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Translation Review Number Sixty-Six • 2003
Translation Review Number Sixty-Six • 2003 The University of Texas at Dallas TRANSLATION REVIEW No. 66, 2003 TABLE OF CONTENTS Interview with Breon Mitchell and Uwe Timm: Collaboration Between Translator and Author . .1 Rainer Schulte Not Getting it Right . .8 David Ferry From Dean to Deantrepreneur: The Academic Administrator as Translator . .14 Abby Kratz and Dennis Kratz Translating Diversity: The Distinct and Variegated Voice of Clifford Geertz . .20 Gregory Conti Sad Tropics, or Tristes Tropiques? . .27 Liane Gutman Renditions: 30 Years of Bringing Chinese Literature to English Readers . .30 Audrey Heijns Whispered Urgency: Translating Sound and Momentum in . .34 Raffaello Baldini’s “E’ Malan” Adria Bernardi On the Cathay Tour with Eliot Weinberger’s New Directions Anthology of Classical Chinese Poetry . .39 Steve Bradbury Method or Maestri: Two Approaches to (Teaching) Translation . .53 Gregory Conti Translating India: Enabling Tamil and Sanskrit Poems to be Heard in English . .58 R. Parthasarathy The Mexican Poet Homero Aridjis . .69 Rainer Schulte BOOK REVIEW The Return of the River by Roberto Sosa, tr Jo Anne Engelbert . .72 Steven F. White, Reviewer Translation Review 1 INTERVIEW WITH BREON MITCHELL AND UWE TIMM: COLLABORATION BETWEEN TRANSLATOR AND AUTHOR [An interview conducted with the German novelist Uwe Timm and his translator Breon Mitchell at Indiana University, May 2003] By Rainer Schulte RS: Breon, how did you develop your relationship with also took a fictional approach to the material. It was pre- Uwe Timm while you were working on the translation of cisely the combination of fact and fiction that interested his novel Morenga? me. The novel is about a rebellion in the former German colony of South West Africa between 1904 and 1907, BM: The first thing I think of when I translate is what when Germany was a colonial power, when the Hereros sort of questions I can ask that would be meaningful and and the Hottentots rose up against the Germans. -
Japanese Studies at Manchester Pre-Arrival Reading Suggestions For
Japanese Studies at Manchester Pre-arrival Reading Suggestions for the 2020-2021 Academic Year This is a relatively short list of novels, films, manga, and language learning texts which will be useful for students to peruse and invest in before arrival. Students must not consider that they ought to read all the books on the list, or even most of them, but those looking for a few recommendations of novels, histories, or language texts, should find good suggestions for newcomers to the field. Many books can be purchased second-hand online for only a small price, and some of the suggestions listed under language learning will be useful to have on your shelf throughout year one studies and beyond. Japanese Society Ronald Dore City Life in Japan describes Tokyo society in the early 1950s Takie Lebra's book, Japanese Patterns of Behavior (NB US spelling) Elisabeth Bumiller, The Secrets of Mariko Some interesting podcasts about Japan: Japan on the record: a podcast where scholars of Japan react to issues in the news. https://jotr.transistor.fm/episodes Meiji at 150: the researcher Tristan Grunow interviews specialists in Japanese history, literature, art, and culture. https://meijiat150.podbean.com/ Japanese History Andrew Gordon, A Modern History of Japan Marius B. Jansen, The Making of Modern Japan John W. Dower Embracing Defeat: Japan in the Wake of World War II Christopher Goto-Jones, Modern Japan: A Very Short Introduction (can be read in a day). Religion in Japan Ian Reader, Religion in Contemporary Japan Japanese Literature The Penguin -
As Traduções De Kokoro, De Natsume Soseki, Para As Línguas Inglesa E Portuguesa
