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Journal articles on the topic 'Translating drama'
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Komporaly, Jozefina. "Translating Hungarian Drama for the British and the American Stage." Hungarian Cultural Studies 14 (July 16, 2021): 164–75. http://dx.doi.org/10.5195/ahea.2021.434.
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Reflecting on my experience of translating contemporary Hungarian theater into English, this paper examines the fluidity of dramatic texts in their original and in translation, and charts collaborations between playwrights, translators and theater-makers. Mindful of the responsibility when working from a “minor” to a “major” language, the paper signals the discrepancy between the indigenous and foreign ‘recognition circuit’ and observes that translations from lesser-known languages are predominantly marked by a supply-driven agenda. Through case studies from the work of Transylvanian-Hungarian playwright András Visky, the paper argues that considerations regarding such key tenets of live theater as “speakability” and “performability” have to be addressed in parallel with correspondences in meaning, rhythm and spirit. The paper also points out that register and the status of certain lexical choices differ in various languages. Nuancing the trajectory of Visky’s plays in English translation, this paper makes a case for translations created with and for their originals, in full knowledge of the source and receiving cultures, and with a view to their potential in performance. The paper posits the need for multiple options encoded in the translation journey, including hypothetical concepts for future mise-en-scène, and situates the translator as a key participant in the performance making process.
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Zuber-Skerritt, Ortrun. "Towards a Typology of Literary Translation: Drama Translation Science." Meta 33, no. 4 (September 30, 2002): 485–90. http://dx.doi.org/10.7202/004168ar.
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Abstract Based on the ideas of my two edited books The Languages of Theatre (Problems in the Translation and Transposition of Drama) and Page to Stage (Theatre as Translation), this paper attempts to arrive at a typology of translation which deals with both the translation of drama from one language and culture into another and with the various aspects of transposing the dramatic script on to the stage or, vice versa, the creation of drama through processes of theatre production. The focus is on those aspects of drama translation which are different from other forms of literary translation, e.g. on problems of semiotics (i.e. translating non-verbal signs in drama). The paper concludes with recommendations for future developments in drama translation research, including the production process, Le. the transposition from the written (translated) drama to the performed work of art, and the conceptualisation of the production process.
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Boehm, Philip. "Some Pitfalls of Translating Drama." Translation Review 112, no. 1 (January 2, 2022): 27–29. http://dx.doi.org/10.1080/07374836.2022.2065850.
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Boehm, Philip. "Some Pitfalls of Translating Drama." Translation Review 62, no. 1 (September 2001): 27–29. http://dx.doi.org/10.1080/07374836.2001.10523796.
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Borisenko, Yulia Aleksandrovna, and Stanislav Sergeevich Makarov. "TRANSLATING DRAMA: ANALYSIS OF DAVID EDGAR’S PLAY “ TESTING THE ECHO”." Russian Journal of Multilingualism and Education 11, no. 1 (December 15, 2019): 78–86. http://dx.doi.org/10.35634/2500-0748-2019-11-78-86.
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The article focuses on one of the problems of literary translation - the translation of dramatic texts. The article examines this type of texts in terms of the specificity of the genre and type of literature, their structural and other specific characteristics. Special attention is given to existing approaches to the development of translation strategies in drama. Different approaches to dramatic texts in linguistics and translation studies are analyzed, such as communicative, cultural, and hermeneutic ones. The play of the contemporary British writer David Edgar “Testing the Echo” was selected for a detailed pre-translation analysis, identification and solution of the most significant translation problems. The choice of the play was determined by the presence of complex culture-specific situations (interesting from the point of view of translation), the unusual principle of plot construction, as well as the lack of a translated version of the play. A detailed analysis of the play is preceded by the summary of the plot and some information about the main characters. The paper discusses the most “problematic” extracts from the translation point of view, accounts for translation decisions and lists some of the transformations that had to be resorted to in the process of translating. As a result, a conclusion is made that translation of drama has an interdisciplinary character, involving both theatrical and literary issues. Thus, the most effective strategy of translating drama is a combination of concretization and adaptation.
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Cunico, Sonia. "Translating (dis)ordered speech in drama." Babel. Revue internationale de la traduction / International Journal of Translation 51, no. 1 (October 24, 2005): 1–15. http://dx.doi.org/10.1075/babel.51.1.01cun.
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Abstract Although the topic of the representation of madness is a rich and much studied one in literary criticism, so far there has been no systematic attempt to analyse the language of madness in dramatic texts, either within the same language and culture or across them. This paper compares the strategies used to characterise the growing insanity of the king and the dynamics of his interaction with Willis, the doctor, in Alan Bennett’s successful play The Madness of George III (1992) with those in its published translation into Italian (1996). The article shows how an analysis of the strategies used in the source text is a necessary initial step 1) to reveal the systematic patterns of linguistic deviance (drawn from the language of real schizophrenia) which characterise King George’s madness, and 2) to highlight the battle for power between the two characters shown in their linguistic choices. These are key themes of the play which must be successfully transferred across in the target text. Résumé Bien que le thème de la représentation de la folie soit riche et ait été beaucoup étudié dans le domaine de la critique littéraire, il n’y a pas eu jusqu’ici de tentative systématique d’analyser le langage de la folie dans des textes dramatiques, ni dans la même langue et culture, ni dans des langues et cultures étrangères. Cet article compare les stratégies utilisées pour caractériser la folie grandissante du roi et la dynamique de son interaction avec le médecin Willis, dans la pièce à succès d’Alan Bennett, Th e Madness of George III (1992), avec celles de sa traduction publiée en italien (1996). L’article montre comment une analyse des stratégies utilisées dans le texte-source est une étape initiale nécessaire pour 1) révéler les modèles systématiques de déviance linguistique (tirés du langage de la véritable schizophrénie) qui caractérisent la folie du Roi George, et pour 2) souligner la lutte de pouvoir entre les deux personnages, qui se manifeste dans leurs choix linguistiques. Ce sont des thèmes-clés de la pièce qu’il faut réussir à transférer dans le texte cible.
