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Wyszukujesz frazę "Shakespeare" wg kryterium: Temat


Tytuł:
The Enemy Other: Discourse of Evil in William Shakespeare’s "The Tempest"
Autorzy:
Abu-Shomar, Ayman
Powiązania:
https://bibliotekanauki.pl/articles/39759622.pdf
Data publikacji:
2022
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
discourse of evil
William Shakespeare
deconstruction
post-colonial criticism
European renaissance
Opis:
Caliban, the ‘enemy Other’ of William Shakespeare’s The Tempest, is a character that allows further investigations of the colonial ideology in its earliest forms; locating ‘evil’ forces outside the continent of Europe and the White race. Caliban, the only non-European character, is typified as the autocratic antagonist of the play whose evil intentions and actions cannot be redeemed. Against such representation, the essay argues that the villainous discourse attributed to Caliban is informed by Renaissance theological doctrines escorted by an emergent colonial ideology. It argues that, at a semantic level, the employment of the concept of ‘evil’ often serves as an intensifier to denounce wrongful actions. At a moral level, however the term is often contested on the basis that it involves unwarranted metaphysical commitments to dark spirits necessitating the presence of harmful supernatural creatures. To attribute the concept to human beings is therefore essentially problematic and dismissive since it lacks the explanatory power of why certain people commit villainous actions rather than others. Hence, the epistemological aporia of Caliban’s ‘evil’ myth reveals an inevitable paradox, which concurrently requires locating Caliban both as a human and unhuman figure. Drawing on a deconstructionist approach, the essay puts the concept of ‘evil’ under erasure, hence, argues that Caliban’s evilness is a mere production of rhetoric and discourse rather than a reality in itself. This review contributes to the intersecting areas of discourse, representations, and rhetoric of evil within the spectrum of postcolonial studies.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2022, 25, 40; 95-113
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Translation as Rewriting: Cultural Theoretical Appraisal of Shakespeare’s "Macbeth" in the Ewe language of West Africa
Autorzy:
Agbozo, G. Edzordzi
Powiązania:
https://bibliotekanauki.pl/articles/648287.pdf
Data publikacji:
2018
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Blege
Ewe
Macbeth
Shakespeare
translation
West Africa
Opis:
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.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2018, 18, 33; 43-56
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
“To Make Dark Heaven Light:” Transcending the Tragic in Sintang Dalisay
Autorzy:
Alegre, Anne Nichole A.
Powiązania:
https://bibliotekanauki.pl/articles/39763095.pdf
Data publikacji:
2022
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Shakespeare and adaptation
Filipino reception of Shakespeare
Romeo and Juliet adaptations
genre transformation
global Shakespeare
Opis:
Directed by Ricardo Abad and choreographed by Matthew Santamaria, Sintang Dalisay—a Filipino adaptation of Shakespeare’s Romeo & Juliet—is often lauded for its use of the igal ethnic dance of the Sama-Badjau, a Muslim tribe located in the southern region of the Philippines. It depicts Rashiddin and Jamillia’s star-crossed love amidst a violent and ancient feud between their families. This paper discusses the process and product of interweaving performance traditions and cultures in Sintang Dalisay and how the adaptation transforms Shakespeare’s Romeo and Juliet from tragic to utopic. It does so in two aspects: the kinesthetic and the mythic. First, the use of the igal dance motif expresses and unearths the play’s inherently religious and celestial language. Second, the appropriation of Asian myths or beliefs—particularly of Chinese and Filipino origins—transforms and transcends the tragic ending of Romeo and Juliet’s deaths.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2022, 26, 41; 33-50
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
“This is one Lucianus, nephew to the king!:” Political Dynamics of Four Hungarian Translations of "Hamlet"
Autorzy:
Almási, Zsolt
Powiązania:
https://bibliotekanauki.pl/articles/39778112.pdf
Data publikacji:
2023
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
translation
Hamlet
Shakespeare
politics
Hungary
Ferenc Kazinczy
János Arany
István Eörsi
Ádám Nádasdy
Opis:
In this paper I endeavour to retell a partial history of the Hungarian translation of Hamlet’s commentary: “This is one Lucianus, nephew to the King!” (3:2:239) on the “Murder of Gonzago,” aiming to elucidate the intricate interplay between translation, cultural discourse, and socio-political dynamics. Hamlet’s commentary, seemingly straightforward yet laden with complexity, poses implications capable of reshaping the trajectory and purpose of his theatrical experiment, crafted to probe and establish Claudius’ guilt. The partial history of translations encompasses the epochs of Ferenc Kazinczy (18th century) and János Arany (19th century) up to the modern renderings of István Eörsi and Ádám Nádasdy (20th-21st centuries). Within this framework, I claim that exploring these translations of Hamlet’s commentary offers a gauge of Hamlet’s position in Hungarian cultural discourse. The evolving connotations of words, reflective of linguistic shifts, imbue layered meanings not only onto the statement itself but also onto the theatrical experiment it encapsulates. This exploration of translation, interpretation, and linguistic evolution sheds light on Shakespeare’s and Hamlet’s socio-cultural-political role in Hungary, as translations serve not merely as transparent channels of meaning but also as reflections on the political and cultural commitments of translators and their audiences.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2023, 28, 43; 245-263
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Politics, Shakespeare, East-Central Europe: Theatrical Border Crossings
Autorzy:
Almási, Zsolt
Kujawińska Courtney, Krystyna
Nicolaescu, Mădălina
Škrobánková, Klára
Vyroubalova, Ema
Zaharia, Oana-Alis
Powiązania:
https://bibliotekanauki.pl/articles/39776472.pdf
Data publikacji:
2023
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
race
racism
political theater
William Shakespeare
Jan Kott
adaptation
cultural mobility
cultural transmission
microhistories
translation
Opis:
This essay discusses how productions of Shakespeare’s plays that transcend various geographical, national, and linguistic boundaries have influenced the theatrical-political discourse in East-Central Europe in the twenty-first century. It focuses primarily on the work of four internationally-established directors: Andrei Şerban (Romania), Jan Klata (Poland), David Jařab (Czech Republic), and Matei Vișniec (Romania), whose works have facilitated interregional cultural exchange, promoting artistic innovation and experimentation in the region and beyond. Among the boundary-crossing productions analysed in detail are Vișniec’s Richard III will not Take Place, Jařab’s Macbeth – Too Much Blood, Klata’s Measure for Measure, and Serban’s Richard III. The essay also notes that while there has been a relative scarcity of Shakespearean productions in this region engaging closely with gender and race inequalities, productions such as Klata’s African Tales or Vladimír Morávek’s Othello manage to work with these politically charged topics in subtler but still productive ways. The essay concludes that the region’s shared historical experience of totalitarian regimes followed by the struggles of nascent democracies, provides a fertile ground for a diverse and internationally ambitious Shakespearean theatre.  
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2023, 28, 43; 45-68
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
“The most famous Jew outside the Old Testament”: Recontextualizing Shakespeare in Clive Sinclair’s Shylock Must Die
"Najsłynniejszy Żyd spoza Starego Testamentu": Szekspir w nowym kontekście w zbiorze opowiadań Clivea Sinclaira Skylock Must Die
“Самыйизвестный Еврей за пределами Старого Завета”: реконтекстуализация Шекспира в Shylock Must Die Клайва Синклера
Autorzy:
Anténe, Petr
Powiązania:
https://bibliotekanauki.pl/articles/2191568.pdf
Data publikacji:
2022-06-21
Wydawca:
Wydawnictwo Uniwersytetu Śląskiego
Tematy:
еврейская литература
Клайв Синклер
Shylock Must Die
Шекспир
Венецианский Купец
literatura żydowska
Clive Sinclair
Szekspir
Kupiec wenecki
Jewish literature
Shakespeare
The Merchant of Venice
Opis:
The posthumously published short story collection Shylock Must Die (2018) by the British Jewish writer Clive Sinclair works with Shakespeare’s play The Merchant of Venice in a variety of creative ways. The short stories borrow from The Merchant of Venice especially the theme of antisemitism and Shylock as the main Jewish character but are usually set in the 20th or 21st century rather than in the Renaissance. Some stories react to notable productions of the play across the globe, e.g. in Stockholm in 1944, London in 2012 or in Venice in 2016, the year of the quincentennial commemorations of the foundation of the Venetian ghetto. The stories also include tragicomic elements as typical features of Jewish literature. 