UNIVERSIDADE FEDERAL DE JUIZ DE FORA FACULDADE DE LETRAS AS TRADUÇÕES DE KOKORO, DE NATSUME SOSEKI, PARA AS LÍNGUAS INGLESA E PORTUGUESA Marcionilo Euro Carlos Neto JUIZ DE FORA 2014 1 UNIVERSIDADE FEDERAL DE JUIZ DE FORA FACULDADE DE LETRAS AS TRADUÇÕES DE KOKORO, DE NATSUME SOSEKI, PARA AS LÍNGUAS INGLESA E PORTUGUESA Marcionilo Euro Carlos Neto Monografia submetida ao Departamento de Letras Estrangeiras Modernas da Faculdade de Letras da Universidade Federal de Juiz de Fora como parte dos requisitos para a obtenção do grau de Bacharel em Letras: Ênfase em Tradução – Inglês. Orientadora: Profª. Drª Maria Clara Castellões Oliveira JUIZ DE FORA 2014 2 BANCA EXAMINADORA _____________________________________________________________________ Profª. Drª. Maria Clara Castellões de Oliveira – Orientadora _____________________________________________________________________ Prof. Dr. Rogério de Souza Sérgio Ferreira _____________________________________________________________________ Profª. Drª. Sandra Aparecida Faria de Almeida Data da defesa: ____________________ Nota: _______________________ Faculdade de Letras Universidade Federal de Juiz de Fora Juiz de Fora, Fevereiro de 2014. 3 AGRADECIMENTOS Ao Wataru Miyoshi, Ter o privilégio de tê-lo conhecido foi primordial para que esse trabalho fosse possível, uma vez que, por causa de nosso encontro, despertei o interesse pela língua e cultura japonesa, estudando-a com persistência, conseguindo realizar meu desejo de estudar e morar no Japão. À família Tsuruta, Ser acolhido por vocês foi essencial -
Noh Theater and Religion in Medieval Japan
Copyright 2016 Dunja Jelesijevic RITUALS OF THE ENCHANTED WORLD: NOH THEATER AND RELIGION IN MEDIEVAL JAPAN BY DUNJA JELESIJEVIC DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in East Asian Languages and Cultures in the Graduate College of the University of Illinois at Urbana-Champaign, 2016 Urbana, Illinois Doctoral Committee: Associate Professor Elizabeth Oyler, Chair Associate Professor Brian Ruppert, Director of Research Associate Professor Alexander Mayer Professor Emeritus Ronald Toby Abstract This study explores of the religious underpinnings of medieval Noh theater and its operating as a form of ritual. As a multifaceted performance art and genre of literature, Noh is understood as having rich and diverse religious influences, but is often studied as a predominantly artistic and literary form that moved away from its religious/ritual origin. This study aims to recapture some of the Noh’s religious aura and reclaim its religious efficacy, by exploring the ways in which the art and performance of Noh contributed to broader religious contexts of medieval Japan. Chapter One, the Introduction, provides the background necessary to establish the context for analyzing a selection of Noh plays which serve as case studies of Noh’s religious and ritual functioning. Historical and cultural context of Noh for this study is set up as a medieval Japanese world view, which is an enchanted world with blurred boundaries between the visible and invisible world, human and non-human, sentient and non-sentient, enlightened and conditioned. The introduction traces the religious and ritual origins of Noh theater, and establishes the characteristics of the genre that make it possible for Noh to be offered up as an alternative to the mainstream ritual, and proposes an analysis of this ritual through dynamic and evolving schemes of ritualization and mythmaking, rather than ritual as a superimposed structure. -
Supernatural Elements in No Drama Setsuico
SUPERNATURAL ELEMENTS IN NO DRAMA \ SETSUICO ITO ProQuest Number: 10731611 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10731611 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 4 8 1 0 6 - 1346 Supernatural Elements in No Drama Abstract One of the most neglected areas of research in the field of NS drama is its use of supernatural elements, in particular the calling up of the spirit or ghost of a dead person which is found in a large number (more than half) of the No plays at present performed* In these 'spirit plays', the summoning of the spirit is typically done by a travelling priest (the waki)* He meets a local person (the mae-shite) who tells him the story for which the place is famous and then reappears in the second half of the.play.as the main person in the story( the nochi-shite ), now long since dead. This thesis sets out to show something of the circumstances from which this unique form of drama v/as developed. -