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Secovnie, Kelly O. "Translating culture in West African drama." Journal of African Cultural Studies 24, no. 2 (December 2012): 237–47. http://dx.doi.org/10.1080/13696815.2012.731778.
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Xiaofei, Ren, Feng Qinghua, and Wang Nan. "A translator on the target stage." Babel. Revue internationale de la traduction / International Journal of Translation 56, no. 4 (December 31, 2010): 363–76. http://dx.doi.org/10.1075/babel.56.4.05xia.
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Ying Ruocheng, an admirable artist in China and abroad, was responsible for the translation and production of many foreign plays in China and Chinese plays abroad, with which Ying played an important role in transforming China’s cultural life, encouraging international exchange and promoting modern drama. Based on his experience in drama and film acting and directing as well as translating, he argues that the major concern of theatre translation is its performability and speakability, which can be achieved through the recreation of the orality and gestic text with each role’s unique discourse and individuality. The paper is focused on researches on Ying’s text choice and his dramatic dialogue translation to explore the characteristics of his theatre translation and influence. The study selected his two well known translations and productions in the target theatre Death of a Salesman (English to Chinese) and The Family (Chinese to English) as case studies. Text processing software Concordance 3.0 and TextPreProcessing were used to collect appropriate data. Through the careful data analysis from the aspects of word frequency, sentence length, discourse markers and deixis, Ying Ruocheng’s idea of performability in theatrical translation were proved to be true, which demonstrates his discriminating taste of dramaturgical art and his great influence on Chinese modern drama.
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Xiang, Yu, and Irina V. Monisova. "Russian symbolist drama and theater in the Chinese scientific context." RUDN Journal of Studies in Literature and Journalism 24, no. 2 (December 15, 2019): 235–44. http://dx.doi.org/10.22363/2312-9220-2019-24-2-235-244.
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The article is based on the material, presented by the authors at the International Scientific Conference “Russia and China: History and Prospects of Cooperation”. It summarizes the experience of studying drama and theater of Russian symbolism in modern Chinese philological science, and discusses the promise of translating and presenting these dramas on the Chinese stage. One of the authors of this article is a translator and publisher with a number of plays by Russian symbolists, so the article focuses on problems, which concern about adaptation and reception of Russian symbolist drama in the modern Chinese context. We can make the conclusion about Chinese researchers’ growing interest is not only to the phenomenon of the new drama by recent decades, but also to the artistic innovations in drama and theater at the turn of 19 and 20 centuries, where can be found the influence of traditional Chinese theatre and fine arts.
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Brajerska-Mazur, Agata. "Manipulizm a pierwsze pełne tłumaczenie „Dziadów” na język angielski." Między Oryginałem a Przekładem 25, no. 43 (March 31, 2019): 47–65. http://dx.doi.org/10.12797/moap.25.2019.43.03.
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Manipulism and the First Complete Verse Translation of “Dziady” into English How did the translator cope with the task of translating into English the national poetic drama series which, together with Pan Tadeusz and Wesele, is considered to be one of the national epics? Did he manage to respond to the linguistic and cultural challenges such as: the complicated structure of the Romantic drama, the combination of low and grand styles, the depiction of Polish society at the time of the Partitions, the interweaving of historical and autobiographical events into the texture of the plot and the Polish reality pictured? Is the epic translatable at all? This translation – like all others – “was not made in the vacuum” which influenced the rendition of its Polishes and the loose structure of Romantic drama. The author of this paper identifies changes and deformations of the Polish Dziady in Kraszewski’s translation and shows their cause.
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Spyrka, Lucyna. "Possiblities and Limitations of Translation of Slovak Drama Into Polish Culture." Slovenske divadlo /The Slovak Theatre 66, no. 4 (December 1, 2018): 398–408. http://dx.doi.org/10.2478/sd-2018-0024.
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Abstract The Polish and Slovak languages, as well as Polish and Slovak cultures, are considered very similar, so it would initially appear that there would be no obstacles limiting the possibilities of translating Slovak drama into Polish. It turns out however, that Slovak drama is not often translated into Polish. Older translations that were presented in Polish theatres were rarely followed in the press, and today they have been forgotten. On the contrary, current translations are published far more often than staged. The presented study evaluates this situation as a result of several limiting factors. In addition to the political conditions of cultural exchange and the manner in which publishers and theatres operate in Poland, there is also a linguistic closeness that negatively impacts on the quality of translations, as well as the stereotype of Polish and Slovak cultural proximity, which limits the interest of Polish audiences in Slovak drama.
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Wong, Laurence. "Translating Shakespeare’s imagery for the Chinese audience." Babel. Revue internationale de la traduction / International Journal of Translation 57, no. 2 (July 21, 2011): 204–25. http://dx.doi.org/10.1075/babel.57.2.05won.
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Generally speaking, the message of a poem is conveyed on three levels: the semantic, the syntactic, and the phonological. How translatable each of these levels is to the translator depends on how much cognation there is between source and target language: the more cognation there is, the more translatable each of these levels. Thus, in respect of all three levels, translation between languages of the same family, such as English and French, both of which belong to the Indo-European family, is easier than translation between languages of different families, such as English and Chinese, which belong respectively to the Indo-European and the Sino-Tibetan family. If a further distinction is to be made, one may say that, in translation between Chinese and European languages, the semantic level is less challenging than both the syntactic and the phonological level, since syntactic and phonological features are language-bound, and do not lend themselves readily to translation, whereas language pairs generally have corresponding words and phrases on the semantic level to express similar ideas or to describe similar objects, events, perceptions, and feelings. As an image owes its existence largely to its semantic content, the imagery of a poem is easier to translate than its phonological features. Be that as it may, there is yet another difference: the difference between the imagery of non-dramatic poetry and the imagery of poetic drama when it comes to translation. With reference to Hamlet and its versions in Chinese and in European languages, this paper discusses this difference and the challenges which the translator has to face when translating the imagery of poetic drama from one language into another; it also shows how translating Shakespeare’s imagery from English into Chinese is more formidable than translating it from English into other European languages.