Wydany pośmiertnie zbiór opowiadań Shylock Must Die (“Szajlok musí umrzeć”, 2018) brytyjskiego pisarza żydowskiego pochodzenia Clive'a Sinclaira na wiele twórczych sposobów nawiązuje do sztuki Szekspira Kupiec wenecki. Historie te podejmują główne wątki antysemityzmu właśnie z Kupca weneckiego, z Shylockiem jako głównym bohaterem żydowskim na czele, ale ich akcja rozgrywa się zazwyczaj nie w renesansie, lecz w XX lub XXI wieku. Niektóre z opowiadań są odpowiedzią na ważne przedstawienia Kupca weneckiego na całym świecie, np. w Sztokholmie w 1944 r., w Londynie w 2012 r. czy w Wenecji z okazji 500. rocznicy założenia getta żydowskiego w 2016 r. Opowiadania zawierają również elementy tragikomiczne, co jest cechą charakterystyczną literatury żydowskiej.
Выпущенный посмертно сборник коротких рассказов британско-еврейского писателя Клайва Синклера Shylock Must Die (“Шейлок должен умереть”, 2018) по-новому подходит к Венецианскому Купцу Шекспира. Рассказы берут из пьесы темы антисемитизма и Шейлока в качестве главного героя-еврея, но действие их происходит в XX или XXI веке вместо эпохи Ренессанса. Некоторые из рассказов реагируют на известные постановки пьесы: стокгольмскую 1944-го года, лондонскую 2012-го года или венецианскую 2016-го года, в котором отметили 500 лет с момента основания еврейского гетто в Венеции. Рассказы также включают в себя трагикомические элементы, присущие еврейской литературе.
Źródło:
Iudaica Russica; 2022, 1(8); 1-13
2657-4861
2657-8352
Pojawia się w:
Iudaica Russica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Economic Nationalism in Haughton’s<i>Englishmen for My Money</i>and Shakespeare’s<i>The Merchant of Venice</i>
Autorzy:
Baldo, Jonathan
Powiązania:
https://bibliotekanauki.pl/articles/647975.pdf
Data publikacji:
2016-06-01
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
economic
nationalism
Shakespeare
William Haughton
Steelyard
Queen Elizabeth
The Merchant of Venice
Englishmen for My Money
satisfaction
contentment
usury
interest
Opis:
Close to the time of Elizabeth’s expulsion of the Hanseatic merchants and the closing of the Steelyard (der Stahlhof) in the years 1597-98, two London plays engaged extensively with the business of trade, the merchant class, foreign merchants, and moneylending: early modern England’s first city comedy, William Haughton’s Englishmen for My Money, or A Woman Will Have Her Will (1598); and Shakespeare’s The Merchant of Venice (registered 22 July 1598). Whereas Haughton’s play uses foreignness, embodied in a foreign merchant, three half-English daughters, and three foreign suitors, as a means of promoting national consciousness and pride, Shakespeare indirectly uses the foreign not to unify but to reveal the divisions within England’s own economic values and culture.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2016, 13; 51-67
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
“Far more fair than black”: Othellos on the Chilean Stage
Autorzy:
Baldwin Lind, Paula
Powiązania:
https://bibliotekanauki.pl/articles/1033511.pdf
Data publikacji:
2020-12-30
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Shakespeare
Othello
Chilean theatre
blackface
Moor
Other
Opis:
This article reviews part of the stage history of Shakespeare’s Othello in Chile and, in particular, it focuses on two performances of the play: the first, in 1818, and the last one in 2012-2020. By comparing both productions, I aim to establish the exact date and theatrical context of the first Chilean staging of the Shakespearean tragedy using historical sources and English travellers’ records, as well as to explore how the representation of a Moor and of blackness onstage evolved both in its visual dimension — the choice of costumes and the use of blackface—, and in its racial connotations alongside deep social changes. During the nineteenth century Othello became one of the most popular plays in Chile, being performed eleven times in the period of 31 years, a success that also occurred in Spain between 1802 and 1833. The early development of Chilean theatre was very much influenced not only by the ideas of the Spaniards who arrived in the country, but also by the available Spanish translations of Shakespeare; therefore, I argue that the first performances of Othello as Other — different in origin and in skin colour — were characterised by an imitative style, since actors repeated onstage the biased image of Moors that Spaniards had brought to Chile. While the assessment of Othello and race is not new, this article contrasts in its scope, as I do not discuss the protagonist’s actual origin, but how the changes in Chilean social and cultural contexts can reshape and reconfigure the performance of blackness and turn it into a meaningful translation of the Shakespearean Moor that activates audiences’ awareness of racism and fears of miscegenation.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2020, 22, 37; 139-170
