africa 164 6.3.2 Theatre performance and audience reaction 172 Chapter 7 – Analysis of selected extracts (microstructural review) 184 7.1 Introduction 184 7.2 Pragmatic translation problems 185 Stellenbosch University http://scholar.sun.ac.za 7.2.1 The “black baby” situation – “miscegenation” 187 7.2.2 Translation of “Moor” 194 7.2.3 Aaron's references to “race” 196 7.2.4 References to Aaron 205 7.3 Intercultural translation problems: domestication and foreignisation 209 7.4 Interlingual translation problems: cases of formal (dis)correspondence 216 7.5 Text-specific translation problems 224 7.5.1 Stage directions 225 7.5.2 Translating poetry 231 7.5.2.1 Rhyme 235 7.5.2.2 Puns/Wordplay 238 7.5.2.3 Metre 244 7.5.3 Anecdotes 245 7.6 Conclusion 247 Chapter 8 – Conclusions 248 8.1 Culture and ideology in translation 248 8.2 Ideology in the target text 249 8.3 The final bell 260 9. References 261 Stellenbosch University http://scholar.sun.ac.za Chapter 1 – Introduction In a certain sense, the act of translation is like a boxing match. Two authors (insofar as the translator is, in fact, an author in their own right) are placed in the cordoned ring of the shared intercultural space, and they then contest the various issues that are relevant to the conversion of the source text into the target text. These issues may be political, cultural, ideological, or merely concerned with the meanings of words and how to translate culturally specific concepts or archaic phrases. It is not a smooth, mutual process. It can rarely, if ever, be that. Translation is seldom a harmonious interplay between two languages. Sometimes the contest is very violent; some translators are more aggressive than others in trying to subjugate the source text's influence, while some source text authors may be extremely hard to subjugate at all. Not everyone has the same style of boxing, and the rules may vary, depending on the situation in which the fight is taking place, so that the referee is more a submissive pawn of that situation than an objective mediator.1 The judges, namely the target readership of the translation, will pronounce their verdict of the fight afterwards, from the safe comfort of their (arm)chairs, and then convene for coffee or drinks. Now, however telling or apt this allegory may seem, though, there is one critical aspect in which it is invalid. As we know, boxing matches are designed to be between boxers of more or less equal physical development.
Load more

Recommended publications
  • A Yorkshire Tragedy by William Shakespeare (Apocrypha)
    A Yorkshire Tragedy by William Shakespeare (Apocrypha) This etext was produced by Tony Adam. Shakespeare, William. A Yorkshire Tragedy. Not So New as Lamentable and True. In C.F. Tucker Brooke, ed., The Shakespeare Apocrypha (Oxford, 1918). ALL'S ONE, OR, ONE OF THE FOUR PLAYS IN ONE, CALLED A YORK-SHIRE TRAGEDY AS IT WAS PLAYED BY THE KING'S MAJESTY'S PLAYERS. Dramatis Personae. Husband. Master of a College. Knight, a Justice of Peace. Oliver, Ralph, Samuel, serving-men. Other Servants, and Officers. page 1 / 56 Wife. Maid-servant. A little Boy. SCENE I. A room in Calverly Hall. [Enter Oliver and Ralph, two servingmen.] OLIVER. Sirrah Ralph, my young Mistress is in such a pitiful passionate humor for the long absence of her love-- RALPH. Why, can you blame her? why, apples hanging longer on the tree then when they are ripe makes so many fallings; viz., Mad wenches, because they are not gathered in time, are fain to drop of them selves, and then tis Common you know for every man to take em up. OLIVER. Mass, thou sayest true, Tis common indeed: but, sirrah, is neither our young master returned, nor our fellow Sam come from London? RALPH. page 2 / 56 Neither of either, as the Puritan bawd says. Slidd, I hear Sam: Sam's come, her's! Tarry! come, yfaith, now my nose itches for news. OLIVER. And so does mine elbow. [Sam calls within. Where are you there?] SAM. Boy, look you walk my horse with discretion; I have rid him simply. I warrant his skin sticks to his back with very heat: if a should catch cold and get the Cough of the Lungs I were well served, were I not? [Enter Sam.