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Reynolds, Jackie, Miriam Bernard, Jill Rezzano, and Michelle Rickett. "Ageing, Drama, and Creativity: Translating Research Into Practice." Gerontology & Geriatrics Education 37, no. 3 (February 23, 2016): 307–28. http://dx.doi.org/10.1080/02701960.2016.1152267.
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YU, Yanlin, and Zhixin XIA. "On Subtitle Translation of Chinese Costume Drama, The Longest Day in Chang’an." International Journal of Linguistics, Literature and Translation 4, no. 10 (October 31, 2021): 211–15. http://dx.doi.org/10.32996/ijllt.2021.4.10.25.
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China’s enhanced international influence creates a good environment for spreading its traditional culture overseas. In recent years, Chinese subtitle translation is no longer restricted to translating foreign works into Chinese, with costume drama subtitle translation gaining more and more attention. However, relevant research in China is inadequate, and differences between Chinese and English aggravate this difficulty, which may be solved by studying and analyzing the subtitle translation of The Longest Day in Chang'an under the guidance of Nida's functional equivalence theory from the perspectives of lexical equivalence, syntactic equivalence, and stylistic equivalence, so as to provide the guidance to translators to render a proper translation both in the conveying of information as well as ensuring readers' response.
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Suthren, Carla. "Translating Commonplace Marks in Gascoigne and Kinwelmersh's Jocasta." Translation and Literature 29, no. 1 (March 2020): 59–84. http://dx.doi.org/10.3366/tal.2020.0409.
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This essay locates the moment at which commonplace marks were ‘translated’ from printed classical texts into English vernacular drama in a manuscript of Gascoigne and Kinwelmersh's Jocasta, dated 1568. Based on a survey of the use of printed commonplace marks in classical drama between 1500 and 1568, it demonstrates that this typographical symbol was strongly associated with Greek tragedy, particularly Sophocles and Euripides, and hardly at all with Seneca. In light of this, it argues that the commonplace marks in the Jocasta manuscript should be read as a deliberate visual gesture towards Euripides. In this period, commonplace marks evoked printed Greek rather than Latin tragedy, and early modern readers might bring such associations to the English dramatic texts in which these marks also appeared, including the First Quarto of Hamlet (1603).
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Johnson, W. J. "Playing Around with Śakuntalā: Translating Sanskrit Drama for Performance." Asian Literature and Translation 1, no. 2 (February 15, 2013): 1. http://dx.doi.org/10.18573/j.2013.10200.
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Ladouceur, Louise. "Bilingualism on Stage: Translating Francophone Drama Repertoires in Canada." TRANS. Revista de Traductología, no. 13 (October 4, 2017): 129. http://dx.doi.org/10.24310/trans.2009.v0i13.3161.
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Este artículo examina la traducción de obras de teatro en diferentes momentos de la historia del teatro francófono en Canadá. Las traducciones inglesas de las obras dramáticas en lengua francesa, que se realizaron en Québec al principio de la década de los años setenta, muestran un bilingüismo artificial que sirve para promover la cohabitación lingüística y contribuye a la especificidad de un repertorio dramático anglófono emergente en Canadá. En el Canadá occidental, un tipo de teatro reciente, francófono y bilingüe, representativo del bilingüismo real que se da en las comunidades francófonas minoritarias, pone en cuestión la traducibilidad según los modelos tradicionales. Los mecanismos de traducción basados en la puesta en escena diseñados para públicos específicos, como es el caso de los sobretítulos, permiten que la producción original mantenga su dualidad lingüística a la vez que se hace accesible para grupos más amplios y diversos, y se incrementa su visibilidad tanto en el ámbito nacional como internacional.
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ROBSON, JAMES. "Transposing Aristophanes: The Theory and Practice of Translating Aristophanic Lyric." Greece and Rome 59, no. 2 (September 20, 2012): 214–44. http://dx.doi.org/10.1017/s0017383512000095.
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The reception of Aristophanes has gained extraordinary momentum as a topic of academic interest in the last few years. Contributions range from Gonda Van Steen's ground-breaking Venom in Verse. Aristophanes in Modern Greece to Hall and Wrigley's Aristophanes in Performance 421 BC–AD 2007, which contains contributions from a wide range of scholars and writers, a number of whom have had experience of staging Aristophanes' plays as live theatre. In Found in Translation, J. Michael Walton has also made strides towards marrying the theory of translation to the practice of translating Aristophanes (something I have myself also sought to do in print). And with the history of Aristophanic translation, adaptation, and staging being rapidly pieced together (in the English-speaking world at least, where Hall, Steggle, Halliwell, Sowerby, Walsh, and Walton, for example, have all made their own contributions), much of the groundwork has been laid for a study such as is attempted in this article. Here I aim to take a broad look across a range of translations in order to see how one particular text type within Aristophanic drama has been approached by translators, namely Aristophanes' lyric passages. The aim of this study will be to give both an insight into the numerous considerations that translators take into account when translating Aristophanic lyric and an impression of the range of end products that have emerged over the last two hundred years.
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Wood, Laura L., Savannah White, Danielle Gervais, Meghan Owen, Sarah Moore, Zaira Boylan, Olivia Cosby, et al. "Challenges and strategies delivering group drama therapy via telemental health: Action research using inductive thematic analysis." Drama Therapy Review 6, no. 2 (October 1, 2020): 149–65. http://dx.doi.org/10.1386/dtr_00025_1.
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When ‘shelter in place’ orders in Massachusetts went into effect during the COVID-19 pandemic, a dramatic increase occurred in the utilization of telemental health services, forcing clinicians to have to adapt their work online. This participatory action research (PAR) using inductive thematic analysis (ITA) explored challenges and recommendations in conducting group drama therapy via telehealth. Results included three broad themes: (1) technology literacy, (2) unique social justice dynamics and (3) translating drama therapy processes successfully online. Additionally, an overarching theme emerged that indicated drama therapy may be well suited to online group telemental health.