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Brown, Never Black: Othello on the Nazi Stage
Autorzy:
Bassey, Alessandra
Powiązania:
https://bibliotekanauki.pl/articles/1033519.pdf
Data publikacji:
2020-12-30
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Othello
Nazi Germany
Nazi Shakespeare
Blackface
Race
Representation
Shakespeare Production
Global Shakespeare
German Shakespeare
Theatre History
Opis:
This paper examines the ways in which Othello was represented on the Nazi stage. Included in the theatre analyses are Othello productions in Frankfurt in 1935, in Berlin in 1939 and 1944, and in pre-occupation Vienna in 1935. New archival material has been sourced from archives in the aforementioned locations, in order to give detailed insights into the representation of Othello on stage, with a special focus on the makeup that was used on the actors who were playing the titular role. The aim of these analyses is not only to establish what Othello looked like on the Nazi and pre-Nazi stage, but also to examine the Nazis’ relationship with Shakespeare’s Othello within the wider context of their relationship with the Black people who lived in Nazi Germany at the time. In addition, the following pages offer insights into pre-Nazi, Weimar productions of Othello in order to create a more complex and comparative understanding of Nazi Othello productions and the wider theatrical context within which they were produced. In the end, we find out, based on existing evidence, why Othello was brown, and never Black.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2020, 22, 37; 51-65
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Othello and the Ambivalences of Italian Blackface
Autorzy:
Bassi, Shaul
Scego, Igiaba
Powiązania:
https://bibliotekanauki.pl/articles/1033517.pdf
Data publikacji:
2020-12-30
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Othello
Shakespeare in Italy
blackface
colonialism
postcolonialism
fascism
film
adaptations
popular culture
Opis:
Blackface is a cultural practice that appears ubiquitously in Italian history cutting across the political spectrum; it also lends itself to suprising anti-racist actions. This essay examines the use of blackface from the nineteenth to the twenty-first century by looking at its appearance in popular culture and, contextually and dialectically, at its adoption in selected performances of Othello, a play that holds special meaning in Italy because of its famous operatic adaptations. Africa and blackness were often represented in Italian visual arts in the early modern period, but the early colonial ventures of the new independent Italy create a new exotic imaginary that is particularly manifest in popular culture. Othello is influenced by new African discourses but it allso exists in a parallel dimension that somehow resists facile political interpretations. The colonial ventures of post-unification and Fascist Italy do not reverberate in any predictable manner in the growing popularity of the play. After World War II new forms of exoticism emerge that will be subverted only by a new postcolonial scenario that also coincides with a re-emergence of racism. Against the respective historical backdrops, we examine the idiosyncratic versions of blackface by Tommaso Salvini, Pietro Sharoff, Pier Paolo Pasolini, Carmelo Bene, and Elio De Capitani to suggest continuities and discontinuities in Italian interpretations of Othello.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2020, 22, 37; 67-85
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Nowa komparatystyka: między uważnym czytaniem a lekturą na dystans
New Comparative Literature: Between Close and Distant Reading
Autorzy:
Bilczewski, Tomasz
Powiązania:
https://bibliotekanauki.pl/articles/579280.pdf
Data publikacji:
2016
Wydawca:
Łódzkie Towarzystwo Naukowe
Tematy:
comparison
comparative literature
rhetoric
Shakespeare
sonnets
Opis:
In recent years, comparative literature has affected a lively response to the dynamic transformations of its socio-cultural environment: it has declared the death of the old discipline and the beginning of a new one, and has increasingly set foot into the realm of the modern digital laboratory. It has, however, too seldom made use of a historical analysis of its own origins, which could have an impact on how future tasks and opportunities in comparative studies are perceived. This paper looks back to the rhetorical legacy of the category of comparison — one of the traditions that led to the institutionalization of comparative studies in the nineteenth century, and which could be useful in an attempt to rewrite the discipline’s history, particularly if grounded in translation studies.
