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The Translation of William Shakespeare’s Plays and the Changing Concept of Womanhood in Greece (1875-1955) by Dalpanagioti Dimitra Thesis submitted to the Department of English Language and Culture, School of English, Faculty of Philosophy, In fulfillment of the requirements for the degree of Doctor of Philosophy Aristotle University of Thessaloniki, Greece November 2020 Acknowledgements For the completion of this thesis I am most indebted to my supervisor, Professor Emerita Tina Krontiris, for inspiring me, patiently guiding me and unfailingly encouraging me to keep going. She has always been a role model for me for her integrity, impartiality and diligence. I also wish to thank Professor Emerita Efi Avdela and Professor Alexandra Lianeri, the members of my Supervisor Committee, for their feedback and encouraging comments on my work. I have also enjoyed the generous support of my sister, Thomai Dalpanagioti, and my brother-in-law, George Vlachos; I thank them both for their kind remarks, editorial input and assistance with the collection of bibliographic resources. I am grateful to my husband, Vasilis Papakyriakou, and our two-year-old daughter, Katerina, for bearing with me during the research and the stressful months of finishing the thesis. Finally, I express my deepest gratitude to my parents, Vasilis and Anthoula Dalpanagioti, to whom I dedicate this thesis in acknowledgement of their whole-hearted and unconditional support at every level during the long years of my research. i Abstract The present thesis engages in the ongoing academic debate about translation and gender by exploring the representation of William Shakespeare’s female dramatic characters in Greek translations of his plays. The study covers the time span of eighty years (c.1875-1955), an important period in terms of the changes that profoundly affected Greek women’s identity and social position. Five chapters constitute the main body of the thesis; each focuses on the translation of one or two Shakespeare plays and includes parallel comparative examination of preceding translations of each play. The exploration of the transformations of Shakespeare’s women begins with Dimitrios Vikelas’s appropriation of Desdemona (1875) and Lady Macbeth (1882) according to the model of womanhood suggested by the ideology of the upper-middle class mercantile diaspora. The study then focuses on Konstantinos Theotokis’s progressive reading of Desdemona (1915), which was influenced by his socialist, woman-friendly views. Next comes Nikos Velmos’s reconstruction of Cleopatra (1924) as a sympathy-triggering victim of love in the context of the experimentations of the 1920s. The final two main chapters examine Vasilis Rotas’s representation of Gertrude and Ophelia (1938) before World War II, and his portrait of Cleopatra (1954-1955) after World War II. My analysis of the above translations proves the adaptability of Shakespeare’s women and demonstrates that in being recurrently translated they are also reinterpreted in ways that, among other things, reflect the changing concept of womanhood in Greece and the translators’ attitude towards the woman issue. The reinterpretation of Shakespeare’s women seems to move, though in a non-linear fashion, from a conservative perspective of womanhood towards more ii progressive images of women, which criticize patriarchal conventions, and even reach the point of embracing androgyny. iii Table of Contents Chapter 1 Introduction: Theoretical and Historical Considerations 1 i. The study of Shakespeare translation abroad and in 4 Greece ii. The historical context of the study: the woman issue 12 in Greece iii. Theoretical and methodological considerations 16 iv. The time span of the study and the selection of 36 translators and translations Chapter 2 Dimitrios Vikelas’s Foundations for the Characters of 41 Desdemona (1875) and Lady Macbeth (1882) i. Gender issues in the newly-established Greek state 42 ii. Vikelas as Shakespeare translator and his views on the 47 woman issue iii. Desdemona: interpretative cruxes, her reception in 56 Greece and Vikelas’s sources iv. Desdemona in Vikelas’s translation of Othello (1875) 60 v. Lady Macbeth: interpretative cruxes, earlier reception 70 in Greece and Vikela’s sources vi. Lady Macbeth in Vikelas’s translation of Othello 76 (1882) vii. Conclusion 86 iv Chapter 3 Konstantinos Theotokis’s (Re)presentation of Desdemona 89 (1915) i. The woman issue in early 20th-century Greece 89 ii. Theotokis as Shakespeare translator and his views on 94 the woman issue iii. The reception of Desdemona in Greece before the 100 time of Theotokis’s translation iv. Desdemona in Theotokis’s translation of Othello 103 (1915) v. Conclusion 124 Chapter 4 Nikos Velmos’s Reimagining of Cleopatra (1924) 126 i. Gender