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Hardwick, Lorna. "Translating Greek plays for the theatre today." Target. International Journal of Translation Studies 25, no. 3 (October 11, 2013): 321–42. http://dx.doi.org/10.1075/target.25.3.02har.
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This essay discusses the relationship between form, language, rewriting and performance in the contemporary staging of ancient Greek drama, with special attention to the range of working practices of the translators, rewriters and theatre practitioners that are involved in the performance creation process. The discussion is framed by questions about the reciprocal influences of research in translation studies and in classics and about how both can best engage with the insights offered by performance praxis.
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Rędzioch-Korkuz, Anna Maria. "Shifting genres: Rendering bad language in the Polish voice-over of the Canadian drama American Heist." Poznan Studies in Contemporary Linguistics 56, no. 2 (June 25, 2020): 315–38. http://dx.doi.org/10.1515/psicl-2020-0009.
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AbstractThis article is devoted to the problem of translating bad language in cases when the target audience recipient has direct access to the source text and the impact translational and editorial choices have on the overall meaning of the work. As an illustration of this point, it discusses a voice-over translation, in which case it is common practice to censor vulgarities, mainly by means of under-translating certain phrases, which are considered taboo, or omitting them completely. Such choices are justified for a number of reasons, including protecting vulnerable audiences or reducing semantic density because most taboo words exercise a phatic function. However, in certain cases censoring bad language has an impact on the semiotic make-up of the work and thus, changes the meaning intended by the original author. A good illustration is provided with the analysis of particular scenes from the Canadian drama American Heist.
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Bleuer, Jessica, and Bonnie Harnden. "Translating drama therapy: Reflections on clinical practice with complex trauma." Drama Therapy Review 4, no. 2 (October 1, 2018): 167–82. http://dx.doi.org/10.1386/dtr.4.2.167_1.
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Locher, Miriam A., and Thomas C. Messerli. "Translating the other: Communal TV watching of Korean TV drama." Journal of Pragmatics 170 (December 2020): 20–36. http://dx.doi.org/10.1016/j.pragma.2020.07.002.
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Romanowska, Agnieszka. "Jarosław Iwaszkiewicz as Translator of Shakespeare." Anglica Wratislaviensia 56 (November 22, 2018): 119–32. http://dx.doi.org/10.19195/0301-7966.56.9.
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While theatre has always been the major force generating new translations of Shakespeare’s plays, the prerequisite assuring a successful i.e. theatrically functional rendering is the translator’s awareness of the theatrical potential of poetic drama. The combination of poetic and dramatic skills on the part of the translator, coupled with the interpretative reading that underlies all translation, provides a literary historian with interesting questions. How are the translator’s creative forces channelled to strike a balance between translating and playwrighting? To what extent should we perceive translated literature as an integral part of the writer–translator’s literary output? Is it possible to interpret one in the light of the other and can such interpretation enrich our understanding of the translated texts’ functioning in the target culture? Looking for answers to these questions, I focus on the blend of the poetic and playwrighting temperaments that characterise Jarosław Iwaszkiewicz’s translations of Shakespeare’s Romeo and Juliet and Hamlet.
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Fan, Shouyi. "Translation of English Fiction and Drama in Modern China: Social Context, Literary Trends, and Impact." Meta 44, no. 1 (October 2, 2002): 154–77. http://dx.doi.org/10.7202/002717ar.
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Abstract This article, which is organized along a chronological-thematic framework, will briefly review the early days of translating American and British fiction and drama into Chinese, the social context in which these translations were done, the literary ideas which have affected the work of Chinese writers, and the social impact that translated works of literature and literary theory have had in various periods of literature. The bottom line is that the literary works introduced to China to date represent only the tip of the iceberg. We need more quality translations for Chinese readers and more qualified and experienced translators to complete the job.
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Simorangkir, Imelda Malawaty, and Dewi Mutiara Indah Ayu. "STUDI PENERJEMAHAN METAFORA DALAM NASKAH DRAMA DI UNIVERSITAS NASIONAL JAKARTA." Pujangga 3, no. 2 (September 5, 2018): 244. http://dx.doi.org/10.47313/pujangga.v3i2.443.
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<p><em>The purpose of the research study in metaphore in the English text literary at National University is to enlarge the knowlodge in the translation of metaphore and the types of metaphore categorize that have been found in English text literary especially in role plays. Since the research is begun, translating the metaphore text was not the easiest once. In fact, metaphore becomes the part of figurative language which is refers to two parts like Implicit and Expicit. Literary text has been used by the English students as their data because they found metaphore sentences to be analyze in their research. This research uses descriptive qualitative research that focus on observation during the class. Therefore, all the data were collected dan arranged in dictionary that would be useful for the students in faculty of letters. </em></p>
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Minier, Márta. "Translating Welsh Drama Into Hungarian Through English: A Contextual Introduction to Sêra Moore Williams’ Crash in Hungarian Translation." Hungarian Cultural Studies 6 (January 12, 2014): 176–86. http://dx.doi.org/10.5195/ahea.2013.120.
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This article offers a predominantly contextual introduction to my translation of a contemporary Welsh play by Sêra Moore Williams, Crash (2004), into Hungarian. Williams' three-person drama for young people was written originally in the author's native language, Welsh, and translated into English by the playwright herself. In my translation process of the play from English to Hungarian the intermediary role played by English raises ethical concerns from a postcolonial perspective, while in a pragmatic sense it is almost a necessity to rely on it when communicating Welsh-language cultural production to the broader international public, including to other minor languages. The article will place the drama in its generic context, introducing the play as a Theater in Education piece, as Williams' work has been inspirational in the development of tantermi színház [classroom theater] in Hungary since the early 2000s. As a specific case study within the case study, the additional discussion of the translation of Williams' polysemic title will provide an insight into the role such a significant paratext plays in uprooting a dramatic text from one culture to another.