Źródło:
Zagadnienia Rodzajów Literackich; 2016, 59/120 z. 4; 47-61
0084-4446
Pojawia się w:
Zagadnienia Rodzajów Literackich
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Makbet Giuseppe Verdiego wobec romantycznej recepcji
Macbeth by Giuseppe Verdi and the Romantic reception of William Shakespeare’s drama
Autorzy:
Borkowska-Rychlewska, Alina
Powiązania:
https://bibliotekanauki.pl/articles/1535114.pdf
Data publikacji:
2010-01-01
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
William Shakespeare’s dramatic works
Giuseppe Verdi’s opera
Romantic reception of Shakespeare
operatic stage
adaptation of the works of Shakespeare
Opis:
Romantic approach to William Shakespeare’s dramatic works, as well as the notions and questions so vital for the consciousness of the epoch concerning the capacity and function of destiny, unrecognizability of existence, interference of supernatural powers in the world that can be grasped with human mind and common sense, are all intriguingly transparent in Giuseppe Verdi’s Macbeth. The Italian composer, who knew the Romantic reception of Shakespeare’s dramatic plays well (e.g. the Italian translations of the lectures given by August W. Schlegel), embarked upon the issue of the ambiguity of the scene with the witches that appear to Macbeth, posed a question on the cognitive value in the dreamy apparition (in the brilliantly constructed Lady Macbeth’s sleepwalking scene), and, finally, emphasized the aspect of hybridity of the world that inseparably combines the grandeur and the grotesque (the point highlighted in Victor Hugo’s considerations on Shakespeare). The two versions of the operatic Macbeth — the one produced in Florence in 1847, the other, 1865 revised version produced for Paris — relate well with the long sequence of changeable conventions in the nineteenth century theatre, taking into consideration its requirements (the need for a spectacular character of staging, the introduction of multiple Ake a Romantic implant in the operetta world of farcical braggadocio dominant on the Parisian stage at the time of the Second Empire, testifies to the enormous influence of the Romantic reception of Shakespeare exerted at the time and defining for a considerable period of time the concept of adaptation of the works of the Stradford master to meet the needs of the operatic stage.
Źródło:
Poznańskie Studia Polonistyczne. Seria Literacka; 2010, 17; 227-248
1233-8680
2450-4947
Pojawia się w:
Poznańskie Studia Polonistyczne. Seria Literacka
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Irish Bards in Shakespeares Richard III and As You Like it
Irlandzcy bardowie w Ryszardzie III i Jak wam się podoba Szekspira
Autorzy:
Breeze, Andrew
Powiązania:
https://bibliotekanauki.pl/articles/1854142.pdf
Data publikacji:
2021
Wydawca:
Państwowa Wyższa Szkoła Zawodowa w Chełmie
Tematy:
Shakespeare
Richard III
As You Like It
Ireland
Bards
Satire
Celts
Szekspir
Ryszard III
Jak wam się podoba
Irlandia
bardowie
satyra
Celtowie
Opis:
Shakespeare alludes twice to Irish bards. In Richard III, the king mentions a prophecy by one of his imminent death; in As You Like It, Rosalind jokes on how Irish bards can supposedly rhyme rats to death. Both refer to supposed bardic powers of seeing the future and of ritual cursing of enemies. A survey of the literature shows satire and prophecy as going back to ancient times. There is in addition ample material on the (sometimes deadly) eects of satire in medieval and later Ireland, where it is known from chronicles, legal tracts, handbooks of poetry, and various surviving poems. There are in addition comic tales on how bards exploited their power, including an eleventh-century one on King Guaire's Burdensome Company, wherein the poet SenchÆn rhymes to death certain mice that had spoiled an egg reserved for him. Shakespeare's references can thus be related to traditions well-known in Gaul and medieval (or early modern) Ireland and Scotland.