    [Show full text]
  • ÖZGEÇMİŞ Prof. Dr. Işın Öner 29 Mayıs Üniversitesi Edebiyat
    ÖZGEÇMİŞ Prof. Dr. Işın Öner 29 Mayıs Üniversitesi Edebiyat Fakültesi Çevibilim Bölümü [email protected] ÖĞRENİM DURUMU 1990 Doktora. İngiliz Dilbilimi. Hacettepe Üniversitesi Batı Dilleri ve Edebiyatları. 1983-1986 Yüksek Lisans ve Doktora. Türk Dili ve Edebiyatı. Boğaziçi Üniversitesi. (Dersleri tamamladı. Tez yazmadı.) 1983 Y. Lisans. Dilbilim. Boğaziçi Üniversitesi. 1981 Lisans. İngiliz Dili ve Edebiyatı. Boğaziçi Üniversitesi. AKADEMİK UNVANLAR Doçentlik Tarihi : 1991 Mütercim-Tercümanlık Bölümü, Boğaziçi Üniversitesi Profesörlük Tarihi : 1996 Mütercim-Tercümanlık Bölümü, Boğaziçi Üniversitesi YÖNETİLEN YÜKSEK LİSANS VE DOKTORA TEZLERİ Yüksek Lisans Tezleri 1998 M.A. Banu TELLİOĞLU “Reflections of Gideon Toury’s Target-oriented Theory and Hans J.Vermeer’s Skopos Theory on Translation Criticism: A Meta-Critique”. İstanbul: B.Ü. Sosyal Bilimler Enstitüsü. Çeviribilim Anabilim Dalı. 1998 M.A. Ayşe Fitnat ECE “From “Theory versus Pratice” to “Theory in Practice””. İstanbul: B.Ü. Sosyal Bilimler Enstitüsü. Çeviribilim Anabilim Dalı. 1997 M.A. Ayşe Banu KARADAĞ “From Impossibility to Possibility in Poetry Translation: A New Insight into Translation Criticism”. İstanbul: B.Ü. Sosyal Bilimler Enstitüsü. Çeviribilim Anabilim Dalı. 1996 M.A. Taner KARAKOÇ“A Pathway Between Descriptive Translation Studies and Transltion Didaction: with Metaphor Translation in Shakespeare’s Romeo and Juliet under Focus” İstanbul: B.Ü. Sosyal Bilimler Enstitüsü. Çeviribilim Anabilim Dalı. Doktora Tezleri 2001 PhD. Ebru DİRİKER “(De.) (Re.) Contextualising Simultaneous Interpreting: Interpreters in the Ivory Tower”. İstanbul: B.Ü. Sosyal Bilimler Enstitüsü. Çeviribilim Anabilim Dalı. (Boğaziçi Üniversitesi Sosyal Bilimler Alanı 2001 Yılı Tez Ödülü) 1994 PhD. Ayşe Nihal AKBULUT “Türk Yazın Dizgesinde Shakespeare’in Bir Yaz Gecesi Rüyası Çevirileri: Çeviri Kuramında Norm Kavramının Değerlendirilmesi”. İstanbul: İ.Ü.