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Aaltonen, Sirkku. "Theatre translation as performance." Target. International Journal of Translation Studies 25, no. 3 (October 11, 2013): 385–406. http://dx.doi.org/10.1075/target.25.3.05aal.
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In 2008, the Finnish National Theatre produced the Lebanese/Canadian playwright Wajdi Mouawad’s tragic play Incendies in Finnish. The advertisements, newspaper pre-reviews and reviews named Reita Lounatvuori, a well-known Finnish theatre translator, as the author of the translation. However, several other people were also involved in the translation process before Mouawad’s text reached the stage. In my article, I offer an empirical study of the process of translation of Incendies into Finnish to argue that translations in the theatre are not objects of art but products of art worlds, bearing the fingerprints of many subjectivities. To support my argument, I draw on Actor-Network Theory, as recently developed in the context of translation sociology (Buzelin 2007, 2005; Bogic 2010), and on Performance Studies, following Richard Schechner’s articulation of the concept of performance (Schechner 2013). I apply these models to the specific context of the theatre, the specific genre of drama, and the process of translating one play. This interdisciplinary exploratory study argues for the relevance of Schechner’s analytical model, and more broadly of Performance Studies, to the analysis of interlingual translation processes.
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Nurhasanah, Een. "Kajian Alih Wahana Cerita “Kedai Kopi Odyssey” Karya Leopold A. Surya Indrawan menjadi Naskah Drama." Diglosia: Jurnal Kajian Bahasa, Sastra, dan Pengajarannya 5, no. 1 (February 1, 2022): 175–94. http://dx.doi.org/10.30872/diglosia.v5i1.355.
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The research study on the transfer of the story “Kedai Kopi Odyssey” by Leopold A. Surya Indrawan in the short story collection “Particles of God” Kompas 2014 aims to examine the process of converting stories into drama scripts and also analyze the social values contained therein. The selection of stories is based on the content of stories that contain social conflict. It is related to the approach used by the researcher, namely the sociology of literature approach. In addition to the sociology of literature approach, the researcher examines the process of transferring the story of “Kedai Kopi Odyssey” into a drama script. The analysis process is based on the intrinsic and extrinsic elements of literary works, then on transferring stories into drama scripts. Based on the analysis results, social values such as the value of tolerance and changes in sentence and diction in translating stories into drama scripts.
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Chansky, Dorothy. "American Higher Education and Dramatic Literature in(to) English." Theatre Survey 54, no. 3 (August 29, 2013): 419–38. http://dx.doi.org/10.1017/s0040557413000288.
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In 2011 and 2012, I undertook a two-part survey to answer some large questions about the use of plays in translation in the higher education drama classroom in Anglophone North America and to test my ideas regarding the simultaneous ubiquity and invisibility of translation there. My project here is to report on that survey and to make clear why translation studies is ready to take a prominent role in theatre studies. U.S. colleges and universities constitute one of the largest single markets in the world for drama translated into English. Most U.S. theatre history classes include plays from the world canon, and many specialized classes in theatre departments focus on plays from non-Anglophone cultures. In English departments, where other genres in translation (e.g., the novel) may be approached with caution, drama seems to be offered a “pass” because the notion of being dramaturgically literate depends on some knowledge of a sizable canon of non-Anglophone plays. Yet despite its ubiquity, translation is often so normalized as to be invisible to those who depend on it. As Laurence Senelick notes, “For most students, a work exists wholly in its translated form, spontaneously generated.” Translation, as the survey confirmed, is part of the DNA of theatre studies. As such, I argue, it needs to be brought to the foreground of the field. In saying this, I am not unaware of the rich work undertaken by scholars, editors, and practitioners who are enmeshed in the difficult issues involved with translating plays, which include pressing for greater attention to cultural sensitivity and literacy. My focus here is on the academy and the classroom, where, for better or worse, the vast majority of future dramaturgs and audience members will cut their teeth on a critical mass of plays and where no single language or production entity or publisher can claim pride of place.
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Ali Mohammed, Siddig Ahmed. "Translating Humorous Expressions into Arabic with Reference to Loss, Gain, and Compensation." International Journal of Applied Linguistics and English Literature 8, no. 6 (November 30, 2019): 16. http://dx.doi.org/10.7575/aiac.ijalel.v.8n.6p.16.
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This study is concerned with translating humorous expressions from English into the Arabic Language with reference to Loss, Gain, and Compensation. The idea of the research developed from an observation by the researcher that when the target audience watches a drama of funny episodes, it is hard to interact, laugh or even smile, although the drama may be accompanied by subtitles in Arabic language. The study aims to illustrate the causes of untanslatability and loss, gain, and compensation in humor translation. To achieve the aims of the study, the researcher selected a sample of 10 humorous quotes and jokes from different hilarious resources, including episodes, movies, and sitcoms and other plays. The study was conducted qualitatively and descriptively by meticulously analyzing the translated quotes to probe the causes of loss in humor translation. The study results showed that humorous expressions encounter loss, gain and compensation which require a deep understanding of context and require a sense of humor from the audience and translators besides SL culture involvement. Moreover, the overall findings showed that many humorous expressions have no counterparts in Arabic Language, therefore, loss and gain and compensations are inevitable. Based on the findings, the study concluded that humorous expressions are more frequent and with multi-version and lack the equivalence in Arabic language. It also concluded that the types of humor are an essential element in reducing the sharp difference between the SL quote and its equivalent in the TL and the loss of humor in many cases is inevitable. Finally, the study explicated the main causes and the necessary strategies of loss, gain and compensation to transfer humor into Arabic Language.
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Albakry, Mohammed. "Between the Human and the Foreign: Translating Arabic Drama for the Stage." Educational Theory 64, no. 5 (September 21, 2014): 497–514. http://dx.doi.org/10.1111/edth.12077.
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Skrempou, Natalia. "Constructing leadership through translating im/politeness." Translation and Translanguaging in Multilingual Contexts 6, no. 1 (February 17, 2020): 92–108. http://dx.doi.org/10.1075/ttmc.00046.skr.
