Book contents
- Frontmatter
- Dedication
- Acknowledgements
- Contents
- Introduction
- Translations in A Midsummer Night's Dream
- Elizabethan Translation: the Art of the Hermaphrodite
- From Stage to Page: Character through Theatre Practices in Romeo and Juliet
- Translating the Elizabethan Theatre: the Politics of Nostalgia in Olivier's Henry V
- Tempestuous Transformations
- ‘…tinap ober we leck giant’: African Celebrations of Shakespeare
- (Post)colonial Translations in V. S. Naipaul's The Enigma of Arrival
- Sentimental Translation in Mackenzie and Sterne
- Hazlitt's Liber Amoris; or, the New Pygmalion (1823): Conversations and the Statue
- Translating Value: Marginal Observations on a Central Question
- Browning's Old Florentine Painters: Italian Art and Mid-Victorian Poetry
- Thackeray and the ‘Old Masters’
- William Morris and Translations of Iceland
- Aestheticism in Translation: Henry James, Walter Pater, and Theodor Adorno
- Helena Faucit: Shakespeare's Victorian Heroine
- ‘More a Russian than a Dane’: the Usefulness of Hamlet in Russia
- Translation and Self-translation through the Shakespearean Looking-glasses in Joyce's Ulysses
- Self-Translation and the Arts of Transposition in Allan Hollinghurst's The Folding Star
- Translation in the Theatre I: Directing as Translating
- Translation in the Theatre II: Translation as Adaptation
- Notes on Contributors
- Index
Introduction
- Frontmatter
- Dedication
- Acknowledgements
- Contents
- Introduction
- Translations in A Midsummer Night's Dream
- Elizabethan Translation: the Art of the Hermaphrodite
- From Stage to Page: Character through Theatre Practices in Romeo and Juliet
- Translating the Elizabethan Theatre: the Politics of Nostalgia in Olivier's Henry V
- Tempestuous Transformations
- ‘…tinap ober we leck giant’: African Celebrations of Shakespeare
- (Post)colonial Translations in V. S. Naipaul's The Enigma of Arrival
- Sentimental Translation in Mackenzie and Sterne
- Hazlitt's Liber Amoris; or, the New Pygmalion (1823): Conversations and the Statue
- Translating Value: Marginal Observations on a Central Question
- Browning's Old Florentine Painters: Italian Art and Mid-Victorian Poetry
- Thackeray and the ‘Old Masters’
- William Morris and Translations of Iceland
- Aestheticism in Translation: Henry James, Walter Pater, and Theodor Adorno
- Helena Faucit: Shakespeare's Victorian Heroine
- ‘More a Russian than a Dane’: the Usefulness of Hamlet in Russia
- Translation and Self-translation through the Shakespearean Looking-glasses in Joyce's Ulysses
- Self-Translation and the Arts of Transposition in Allan Hollinghurst's The Folding Star
- Translation in the Theatre I: Directing as Translating
- Translation in the Theatre II: Translation as Adaptation
- Notes on Contributors
- Index
Summary
‘Translation it is that openeth the window, to let in the light’
Miles Smith, Preface to King James version of the BibleThis volume, comprising many individual but conceptually interrelated studies, sets out to multiply perspectives on the concept of translation, making it intellectually generative, an invaluable prompter to reinterpretation of texts and fresh theoretical reflections on pertinent critical issues. Mindful that the ideally singular light radiating from translation as conceived by the translators of the King James Bible might actually be refracted through manifold interpretations, our twenty-two collaborators read and reread through what we would call the prism of translation, shedding on the concept and the texts, to bend one of Philip Larkin's luminous epithets, a ‘many-angled light’.
The identification of reading with translation has by now a distinguished literary pedigree (one thinks of a line of modern writers from Proust to Calvino who have either claimed that reading entails an act of translation or, more challengingly, that translation is the only proper way to read a text). ‘Reading is already translation, and translation is translation for the second time,’ wrote Hans-Georg Gadamer, and this is dynamically related to writing, also seen by Proust as, ideally, translation. ‘In the act of writing, the author is producing a complicated translation of the “text” of the world; we generate a second translation in our attempt to return to the “native tongue of reality”.’ Others have gone on to multiply the number of translations involved in these writings and readings, notably Octavio Paz and Jacques Derrida, so that perception, speech, writing, reading, criticism, all participate in the same interpretative act. But the basis of translation proper, and of the interpretations of and through translation included in this book, remains the same: that close reading of texts on which translation has always to depend.
- Type
- Chapter
- Information
- Translating LifeStudies in Transpositional Aesthetics, pp. 1 - 14Publisher: Liverpool University PressPrint publication year: 2000