Momotaro (The Peach Boy) and the Spirit of Japan: Concerning the Function of a Fairy Tale in Japanese Nationalism of the Early Showa Age*
Klaus Antoni Universitdt Hamburg Momotaro (The Peach Boy) and the Spirit of Japan: Concerning the Function of a Fairy Tale in Japanese Nationalism of the Early Showa Age* Abstract This article is concerned with a famous Japanese fairy tale, Momotaro, which was used during the war years in school readers as a primary part of nationalistic pro paganda. The tale and its central motif are analyzed and traced back through history to its earliest forms. Heroes from legend and history offered perfect identification patterns and images for the propagation of state ideals that were spread through education, the military, and war propaganda. Momotaro subtly- transmitted to young school pupils that which official Japan looked upon as the goal of its ideological education: through a fairy tale the gate to the “ Japanese spirit ” was opened. Key words: Momotaro — Japanese spirit — war propaganda Ryukyu Islands Asian Folklore Studies> Volume 50,1991:155-188. N a t io n a l is m a n d F o l k T r a d it io n in M o d e r n J a p a n F oundations of Japanese N ationalism APAN is a land rich in myths, legends, and fairy tales. It pos sesses a large store of traditional oral and literary folk literature, J which has not been accounted for or even recognized in the West. The very earliest traditional written historical documents contain narratives, themes, and motifs that express this rich tradition. Even though the Kojiki of the year 712, the oldest extant written source, was conceived of as a historical work at the time, it is a collection of pure myths, or at least the beginning portions are. -
'Camellia T'. Synonym for 'Donckelaeri'. (Masayoshi). TC Cole
T. T. Fendig. 1951, American Camellia Yearbook, p.77 as ‘Camellia T’. Synonym for ‘Donckelaeri’. (Masayoshi). T.C. Cole. Trewidden Estate Nursery, 1995, Retail Camellia List, p.8. Abbreviation for Thomas Cornelius Cole. T.C. Patin. (C.japonica) SCCS., 1976, Camellia Nomenclature, p.147: Light red. Very large, full, semi- double with irregular, large petals and a spray of large stamens. Originated in USA by T.C. Patin, Hammond, Louisiana. Sport: T.C. Patin Variegated. T.C. Patin Variegated. (C.japonica), SCCS., 1976, Camellia Nomenclature, p.147 as ‘T.C. Patin Var.’: A virus variegated form of T.C. Patin - Light red blotched white. Originated in USA by T.C. Patin, Hammond, Louisiana. T.D. Wipper. Nagoya Camellia Society Bulletin, 1992, No.25. Synonym for Dave’s Weeper. T.G. Donkelari. Lindo Nurseries Price List, 1949, p.7. Synonym for ‘Donckelaeri’. (Masayoshi). T.K. Blush. (C.japonica) Wilmot, 1943, Camellia Variety Classification Report, 1943, p.14: A light pink sport of T.K. Variegated. Originated in USA. Synonym: ‘T.K. Pink’. T.K. Number 4. Florida Nursery and Landscaping Co. Catalogue, 1948 as ‘T.K. No.4’. Synonym for T.K. Variegated. T.K. Pink. Morris, 1954, RHS., The Rhododendron and Camellia Yearbook, p.113. Synonym for T.K. Blush. T.K. Red. Semmes Nursery Catalogue, 1942-1943, p.21. Synonym for T.K. Variegated Red. T.K. Variegata. Kiyono Nursery Catalogue, 1942-1943. Synonym for T.K. Variegated. T.K. Variegated. (C.japonica) Kiyono Overlook Nursery Catalogue, 1934, p.14: Semi-double. Light pink edged dark pink. Gerbing’s Azalea Gardens Catalogue, 1938-1939: Semi-double, white flowers striped pink, rose and lavender, some flowers solid colour, purple and pink. -
Index to Volume 26 January to December 2016 Compiled by Patricia Coward