Źródło:
Language. Culture. Politics. International Journal; 2021, 1, 1; 129-136
2450-3576
2719-3217
Pojawia się w:
Language. Culture. Politics. International Journal
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
“This England”: Re-Visiting Shakespearean Landscapes and Mediascapes in John Akomfrah’s The Nine Muses (2010)
Autorzy:
Calbi, Maurizio
Powiązania:
https://bibliotekanauki.pl/articles/647934.pdf
Data publikacji:
2017
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
John Akomfrah
Migration
Archive
Media Interference
Rhizomatic Shakespeare
Postcolonial Shakespeare
Home and Hospitality
Englishness
Richard II
Hamlet
Opis:
The paper will offer a reading of John Akomfrah’s The Nine Muses (2010), a 90-minute experimental feature film that has been defined as “one of the most vital and original artistic responses to the subject of immigration that British cinema has ever produced” (Mitchell). It will focus on the multifarious ways in which the film makes the “canonical” literary material that it incorporates, including Shakespeare, interact with rarely seen archival material from the BBC regarding the experience of Caribbean and South Asian immigrants in 1950s and 1960s Britain. It will argue that through this interaction the familiarity of Western “canonical” literature re-presents itself as an uncanny landscape haunted by other stories, as a language that is already in itself the “language of the other” (Derrida). In particular, it will claim that Shakespearean fragments are often used in an idiosyncratic way, and they repeatedly resonate with some of the most fundamental ethical and political issues of the film, such as the question of England as “home” and migration. The paper will also argue that the decontextualization and recontextualization of these fragments makes them re-emerge as part of an interrogation of the mediality of the medium, an interrogation that also offers insights into the circulation of Shakespeare in the contemporary mediascape.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2017, 15, 30; 59-75
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
From Euphemisms to Vulgarisms: Translating King Lear’s Misogynistic Monologue (Act IV, Scene 6) into Polish
Od eufemizmów do wulgaryzmów – tłumaczenia na język polski mizoginistycznego monologu Króla Leara (Akt IV, Scena 6)
Autorzy:
Cebrat, Grzegorz Antoni
Powiązania:
https://bibliotekanauki.pl/articles/1192812.pdf
Data publikacji:
2020
Wydawca:
Krakowskie Towarzystwo TERTIUM
Tematy:
Shakespeare
King Lear
Polish translations
obscenity
Szekspir
Król Lear
tłumaczenia
obsceniczność
Opis:
The paper investigates the issue how Polish translators of William Shakespeare’s King Lear dealt with rendering Lear’s monologue (Act IV, Scene 6, ll. 107-132), being a misogynistic tirade of the mad king against adultery, sexuality, and women in general. The play was translated into Polish at least fifteen times in the 19th and 20th centuries, beginning with the oldest published rendition by Ignacy Hołowiński (1841) and concluding with the most recent one by Jerzy S. Sito (2001). The paper analyses seven selected fragments taking into consideration lexical and stylistic choices made by the translators of the monologue in order to show how changing attitudes to sexual taboo and Shakespearean obscenities affected the translations in question. The analysis reveals the evolution of translators’ attitudes to those issues (also affected by contemporary Shakespearean research): from euphemistic treatment of the topic in the 19th century, through philological translations of Tarnawski and Chwalewik, to unrestricted modern renditions of Słomczyński and Barańczak, and the extreme case of straightforward obscene translation of Jerzy S. Sito
Artykuł jest próbą analizy technik i metod zastosowanych przez tłumaczy w trakcie przekładu wyrazów i wyrażeń obscenicznych występujących w tragedii Williama Shakespeare’a Król Lear na język polski. Analiza skupia się na tłumaczeniach monologu szalonego króla (Akt IV, scena 6, wersy 107-132), który jawi się jako mizoginistyczny atak na kobiety, seksualność, oraz cudzołóstwo. Materiał tekstowy stanowi 15 przekładów sztuki, począwszy od najstarszego tłumaczenia, dokonanego przez Ignacego Hołowińskiego i opublikowanego w 1841 roku, a skończywszy na wersji Jerzego S. Sity z roku 2001. Artykuł analizuje wybrane zdania i jednostki leksykalne, pochodzące z siedmiu fragmentów monologu, pod kątem technik i strategii tłumaczeniowych zastosowanych przez poszczególnych tłumaczy przy przekładaniu pojęć uważanych za nieprzyzwoite, a dotyczących kobiecego ciała, seksu, rozpusty, cudzołóstwa, itp. Przeprowadzona analiza wykazuje ewolucję sposobów przekładu, związanych z epoką w której polski tekst powstał i jej uwarunkowaniami kulturowo-społecznymi, a także z rozwojem badań nad twórczością i językiem Shakespeare’a, i pozwala śledzić zmiany, począwszy od eufemistycznego stylu tłumaczeń powstałych w XIX. wieku, poprzez filologiczne tłumaczenia Tarnawskiego i Chwalewika, a skończywszy na współczesnych, miejscami ‘niecenzuralnych,’ tekstach Słomczyńskigo, Barańczaka, a zwłaszcza Sity, który nie zawahał się użyć wulgaryzmów.
Źródło:
Półrocznik Językoznawczy Tertium; 2020, 5, 1; 77-96
2543-7844
Pojawia się w:
Półrocznik Językoznawczy Tertium
Dostawca treści:
Biblioteka Nauki
Artykuł

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