    [Show full text]
  • Nature of Elliot Goldenthal's Music
    The Nature of Elliot Goldenthal’s Music & A Focus on Alien 3 (& other scores) There is “something different” about Elliot Goldenthal’s music. There is also considerable brain and brawn in Elliot Goldenthal’s film music. His style is difficult to label because his approach is so eclectic depending on the project. Sometimes I feel he is fundamentally an independent art-house composer (perhaps Frida, say, and The Good Thief) although he can demonstrate thrilling orchestral power in scores such as Sphere and the Batman movies that I personally quite enjoyed. Overall he shows a Late Modernist temperament, musically an American Bohemian, but nevertheless grounded somewhat in the mainstream traditions (certainly at least traditional notation). His polystylism (eclectism) is a postmodern characteristic. An excellent example of polystylism is his score for Titus (and Good Thief to a lesser extent, and even an example or two in Alien 3) with the diverse or even odd juxtaposition of genres (symphonic-classical, rock, etc.) that represents in one score the type of projects he collectively undertook over the last fifteen years or so. There is not one clear-cut musical voice, in other words, but a mixture or fusion of different styles. It is, in part, his method of organization. Loosely speaking, his music is avant-garde but certainly not radically so--as in the case of John Cage with his aleatoric (random) music and quite non-traditional notation (although Goldenthal’s music can at select times be aleatoric in effect when he utilizes electronic music, quarter-toning, and other devices). He is experimental and freewheeling but certainly this tendency is not overblown and expanded into the infinite! He definitely takes advantage of what technology has to offer (MIDI applications, timbre sampling, synthesizer usage, etc.) but does not discard what traditions are useful for him to express his vision of musical art.
    [Show full text]
  • The Representation of Puritans in William Shakespeare's Twelfth Night
    AWEJ for Translation & Literary Studies, Volume2, Number 1, February 2018 Pp. 97-105 DOI: http://dx.doi.org/10.24093/awejtls/vol2no1.7 The Representation of Puritans in William Shakespeare’s Twelfth Night Rachid MEHDI Department of English, Faculty of Art Abderahmane-Mira University of Bejaia, Algeria Abstract This article is a study on the representation of Puritans in William Shakespeare’s Twelfth Night; or, What You Will, one of his most popular comic play in the modern theatre. In mocking Malvolio’s morality and ridiculous behaviour, Shakespeare wanted to denounce Puritans’ sober society in early modern England. Indeed, Puritans were depicted in the play as being selfish, idiot, hypocrite, and killjoy. In the same way, many other writers of different generations, obviously influenced by Shakespeare, have espoused his views and consequently contributed to promote this anti-Puritan literature, which is still felt today. This article discusses whether Shakespeare’s portrayal of Puritans was accurate or not. To do so, the writer first attempts to define the term “Puritan,” as the latter is quite equivocal, then take some Puritans’ characteristics, namely hypocrisy and killjoy, as provided in the play, and analyze them in the light of the studies of some historians and scholars, experts on the post Reformation Puritanism, to demonstrate that Shakespeare’s view on Puritanism is completely caricatural. Keywords: caricature, early modern theatre, Malvolio, Puritans, satire Cite as: MEHDI, R. (2018). The Representation of Puritans in William Shakespeare’s Twelfth Night. Arab World English Journal for Translation & Literary Studies, 2 (1). DOI: http://dx.doi.org/10.24093/awejtls/vol2no1.7 Arab World English Journal for Translation & Literary Studies 97 eISSN: 2550-1542 |www.awej-tls.org AWEJ for Translation & Literary Studies Volume, 2 Number 1, February 2018 The Representation of Puritans in William Shakespeare’s Twelfth Night MEHDI Introduction Puritans had been the target of many English writers during the sixteenth and seventeenth centuries.
    [Show full text]
  • Valediction for Hans J. Vermeer
    Valediction for Hans J. Vermeer delivered by Andreas F. Kelletat on the occasion of the urn interment on 20 February 2010 at the Bergfriedhof cemetery, Heidelberg Translated by Marina Dudenhöfer M.A. Dear members of the family, Dear friends and colleagues of Professor Hans Vermeer, It was only five weeks ago, on 17 January 2010, that Michael Schreiber, the Dean of our School of Translation and Interpreting Studies, Linguistics and Cultural Studies (FTSK) in Germersheim, handed over an honorary doctorate from our university to Hans Vermeer for his dedication to the establishment of a discipline in Translation Studies in a small ceremony at his house. The first steps for this award were taken in early 2009 before Hans Vermeer’s illness, and before he even knew he was ill. There was an official ceremony planned for autumn 2010 to coincide with Hans Vermeer’s 80th birthday on 24 September 2010, but it did not take place. Instead of celebrating a joyful birthday and award ceremony amongst students, friends and colleagues, we are gathered in this cemetery today to inter the ashes of the dearly departed. The family of my dear colleague Vermeer asked me to speak to you on this solemn occasion and it is my honour to remember with you today an extraordinary researcher, academic and teacher. Many of you gathered here do not need my help to remember him, as you were part of his life as a researcher and teacher, colleague and friend. Several of you knew him for much longer and were closer to him than I myself.