THE INTERNATIONAL FILM MAGAZINE Index to Volume 26 January to December 2016 Compiled by Patricia Coward How to use this Index The first number after a title refers to the issue month, and the second and subsequent numbers are the page references. Eg: 8:9, 32 (August, page 9 and page 32). THIS IS A SUPPLEMENT TO SIGHT & SOUND Index 2016_4.indd 1 14/12/2016 17:41 SUBJECT INDEX SUBJECT INDEX After the Storm (2016) 7:25 (magazine) 9:102 7:43; 10:47; 11:41 Orlando 6:112 effect on technological Film review titles are also Agace, Mel 1:15 American Film Institute (AFI) 3:53 Apologies 2:54 Ran 4:7; 6:94-5; 9:111 changes 8:38-43 included and are indicated by age and cinema American Friend, The 8:12 Appropriate Behaviour 1:55 Jacques Rivette 3:38, 39; 4:5, failure to cater for and represent (r) after the reference; growth in older viewers and American Gangster 11:31, 32 Aquarius (2016) 6:7; 7:18, Céline and Julie Go Boating diversity of in 2015 1:55 (b) after reference indicates their preferences 1:16 American Gigolo 4:104 20, 23; 10:13 1:103; 4:8, 56, 57; 5:52, missing older viewers, growth of and A a book review Agostini, Philippe 11:49 American Graffiti 7:53; 11:39 Arabian Nights triptych (2015) films of 1970s 3:94-5, Paris their preferences 1:16 Aguilar, Claire 2:16; 7:7 American Honey 6:7; 7:5, 18; 1:46, 49, 53, 54, 57; 3:5: nous appartient 4:56-7 viewing films in isolation, A Aguirre, Wrath of God 3:9 10:13, 23; 11:66(r) 5:70(r), 71(r); 6:58(r) Eric Rohmer 3:38, 39, 40, pleasure of 4:12; 6:111 Aaaaaaaah! 1:49, 53, 111 Agutter, Jenny 3:7 background -
JAPAN CUTS: Festival of New Japanese Film Announces Full Slate of NY Premieres
Media Contacts: Emma Myers, [email protected], 917-499-3339 Shannon Jowett, [email protected], 212-715-1205 Asako Sugiyama, [email protected], 212-715-1249 JAPAN CUTS: Festival of New Japanese Film Announces Full Slate of NY Premieres Dynamic 10th Edition Bursting with Nearly 30 Features, Over 20 Shorts, Special Sections, Industry Panel and Unprecedented Number of Special Guests July 14-24, 2016, at Japan Society "No other film showcase on Earth can compete with its culture-specific authority—or the quality of its titles." –Time Out New York “[A] cinematic cornucopia.” "Interest clearly lies with the idiosyncratic, the eccentric, the experimental and the weird, a taste that Japan rewards as richly as any country, even the United States." –The New York Times “JAPAN CUTS stands apart from film festivals that pander to contemporary trends, encouraging attendees to revisit the past through an eclectic slate of both new and repertory titles.” –The Village Voice New York, NY — JAPAN CUTS, North America’s largest festival of new Japanese film, returns for its 10th anniversary edition July 14-24, offering eleven days of impossible-to- see-anywhere-else screenings of the best new movies made in and around Japan, with special guest filmmakers and stars, post-screening Q&As, parties, giveaways and much more. This year’s expansive and eclectic slate of never before seen in NYC titles boasts 29 features (1 World Premiere, 1 International, 14 North American, 2 U.S., 6 New York, 1 NYC, and 1 Special Sneak Preview), 21 shorts (4 International Premieres, 9 North American, 1 U.S., 1 East Coast, 6 New York, plus a World Premiere of approximately 12 works produced in our Animation Film Workshop), and over 20 special guests—the most in the festival’s history. -
Hideko Takamine
Hideko Takamine By Ron Holloway Spring 1994 Issue of KINEMA AT SEVENTY, she’s Japan’s greatest living actress, often compared to Mary Pickford, but more like a Katherine Hepburn for the range of her talent and commanding presence of the screen -- Hideko Takamine. Despite being recognized as a screen immortal in Japan, only a handful of her more than three hundred film appearances are known in the United States, due to the tragic destruction of the Japanese filmarchives during the war. Thus she’s known in the West mostly by her postwar films, made during that last great period of Japanese cinema of the 1950s and early 1960s, after which television was to replace moviegoing as the population’s favourite form of entertainment. Rather late in her career, Takamine did venture into television, but was never