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Abstract The use of im/politeness in political discourse has attracted relatively little attention in im/politeness scholarship (Tracy 2017). The study examines how the character of a leader may be intra-/cross-culturally reshaped, in translated drama, through the use of im/politeness strategies. To this end, the study examines the use of im/politeness strategies in two Greek versions (Belies 1997; Karthaios 2004) of William Shakespeare’s play Julius Caesar. Etic and emic approaches to the data show differences in the way the character of Brutus is portrayed, by the translators’ manipulating im/politeness strategies in his discourse. The study uses the ‘horizontal’ dimension of intimacy/distance and the ‘vertical’ dimension of power (Spencer-Oatey 1996) to show that the first translation (Karthaios 2004) shows Brutus to be making use of a less impressive persuasive strategy when addressing the public, the second translation (Belies 1997) seems to show Brutus’ potential to express intimacy towards the public, which made the persuasive force of his discourse more convincing. The study shows that im/politeness is a significant tool in the hands of translators who shape the identity of the leader and that translated versions of a playtext can fruitfully show preferred patterns of behaviour which may be pointing to cultural patterns of interaction.
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Korkonosenko, Kirill S. "Spanish Classical Literature Translated by Konstantin Timkovsky." Literary Fact, no. 3 (25) (2022): 307–27. http://dx.doi.org/10.22455/2541-8297-2022-25-307-327.
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The article is the first analysis of the literary activity of Konstantin Timkovsky (1814–1881), translator and propagandist of Spanish literature in Russia. Unlike his predecessors, Timkovsky had a good knowledge of written and partly spoken Spanish and did not use intermediary translations. Timkovsky is also distinguished by the number of works and authors translated, namely Cervantes, Calderon, Francisco de Rojas, Leandro Moratín, Agustín Moreto. Being a pioneer in the direct translation of Spanish dramaturgy, Timkovsky assumed regular but inconsistent shortenings of texts: he omitted passages that, due to internal or external censorship, might have seemed obscene or affected religion. In Calderon’s drama “Life is a Dream” all references to Russia and Russians were replaced by Bohemia and Bohemians; instead of translating puns, Timkovsky uses comments: he declares that it is impossible to transmit the wordplay into Russian and quotes the original text for comparison. The most important and still nowhere mentioned feature of all Timkovsky’s works is the choice of prose for the translation of poetic dramatic texts. The sentence in the Petrashevsky case and the exile prevented Timkovsky from carrying out a large-scale project: to compile a translated set of Spanish literature and to write its “complete history” in the form of a series of articles.
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Lee, Tong King, and Cindy S. B. Ngai. "Translating eroticism in traditional Chinese drama: Three English versions of The Peony Pavilion." Babel. Revue internationale de la traduction / International Journal of Translation 58, no. 1 (June 5, 2012): 73–94. http://dx.doi.org/10.1075/babel.58.1.05lee.
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Hunt, Margaret Wiedemann. "‘Playwrights Are Not Evangelists’: Dorothy L. Sayers on Translating the Gospels into Drama." Studies in Church History 53 (May 26, 2017): 405–19. http://dx.doi.org/10.1017/stc.2016.24.
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Dorothy L. Sayers's twelve-part wartime radio life of Christ The Man Born to be King has been judged ‘an astonishing and far-reaching innovation’, not only because it used colloquial speech and because Jesus was a character voiced by an actor, but also because it brought the gospels into people's lives in a way that demanded an imaginative response. In spite of this, Sayers insisted that her purpose was not evangelization. Sayers's writing on theological aesthetics asserts that a work of art will only speak to its audience if the artist ‘serves the work’ rather than trying to preach. This article locates her thinking in the context of William Temple's sacramentalism and Jacques Maritain's neo-Thomism, suggesting that Temple's biblical exegesis was central to her approach in dramatizing the gospels. Finally an argument is made for Sayers's influence on mid-century thinking about the arts through her association with Bishop George Bell.
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Katz, Daniel. "Les Archives de Krapp: enregistrement, traduction, langue." Samuel Beckett Today / Aujourd'hui 17, no. 1 (November 1, 2007): 144–57. http://dx.doi.org/10.1163/18757405-017001011.
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According to James Knowlson, Beckett wrote at the same time that he was working on what he found to be the extremely painful task of translating into English. Given this context, this article studies as a drama not only of memory and repetition, but also of translation. On the biographical level, Beckett the self-translator is at this time conducting a return to an English which, on the level of personal history and early memories, can only remain originary for him, despite his decision to compose so often in French. Indeed, dramatizes English as the language of the personal archive, while also insisting on the exteriority of this idiom, giving us a "mother tongue" or "native language" which has been reified and mechanized in the most literal fashion.
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Sajnani, Nisha. "Digital interventions in drama therapy offer a virtual playspace but also raise concern." Drama Therapy Review 6, no. 1 (April 1, 2020): 3–6. http://dx.doi.org/10.1386/dtr_00012_2.
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This special issue was assembled before the height of the COVID-19 pandemic. Recent measures involving social distancing encouraged by the World Health Organization and national governments have necessitated an unprecedented shift to online platforms for nearly all spheres of social life including work, schooling and healthcare. Drama therapists who have been offering services online have been generous in sharing insights, drama therapy educators have been collaborating on ways of translating training, and digital venues for therapeutic performance have emerged. Necessity is indeed the mother of invention. We have much work ahead of us but the creativity, spontaneity, playfulness and commitment of this community to accessible and effective care will take us forward. It is our hope at DTR that this issue might offer additional insights and resources to meet the needs of these times.
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Wissmath, Bartholomäus, David Weibel, and Rudolf Groner. "Dubbing or Subtitling?" Journal of Media Psychology 21, no. 3 (January 2009): 114–25. http://dx.doi.org/10.1027/1864-1105.21.3.114.