    [Show full text]
  • Shakespeare and the Holocaust: Julie Taymor's Titus Is Beautiful, Or Shakesploi Meets the Camp
    Colby Quarterly Volume 37 Issue 1 March Article 7 March 2001 Shakespeare and the Holocaust: Julie Taymor's Titus Is Beautiful, or Shakesploi Meets the Camp Richard Burt Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Quarterly, Volume 37, no.1, March 2001, p.78-106 This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Colby Quarterly by an authorized editor of Digital Commons @ Colby. Burt: Shakespeare and the Holocaust: Julie Taymor's Titus Is Beautiful, Shakespeare and the Holocaust: Julie Taymor's Titus Is Beautiful, or Shakesploi Meets (the) Camp by RICHARD BURT II cinema eI'anna piu forte (Cinema is the strongest weapon) -Mussolini's motto Every day I'll read something that is right out of Titus Andronicus, so when people think this is "over the top," they're absolutely wrong. What could be more "over the top" than the Holocaust? -Julie Taymor "Belsen Was a Gas." -Johnny Rotten SHAKESPEARE NACH AUSCHWITZ? NE MORNING in the summer of 2000, I was channel surfing the trash talk O. shows to get my daily fix of mass media junk via the hype-o of my tele­ vision set. After "Transsexual Love Secrets" on Springer got a bit boring, I lighted on the Maury Povich Show.! The day's topic was "My seven-year-old child drinks, smokes, swears, and hits me!" Father figure Pavich's final solu­ tion, like Sally Jessie Raphael's with much older kids on similar episodes of her show, was to send the young offenders to boot camp.
    [Show full text]
  • Book of Abstracts Translata 2017 Scientific Committee
    Translata III Book of Abstracts Innsbruck, 7 – 9 December, 2017 TRANSLATA III Redefining and Refocusing Translation and Interpreting Studies Book of Abstracts of the 3rd International Conference on Translation and Interpreting Studies December 7th – 9th, 2017 University Innsbruck Department of Translation Studies Translata 2017 Book of Abstracts 3 Edited by: Peter Sandrini Department of Translation studies University of Innsbruck Revised by: Sandra Reiter Department of Translation studies University of Innsbruck ISBN: 978-3-903030-54-1 Publication date: December 2017 Published by: STUDIA Universitätsverlag, Herzog-Siegmund-Ufer 15, A-6020 Innsbruck Druck und Buchbinderei: STUDIA Universitätsbuchhandlung und –verlag License: The Bookof Abstracts of the 3rd Translata Conference is published under the Creative Commons Attribution-ShareAlike 4.0 International License (https://creativecommons.org/licenses) Disclaimer: This publications has been reproduced directly from author- prepared submissions. The authors are responsible for the choice, presentations and wording of views contained in this publication and for opinions expressed therin, which are not necessarily those of the University of Innsbruck or, the organisers or the editor. Edited with: LibreOffice (libreoffice.org) and tuxtrans (tuxtrans.org) 4 Book of Abstracts Translata 2017 Scientific committee Local (in alphabetical order): Erica Autelli Mascha Dabić Maria Koliopoulou Martina Mayer Alena Petrova Peter Sandrini Astrid Schmidhofer Andy Stauder Pius ten Hacken Michael Ustaszewski
    [Show full text]
  • Interview with Mary Snell-Hornby Autor(Es): Hornby, Mary Snell
