Overview

The identification of reading with translation has a distinguished literary pedigree. This volume sets out to multiply perspectives on the concept of translation, making it intellectually generative, an invaluable prompter to the reinterpretation of texts and fresh theoretical reflections on pertinent critical issues. The contributors read and re-read a wide variety of writing and performance through the prism of translation, shedding a ""many-angled light"" on the concepts and the texts they read. Much of the emphasis in this book is on translation as performative, with translation discussed as a form of realization or an enactment, both metaphorically and more pragmatically with an emphasis on specific function in the actualities of transference from page to stage or from stage to screen. In some discussions the focus is on self-translation as self-dramatization, while in others, self-translation is seen as more problematic self-mythologizing. Translation may also be politically charged as gendered re-writing and this is a theme explored by a number of contributors.

Full Product Details

Author:   Shirley Chew ,  Alistair Stead
Publisher:   Liverpool University Press
Imprint:   Liverpool University Press
Volume:   33
Dimensions:   Width: 16.30cm , Height: 3.80cm , Length: 23.90cm
Weight:   0.715kg
ISBN:  

9780853236740

ISBN 10:   0853236747
Pages:   428
Publication Date:   01 May 1999
Audience:   General/trade ,  General ,  Postgraduate, Research & Scholarly
Format:   Hardback
Publisher's Status:   Out of Print
Availability:   In Print  
Limited stock is available. It will be ordered for you and shipped pending supplier's limited stock.

Table of Contents

Translation in ""A Midsummer Night's Dream"", Stanley Wells; Elizabethan translation - the art of the Hermaphrodite, Jonathan bate; from stage to page - character through theatre practices in ""Romeo and Juliet"", Lynette Hunter, Peter Lichtenfels; translating the Elizabethan theatre - the politics of nostalgia in Olivier's ""Henry V"", Martin Butler; tempestuous transformations, David Lindley; ""...tinap ober we leck giant"" - African celebrations of Shakespeare, Martin Banham. Eldred Durosimi Jones; (post)colonial translations in V.S. Naipaul's ""The Enigma of Arrival"", Shirley Chew; sentimental translation in Mackenzie and Sterne, David Fairer; Hazlitt's ""Liber Amoris; or, the New Pigmalion"" (1823) - conversations and the statue, John Barnard; Thackeray and the ""old masters"", Leonee Ormond; translating value -marginal observations on a central question, Geoffrey Hill; Browning's old Florentine painters - Italian art and mid-Victorian poetry, Kelvin Everest; William Morris and translation of Iceland, Andrew Wawn; aestheticism in translation - Henry James, walter Pater, and Theodor Adorno, Richard Salmon; Helena Faucit - Shakespeare's Victorian heroine, Gail Marshall; ""more Russian than a Dane"" - the usefulness of ""Hamlet"" in Russia, Peter Holland; translation and self-translation through the Shakespearean looking-glasses in Joyce's ""Ulysses"", Richard Brown; self-translation and the arts of transposition in Allan Hollinghurst's ""The Folding Star"", Alistair Stead; translation in the theatre I - directing as translating, Sir Peter Hall in interview with Mark Batty; translation as theatre II - translation as adaptation, John Barton in interview with Mark Batty.

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Author Information

Shirley Chew is Professor of Commonwealth and Postcolonial Literatures at the University of Leeds.

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