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Dubbing and subtitling are the two most common methods of translating television broadcasts or movies. Both dubbing and subtitling may present specific advantages and disadvantages. In this study, the effects of these two methods on presence, transportation, flow, and enjoyment were investigated in an experimental approach. Participants (N = 154) watched a 30-min segment of a movie. Between-subject factors were translation method (dubbing without subtitles, dubbing with subtitles in a foreign language, and original language with subtitles) and genre (drama, comedy, and thriller). Findings indicate that subtitles in a foreign language decrease feelings of spatial presence, transportation, and flow. However, the difference between dubbing and subtitling failed to reach significance. No effect of translation method on enjoyment was found. The pattern of results is equal for all genres. Further analyses showed spatial presence, transportation, and flow to be related. In addition, transportation is more strongly related to enjoyment than flow and spatial presence.
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Carbajosa Palmero, Natalia. "The Family Reunion as a turning point in T. S. Eliot’s Verse Drama: Analysis and Suggestions for Translation." Revista Alicantina de Estudios Ingleses, no. 36 (January 31, 2022): 7. http://dx.doi.org/10.14198/raei.2022.36.01.
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T. S. Eliot wrote The Family Reunion (1939) while he composed the Four Quartets, twelve years after his conversion to Anglo-Catholicism in 1927. The play erects a bridge between the author’s early stage productions (Sweeney Agonistes, The Rock and Murder in the Cathedral) and the later society plays (The Cocktail Party, The Confidential Clerk and The Elder Statesman). Moreover, in his 1951 essay “Poetry and Drama,” Eliot delves into the strengths and weaknesses of The Family Reunion and links this play with his own experiments with a “conversational line” which introduces popular theatrical conventions wrapped in the patterns of poetry that may appeal to theatre-goers. This paper deals with Eliot’s proposals for verse drama present in an incipient form in The Family Reunion, and explores the possible ways of translating these resources into Spanish. It focuses on Eliot’s own explanations in “Poetry and Drama” about the way in which to adapt blank verse to the stage. Furthermore, this essay explores metrical concepts such as stress and caesura and applies them to wider aspects concerning dramatic patterns and inner/outer voice in characters.
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Tyutelova, L. G. "PECULIARITIES OF ASI VOLOSHINA'S INSCENING: "SHINEL GOGOL"." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 23, no. 79(1) (2021): 155–59. http://dx.doi.org/10.37313/2413-9645-2021-23-79(1)-155-159.
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The paper deals with the problem of translating a classical epic text into the language of drama. Based on the material of the plays of Asya Voloshina, it is proved that the modern playwright enters into a dialogue with his predecessor in order to see the classics in the context of the "big time". In the play "Gogol's Overcoat", the text of the original source is presented as part of the St. Petersburg text. The latter discovers new meanings of Gogol's story.
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Bachleitner, Norbert. "Translating under Constraints: Joseph Laudes’ Work for the Vienna Court Stages in the 1760s and 1770s." Comparative Critical Studies 16, no. 2-3 (October 2019): 257–80. http://dx.doi.org/10.3366/ccs.2019.0330.
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Joseph Laudes is an example of an eighteenth-century translator for the two Vienna court stages who had to work under a number of constraints: he had to adapt to a particular theory of theatre, to the demands of certain managers and authorities, as well as to the needs of the audience. The theatre reform that was being implemented in the period of Laudes’ activities as a translator demanded prose instead of verse drama. Moreover, this reform favoured sentimental comedies aimed at affecting the sentiments of the audience and teaching them morally correct behaviour. Besides poetological and ideological constraints, the dramatic texts were directed at a public composed of the aristocracy and a growing number of members of the bourgeoisie. Since he had to work under intense time pressure, which affected the quality of his texts, many of the characteristics of his work correspond with those of prose translations of the era, published by what critics denounced as ‘translation factories’. Laudes’ translation work is exemplified by his rendering of Goldoni's Pamela maritata.
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Savina, Anfisa D. "Cherubina de Gabriak: French Sources of the Mystification." Studia Litterarum 6, no. 2 (2021): 164–83. http://dx.doi.org/10.22455/10.22455/2500-4247-2021-6-2-164-183.
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The article shows what role M. Voloshin’s interest in the work of Auguste Villiers de l’Isle-Adam played in the creation of Cherubina de Gabriak. This famous mystification was planned by M. Voloshin and E. Dmitrieva in the summer of 1909 when the poet was translating Villiers’ philosophical drama Axel and writing an essay about the play and its author. Shared motifs and images that were discovered in Cherubina’s poems, Villiers’ drama and Voloshin’s essays, allow to treat the heroine of Axel (Sara de Maupers) as a literary prototype of the fictional poetess and to assert that Cherubina- Dmitrieva’s poetry was influenced by Villiers’ works and Voloshin’s interpretation of the former’s life. Also, it is important that Voloshin’s attention on Villiers’ novel Future Eve could serve as an impulse to creation of the ideal illusory poetess: an article about this work figured in Voloshin’s first projects for Apollon magazine, S. Makovsky wrote about the heroine of this novel in his memoirs of Cherubina.
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Savina, Anfisa D. "Cherubina de Gabriak: French Sources of the Mystification." Studia Litterarum 6, no. 2 (2021): 164–83. http://dx.doi.org/10.22455/2500-4247-2021-6-2-164-183.
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The article shows what role M. Voloshin’s interest in the work of Auguste Villiers de l’Isle-Adam played in the creation of Cherubina de Gabriak. This famous mystification was planned by M. Voloshin and E. Dmitrieva in the summer of 1909 when the poet was translating Villiers’ philosophical drama Axel and writing an essay about the play and its author. Shared motifs and images that were discovered in Cherubina’s poems, Villiers’ drama and Voloshin’s essays, allow to treat the heroine of Axel (Sara de Maupers) as a literary prototype of the fictional poetess and to assert that Cherubina- Dmitrieva’s poetry was influenced by Villiers’ works and Voloshin’s interpretation of the former’s life. Also, it is important that Voloshin’s attention on Villiers’ novel Future Eve could serve as an impulse to creation of the ideal illusory poetess: an article about this work figured in Voloshin’s first projects for Apollon magazine, S. Makovsky wrote about the heroine of this novel in his memoirs of Cherubina.