    Interview with Mary Snell-Hornby Autor(es): Hornby, Mary Snell; Althoff, Gustavo; Leal, Alice Publicado por: Universidade Federal de Santa Catarina URL persistente: URI:http://hdl.handle.net/10316.2/33059 Accessed : 24-Sep-2021 05:11:42 A navegação consulta e descarregamento dos títulos inseridos nas Bibliotecas Digitais UC Digitalis, UC Pombalina e UC Impactum, pressupõem a aceitação plena e sem reservas dos Termos e Condições de Uso destas Bibliotecas Digitais, disponíveis em https://digitalis.uc.pt/pt-pt/termos. Conforme exposto nos referidos Termos e Condições de Uso, o descarregamento de títulos de acesso restrito requer uma licença válida de autorização devendo o utilizador aceder ao(s) documento(s) a partir de um endereço de IP da instituição detentora da supramencionada licença. Ao utilizador é apenas permitido o descarregamento para uso pessoal, pelo que o emprego do(s) título(s) descarregado(s) para outro fim, designadamente comercial, carece de autorização do respetivo autor ou editor da obra. Na medida em que todas as obras da UC Digitalis se encontram protegidas pelo Código do Direito de Autor e Direitos Conexos e demais legislação aplicável, toda a cópia, parcial ou total, deste documento, nos casos em que é legalmente admitida, deverá conter ou fazer-se acompanhar por este aviso. impactum.uc.pt digitalis.uc.pt INTERVIEW WITH MARY SNELL-HORNBY 1 2 MARY SNELL-HORNBY / GUSTAVO ALTHOFF & ALICE LEAL ince 1989 Mary Snell-Hornby has been Professor of Translation Studies at the University of Vienna. She was a founding member S of the European Society for Translation Studies (EST) and its first President (from 1992 to 1998), she was on the Executive Board of the Eu- ropean Society for Lexicography (EURALEX) from 1986 to 1992 and was President of the Vienna Language Society from 1992 to 1994.
    [Show full text]
  • Interview with José Lambert
    !"#$ INTERVIEW WITH JOSÉ LAMBERT JOSÉ LAMBERT José Lambert is a professor and scholar in Comparative Literature and Translation Studies, and one of the founders of CETRA – Centre for Translation Studies1 % at the University of Leuven, Belgium. Initially, when it was created in 1989, what later became CETRA consisted of a special research program whose purpose was the promotion of high-level research in in Translation Studies, a perennial goal still pursued to this day. Nowadays, José Lambert serves as its honorary chairman. He is also a co-editor of Target – International Journal of Translation Studies2 and the author of more than 100 articles. Additionally, he co-edited such volumes as Literature and Translation: New Perspectives in Literary Studies (1978), Translation in the Development of Literatures – Les Traductions dans le développement des Littératures (1993), Translation and Modernization (1995), Translation Studies in Hungary (1996) and Crosscultural and Linguistic Perspectives on European Open and Distance Learning (1998). He has been a guest professor at many universities around the world such as Penn University, New York University, University of Alberta, University of Amsterdam and the Sorbonne, having lectured in many others as well. Starting in 2010/2 he will serve a 2-year tenure as a guest professor at Universidade Federal de Santa Catarina. The interview here presented is an excerpt of a larger project still in the making and with a broader agenda. In its broader version the project aims at collecting José Lambert’s opinions and views on a variety of subjects related to Translation Studies, from its history to its many conceptual and theoretical debates.