politics in the 1920s 127 ii. Velmos as Shakespeare translator and his views on the 137 woman issue iii. The translational challenge posed by Cleopatra and 150 her reception in Greece prior to Velmos’s adaptation iv. Cleopatra in Velmos’s adaptation of Antony and 155 Cleopatra (1924) v. Conclusion 171 Chapter 5 Vasilis Rotas’s Revision of Gertrude and Ophelia (1938) 173 i. The woman issue during the Metaxas regime (1936- 174 v 1941) ii. Rotas as Shakespeare translator and his views on the 180 woman issue iii. Gertrude and Ophelia: interpretative issues and their 191 reception in previous translations iv. Gertrude in Rotas’s translation of Hamlet (1938) 197 v. Ophelia in Rotas’s translation of Hamlet (1938) 204 vi. Conclusion 215 Chapter 6 Rotas’s Reinterpretation of Cleopatra in the Post-War Era (1954-1955) 217 i. Greek women in the early 1950s 218 ii. Rotas as Shakespeare translator and his views about women in the 1950s 224 iii. The reception of Cleopatra prior to Rotas’s translation 232 iv. Cleopatra in Rotas’s translation of Antony and 237 Cleopatra (1954-1955) v. Conclusion 262 Chapter 7 Conclusion 263 Bibliography 268 vi List of Further Reading Resources 319 vii 1. INTRODUCTION: THEORETICAL AND HISTORICAL CONSIDERATIONS Chapter 1 Introduction: Theoretical and Historical Considerations This thesis contributes to the scholarly dialogue that is in progress concerning Shakespeare translation and gender by investigating what it means for Shakespeare’s women to be recurrently translated in the changing environment of the Greek society. I argue that in the Greek translations of Shakespeare’s plays the female dramatic characters are continuously reinterpreted and transformed in a way that, among other things, reflects the changing concept of womanhood in Greece, the translators’ stance on the woman issue and their views on femininity. Hence, I propose that the Greek translations of Shakespeare’s plays at different historical and social times have enabled the metamorphosis of his women and their coming closer to the translators’ gender value system and to their target readers’/ audience’s universe. In this way, translation as a process has enabled not only what German intellectual Walter Benjamin calls the Űberleben (survival) of Shakespeare’s women, but also what he calls their Fortleben, i.e. their continuous progression and renewal in radically different linguistic, geographical, social and temporal contexts, which is the key to the everlasting charm they exercise upon the reader/ spectator.1 The originality of the present study lies in the fact that it covers the extensive time span of eighty years (c. 1875-1955) and it examines the representation of more than one of Shakespeare’s women in translations undertaken by different translators at different points in time. In this way, the study unearths the history of the reception of 1Benjamin develops his thoughts on translation in his famous essay “Die Aufgabe des Űbersetzers” [The Task of the Translator] written in 1923 (253-263). Caroline Disler offers an interesting discussion of how Benjamin’s concept of Fortleben has been mistranslated as “afterlife” and explains the meaning of the term (183-221). 1 1. INTRODUCTION: THEORETICAL AND HISTORICAL CONSIDERATIONS Shakespeare’s women in Greece, the part of their reception which relates to translation up to 1955. The idea of “retranslation” and the scholarly discussion surrounding it prove useful in discerning the motives behind the decision to produce new translations of Shakespeare’s plays and in making comparisons between chronologically close or distant translations of the same play. Although there is a growing volume of scholarly work that is concerned with Shakespeare translation in relation to gender, to my knowledge, there is no other study at a national or at an international level that offers the history of interpretation of Shakespeare’s women in translations. Most existing research concerns small-scale studies, which focus on one translator or on one play and most of the times the comparison, if any, they make among chronologically adjacent or distant translations is not extensive. Consideration of issues of gender has been incorporated in the study of translation since the 1980s. In 1992 Susan Bassnett had a “definitive feeling that women were starting to propose alternative theories of translation” as early as in the mid-1980s and she cited as an example Myriam Diaz-Diocaretz’s Translating Poetic Discourse: Questions of Feminist Strategies in Adrienne Rich (1986) (“Writing in No Man’s Land” 67). The so-called “Cultural Turn” in Translation Studies, which Bassnett and André Lefevere advocated in a chapter jointly written in their book Translation, History and Culture (Bassnett and Lefevere, “Introduction”
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