satisfied with the results. Finally, in 1979, deciding that the new medium was not for her, she gracefully took leave of the screen to enjoy for the first time in five decades the pleasures of a private life. When at the last Tokyo Film Festival I asked to interview her, Japanese critics told me that such was impossible: ”She just doesn’t give interviews.” But a mutual friend, film historian Akira Shimizu, intervened on my behalf for a casual meeting, which was arranged one afternoon at the International House. To put the record straight, Hideko Takamine has been interviewed at length by American journalist Phyllis Birnbaum for a ”Profile” published in New Yorker in November of 1990. Moreover, her key postwar films -- made together with Mikio Naruse, one of her two favourite directors -- were programmed by American film historian Audie E. -
1 Crèdits | Créditos | Credits
Hiro (2003), Pierre Gonnord Hiro (2003), Pierre Gonnord www.asianfilmfestival.barcelona 1 CRÈDITS | CRÉDITOS | CREDITS DIRECCIÓ | DIRECCIÓN | DIRECTION Menene Gras Balaguer PROGRAMACIÓ I PRODUCCIÓ | PROGRAMACIÓN I PRODUCCIÓN | PROGRAMING AND PRODUCTION Menene Gras Balaguer | Rodrigo Escamilla Sandoval COORDINACIÓ GENERAL | COORDINACIÓN GENERAL | GENERAL COORDINATION Rodrigo Escamilla Sandoval COORDINACIÓ TÈCNICA | COORDINACIÓN TÉCNICA | TECHNICAL COORDINATION Sandra Mur Puyuelo ASSISTENT DE COORDINACIÓ | ASISTENTE DE COORDINACIÓN | COORDINATOR ASSISTANT Cristina Grau Gómez | Jorge Ramón Gómez Cordero | Juan Manuel Rodríguez Pérez | Cristina De la Rosa Díaz | Eva Silvestre Riera | Sara Sevilla Segura | Pamela Taveras Pérez DIRECCIÓ CINEMES GIRONA | DIRECCIÓN CINEMES GIRONA | CINEMES GIRONA DIRECTION Toni Espinosa ASSISTÈNCIA TÈCNICA | ASISTENCIA TÉCNICA | TECHNICAL ASSISTANCE Giulliana Burneo TRADUCCIÓ I SUBTÍTOLS | TRADUCCIÓN Y SUBTÍTULOS | TRANSLATION AND SUBTITLES 36 Caracteres Esteban Andueza | Sandra Mur Puyuelo | Teresa Vidaurre | Mercè Blasco | Esther Arias Valor | James Burke | Victoria Morales | Gesara Sert DISSENY I MAQUETACIÓ DEL CATÀLEG | DISEÑO Y MAQUETACIÓN DEL CATÁLOGO | CATALOGUE DESIGN AND LAYOUT Pamela Taveras Pérez COMUNICACIÓ | COMUNICACIÓN | COMMUNICATION Departament de Comunicació de Casa Àsia | Departamento de Comunicación de Casa Asia | Casa Asia Communication Department PÀGINA WEB DEL FESTIVAL | PÁGINA WEB DEL FESTIVAL | FESTIVAL WEBSITE www.asianfilmfestival.barcelona SÖMI Graphic Studio (www.somistudio.com) GESTIÓ -
Creating Heresy: (Mis)Representation, Fabrication, and the Tachikawa-Ryū
Creating Heresy: (Mis)representation, Fabrication, and the Tachikawa-ryū Takuya Hino Submitted in partial fulfillment of the Requirement for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2012 © 2012 Takuya Hino All rights reserved ABSTRACT Creating Heresy: (Mis)representation, Fabrication, and the Tachikawa-ryū Takuya Hino In this dissertation I provide a detailed analysis of the role played by the Tachikawa-ryū in the development of Japanese esoteric Buddhist doctrine during the medieval period (900-1200). In doing so, I seek to challenge currently held, inaccurate views of the role played by this tradition in the history of Japanese esoteric Buddhism and Japanese religion more generally. The Tachikawa-ryū, which has yet to receive sustained attention in English-language scholarship, began in the twelfth century and later came to be denounced as heretical by mainstream Buddhist institutions. The project will be divided into four sections: three of these will each focus on a different chronological stage in the development of the Tachikawa-ryū, while the introduction will address the portrayal of this tradition in twentieth-century scholarship. TABLE OF CONTENTS List of Abbreviations……………………………………………………………………………...ii Acknowledgements………………………………………………………………………………iii Dedication……………………………………………………………………………….………..vi Preface…………………………………………………………………………………………...vii Introduction………………………………………………………………………….…………….1 Chapter 1: Genealogy of a Divination Transmission……………………………………….……40 Chapter