    [Show full text]
  • Shakespeare's· Religion
    Shakespeare's· Religion. MONG the papers left by the Rev. Richard Davies, Rector A of Sapperton, Gloucestershire, and afterwards Archdeacon of Coventry, who died in 1708, was a brief note on Shakespeare which ended with the abrupt words: "He dyed a Papist."a. The source of his information is unknown, but it is the only report we possess of Shakespeare's personal faith. It is usually dis­ missed with ridicule. It is "idle gossip," according to Sir Sidney Lee.2 It is "just the kind of story a parson of. the time would delight in crediting and circulating about one of those' harlotry players," says Dover. Wilson.3 And Dr. J. J. Mackail agrees: " Seventeenth, century Puritanism~ which closed the theatres, was ready to invent or accept anything ;that was to their discredit, or to the discredit of anyone connected withthem."4 . Nevertheless, the statement is not. to be dismissed so lightly. There is no _ reason for thinking that Davies was a Puritan or that he delighted in recording discreditable storie~ about players. The note suggests that he was a man of literary tastes, that he was sufficiently interested in Shakespeare to gather what information he could, and even that, when it was made, Shakespeare's fame was secure. Had not Milton the puritan long since laid a wreath upon his tomb? In any inquiry into Shakespeare's religion the note must be taken into account. But the question, if it can be answered at all, must be set in the large context of his age and, with due regard to their dramatic character, of his works.
    [Show full text]
  • Adaptations of Hooker by Shakespeare and Voegelin
    The Pneumopathology of the Puritan: Adaptations of Hooker by Shakespeare and Voegelin Copyright 2003 Jeffrey Tessier In The New Science of Politics as well as in The History of Political Ideas, Voegelin comes to his analysis of Puritanism by way of Richard Hooker, focusing in part on Hooker's account of the psychological techniques through which Puritanism advanced its cause. While mindful of Hooker's shortcomings as a philosopher, Voegelin praises and relies on his diagnostic acumen. His analysis of "the psychological mechanism that is put into operation in the creation of mass movements"1 [1] is as useful now for understanding modern gnostic movements as it was then in analysing the radical response to the emergent Anglican ecclesiastical order. It was Hooker's insight into the psychological origins and political consequences of the Puritan movement that enabled him to present the mechanism by which the Puritans would implement on a mass scale the desire of the movement's egomaniacal members that their private will be established as the public will, a revolution which would destroy the reality of and hope for the common weal of the nation.2 [2] 1 [1] Eric Voegelin, The Collected Works of Eric Voegelin, vol. 23, History of Political Ideas, vol. 5: Religion and the Rise of Modernity, ed. James L. Wiser (Columbia: University of Missouri Press, 1998), 94-5. 2 [2] Ibid, 98. In his discussion of Hooker, Voegelin draws attention to an interesting problem. If the Puritans are as Hooker says they are, then the deformed condition of their souls makes them immune to the sort of persuasive speech that characterises his writing.
    [Show full text]
  • Les Misérables and Seven Other Plays
    The Festival in 2012 Dream the Dream with Les Misérables and seven other plays Your complimentary guide to the Festival and southern Utah NewClick This on most Year. ads to go to the website. Summer/Fall 2012 • Thirty-Third Edition • Cedar City, Utah Contents Part of an Extraordinary, Part of an Extraordinary, Brilliant Humanity 5 Great theatre awareness for all of us Brilliant Humanity Festival Showcases Challenging Rewarding Season 6 Fifty-first season features eight exciting plays. By Bruce C. Lee Titus Andronicus 8 Not long ago I had an interesting experience that I believe, for me, put some Rhyme and meter offer deep and profound clues to play’s meaning. perspective on some of the events whirling around me (and perhaps you) lately I spent Mary Stuart 11 Friedrich Schiller’s not-quite-history play. three days attending the annual design meetings at the Utah Shakespeare Festival The The Merry Wives of Windsor 14 meetings are an exciting and eye-opening series of discussions among the design teams In a class by themselves. of this year’s Festival plays Directors, designers, and master craftsmen meet to explore Scapin 19 Modern adaptation is serious comedy. ideas about how best to present Mary Stuart, Scapin, To Kill a Mockingbird, and the other To Kill a Mockingbird 22 upcoming plays It was engaging, fascinating, and exhilarating Atticus Finch: a hero beyond the pages. Then, in the evenings, I went home and watched the television news, mostly Les Misérables 25 A revolutionary musical for the people. centered around the upcoming national elections It made me cringe to realize how Stones in His Pockets 29 tragically unaware many of us are about humanity and the world and issues around us The things we carry.
    [Show full text]