1 DIPLOMARBEIT Titel der Diplomarbeit “Cannibalizing Cultures: Schnitzler in London, Stoppard in Vienna. The Influence of Socio-cultural, Literary, and Power-related Norms on Drama Translation” Verfasserin/ Verfasser Julia-Stefanie Maier, Bakk. angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, 2010 Studienkennzahl lt. Studienblatt: A 190 344 347 Studienrichtung lt. Studienblatt: Lehramtsstudium UF Englisch UF Französisch Betreuerin/ Betreuer: Univ.-Prof. Dr. Ewald Mengel 2 3 To those who have showed me what intercultural awareness means. 4 5 Acknowledgements I am grateful to my advisor, Univ.-Prof. Dr. Ewald Mengel, for his constant guidance and support. His expertise in the field of translation studies and literary theory has been of invaluable help and has led to many interesting discussions. His encouragement and his belief in my project have given me the chance to do something new in my field of predilection, translation studies, within the realms of the research program Weltbühne Wien . It is an honor for me to have been invited to contribute to this project. Many thanks also go to Elisabeth, Heather, and Zandra for proofreading the paper. Last but not least, I would like to thank my parents and Vincent for their inexhaustible love and support. 6 7 Declaration of Authenticity I confirm to have conceived and written this paper in English all by myself. Quotations from other authors are all clearly marked and acknowledged in the bibliographical references within the text. Any ideas borrowed and/or passages paraphrased from the works of other authors are equally truthfully acknowledged and identified. Hinweis Diese Diplomarbeit hat nachgewiesen, dass die betreffende Kandidatin oder der betreffende Kandidat befähigt ist, wissenschaftliche Themen selbständig sowie inhaltlich und methodisch vertretbar zu bearbeiten. Da die Korrekturen der/des Beurteilenden nicht eingetragen sind und das Gutachten nicht beiliegt, ist daher nicht erkenntlich, mit welcher Note diese Arbeit abgeschlossen wurde. Das Spektrum reicht von sehr gut bis genügend. Es wird gebeten, diesen Hinweis bei der Lektüre zu beachten. 8 9 Table of Contents 0 Introduction ............................................................................................................... 13 I. MODERN TRENDS IN DRAMA TRANSLATION: Laying the Foundations….....................................................................................................................17 I.1 Translation Theory: A Historical Overview ........................................................... 18 I.1.1 The Century-Old Quarrel Between the “Ancients” and the “Moderns”: Source- Text Versus Target-Text Based Translation ................................................................... 18 I.1.2 Translation: Mission Impossible? .................................................................... 21 I.1.3 Translation as Cultural Enrichment…………………………………………...23 I.2 Polysystem Theory and Cultural Transfer Theory: The Theoretical Backbone of the Study ............................................................................................................................ 24 I.2.1 Even-Zohar’s Polysystem Theory ..................................................................... 26 I.2.2 Espagne and Werner’s Cultural Transfer Theory ............................................ 28 I.3 Translation in Context .............................................................................................. 30 I.3.1 Drama Translation and Non-Verbal Contextualization ................................... 30 I.3.2 Cultures as Historically Constructed Entities................................................... 32 I.4 On the Impossibility of ‘ Equivalence’ ..................................................................... 35 I.4.1 Cultural Determination and its Implication for the Translation Process .......... 35 I.4.2 Meaning as an Infinitely Unstable Construct ................................................... 38 I.5 Translation and Power.............................................................................................. 42 I.5.1 An Interdisciplinary Undertaking..................................................................... 42 I.5.2 Translation as a Struggle of Ideological Forces rather than a Subjective Decision-Making Process ............................................................................................... 44 I.5.3 The Intricate Web of Power which Lies Behind the Translation Process ........ 47 I.5.3.1 ‘Strong’ vs. ‘Weak’ Linguistic Communities ................................................. 47 I.5.3.2 (How) Can Established Power Structures Be Overcome? .............................. 49 I.5.3.3 Backstage: Lobbying Behind the Scenes ....................................................... 52 I.6 Future Trends and Perspectives: On Diaspora, Hybridity and The Space In Between …………………………………………………………………………………..56 10 II. SCHNITZLER IN LONDON: Liebelei and Das Weite Land in their English Versions by Tom Stoppard………………………………………...………………….....59 II.1 From Theory to Practice: Implementing a Descriptive , Function-based Approach to Translation. .................................................................................................................. 60 II.2 Arthur Schnitzler: Choice of Plays ......................................................................... 63 II.3 On the Impossibility of Equivalence: Highlighting Translation Shifts ............... 65 II.3.1 An Analysis on the Macro-Level of Schnitzler’s Liebelei and Das weite Land in Comparison to Stoppard’s Dalliance and Undiscovered Country .............................. 66 II.3.1.1 Altering Length and Structure ....................................................................... 66 II.3.1.2 Peritext and Stage Directions ........................................................................ 68 II.3.1.3 Dialog Structure, Rhythm, and Tempo ......................................................... 69 II.3.1.4 Stylistic Characteristics and Genre ............................................................... 71 II.3.1.5 Topics and Themes ....................................................................................... 74 II.3.2 An Analysis on the Micro-Level of Schnitzler’s Liebelei and Das weite Land in Comparison to Stoppard’s Dalliance and Undiscovered Country .............................. 75 II.3.2.1 Dialects and Linguistic Variation .................................................................. 75 II.3.2.2 Language, Register, and Vocabulary ............................................................ 78 II.3.2.3 Syntax, Punctuation, and Recurrence ............................................................ 79 II.3.2.4 Course of Conversation and Forms of Address ............................................ 80 II.3.2.5 Cultural References or Culturemes ............................................................... 83 II.4 From Austria to Terranglia: Socio-Cultural Factors Governing the Translation Process.. ............................................................................................................................. 84 II.4.1 Different Signifying or Code Systems ............................................................. 84 II.4.2 Different Theatrical Norms and Conventions .................................................. 87 II.4.3 Historical Considerations: Contrasting Fin de Siècle Vienna and London ...... 90 II.4.4 Considering the Time Axis: From Vienna 1900 to London 2000 .................... 96 II.4.5 The Significance of the Degree of the Text’s Cultural Content ..................... 101 II.5 From Austria to Terranglia: Factors of Power Governing the Translation Process.. ........................................................................................................................... 103 II.5.1 Translation as Negotiation: Source and Target Elements in Stoppard’s Dalliance and Undiscovered Country ........................................................................... 103 II.5.2 The Hegemony of the English: Yes, Arthur Schnitzler is a Famous Austrian Playwright… or is he German? Or English? ................................................................ 106 II.5.2.1 Performance is Everything ........................................................................... 107 11 III. STOPPARD IN VIENNA: Rosencrantz and Guildenstern Are Dead and Travesties in their German Versions by Hanno Lunin and Hilde Spiel………………………….111 III.1 Tom Stoppard: Choice of Plays ...................................................................... 112 III.2 On the Impossibility of Equivalence: Highlighting Translation Shifts ....... 114 III.2.1 An Analysis on the Macro-Level of Stoppard’s Rosencrantz and Guildenstern are Dead and Travesties in Comparison to their German Versions Rosenkranz und Güldenstern and Travesties .......................................................................................... 114 III.2.1.1 Altering Length and Structure .................................................................... 114 III.2.1.2 Peritext and Stage Directions ..................................................................... 116 III.2.1.3 Dialog Structure, Rhythm, and Tempo ....................................................... 116 III.2.1.4 Stylistic Characteristics and Genre ............................................................. 121 III.2.1.5 Topics and Themes ....................................................................................