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NEKRIACH, Т. N., and O. M. SUNG. "DYNAMICS OF RENDERING THE COCKNEY ETHNOSOCIOLECT IN THE UKRAINIAN TRANSLATIONS OF G. B. SHAW’S PLAY «PIGMALION»." Movoznavstvo 320, no. 5 (October 28, 2021): 49–60. http://dx.doi.org/10.33190/0027-2833-320-2021-5-004.
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This article reviews the strategies used in three Ukrainian translations of George Bernard Shaw’s play «Pygmalion» focusing upon different approaches to representing the sociolect Cockney. Two of the translations (done by M. Pavlov and O.Mokrovolskiy) resort to surzhyk — a mixed Ukrainian-Russian vernacular, thus employing the strategy of domestication, while the third, and the latest, one (done by T. Nekriach and N. Ferens in collaboration, with the general editing of T. Nekriach) rejects surzhyk in principle, proceeding from the idea that cockney is not a contamination of two languages but a socially and culturally marked set of deviations from the norm within one language. The latter translation unites foreignization in indicating the time and place of action and domestication in consistent using the Ukrainian supradialectal popular parlance, which is termed ad hoc the «harmonizing strategy» in the article. Cockney as a specific ethnosociolect has been researched in the translation perspective in the works of I. Akopyan, V. Komissarov, O. Rebriy, T. Nekriach, A. Hughes, P. Trudgill etc., which form the theoretical foundation of the present article. The aim of the article is to study and systematize the optimal strategies and tactics of reproducing Cockney in the available Ukrainian translations of «Pygmalion». The principal method of research is the comparative translation analysis, which allows to evaluate the gains and losses in employing a particular strategy in order to achieve a faithful translation. The topicality of the research is accounted for by the growing interest on the part of both practical translators and translation scholars in the appropriate handling of translation strategies and tactics within one text in order to reveal the author’s intent to the full with the retaining of the distinguishing features of the form. Special attention is paid to the specific «double» nature of drama works which requires taking into account the “pronounceability” of cues in translation. It is argued that M. Pavlov and T. Nekriach/N. Ferens take this parameter into account, translating «for stage», whereas O.Mokrovolskiy translates «for page» only, which results in his alternatives for Cockney representation being understood visually, not audially. The research prospects are seen in applying the proposed methodology to the study of recent Ukrainian translations of fiction in comparison with the previous ones in order to survey the dynamics and effectiveness of applying various translation strategies and tactics in reproducing a particular language or cultural phenomenon used in the original text.
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Vo, Nhon Van. "TRANSLATED LITERATURE IN COCHINCHINA IN THE LATE 19th CENTURY AND IN THE EARLY 20th CENTURY." Science and Technology Development Journal 13, no. 1 (March 30, 2010): 5–12. http://dx.doi.org/10.32508/stdj.v13i1.2099.
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Being colonized by France, Cocochina (the South of Vietnam) was the region where Western literature was introduced into earlier than the North. Truong Minh Ky was considered the first translator of Western literature in Vietnam. His earliest works of translation appeared in 1884. By the early 20th century, introduced to Vietnamese readers were Western literary works not only of French origin but also of British, American and Russian origins; not only poetry, prose but also drama. In the late 19th century, many writers such as Truong Vinh Ky, Huynh Tinh Cua were interested in Chinese literature. In the first decade of the 20th century, a wide variety of Chinese novels were translated into Vietnamese, forming a strong movement of translating "truyen Tau” (Chinese fictions). The remarkable characteristics of the translation of Western literature in Cochinchina were as follows - The newspapers and magazines in “Quoc Ngu” (Vietnamese language written in Latin characters) where the first works of translation were published played very important role. - The translators were greatly diverse, coming from different social and cultural backgrounds. - More translation was made on prose. Novels of martial arts, historical stories, novels of heroic deeds attracted the attention of the translators and the publishers. Therefore, they were translated much more than romance novels were, because of their compatibility with popular audience. - By translating the works of Western literature, the writers tried to express new concepts of humanism, such as women rights, or gender issues. Translated literature in Cocochina in the late 19th and early 20th centuries reflects a paradox: Western influences started to leave their marks but the Chinese influence was still strongly engraved. However, this was a remarkable step in the journey of modernization of national literature. Through these early translated works, new literary genres were introduced and Vietnamese readers gradually became familiar with them. Translation experiences were the first steps for Cocochina writers to achieve thorough understanding, to learn Western writing techniques and styles, which helped them become the pioneers of new literature in Vietnam.
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Astrachan, Gary David. "Analysis as mourning." International Journal of Jungian Studies 5, no. 3 (October 1, 2013): 243–53. http://dx.doi.org/10.1080/19409052.2013.795184.
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In an essay on Freud's notions of mourning and the transformations of libido, Jean Laplanche discusses the image of Persephone from Homer's Odyssey, nocturnally ‘unweaving’ at her loom in order to stave off the suitors, as an aspect of the translations and detranslations of ‘the other’, the unconscious, that give rise to temporality. In himself translating the ancient Greek word analuein, ‘unweaving,’ as ‘ana-lysing’, he suggestively re-casts Freud's project of psycho-analysis as the ‘disentangling, dissolution or resolution of souls’. Restoring the Greek words lysis and lysios back to their originary context as epithets and ritualized descriptors of the god Dionysos, Lysios, the ‘loosener’, ‘releaser’, ‘liberator’, untier of knots and bonds, this paper re-visions both the analytical process, as well as the intrinsic nature and function of the dream and dreaming, as performative enactments, which – like tragic drama – attempt to work through and mourn trauma, absence, separation, loss and our basic human finitude, the terms of our mortality and our no longer being in the world itself.
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Foley, Helene. "Classics and Contemporary Theatre." Theatre Survey 47, no. 2 (September 12, 2006): 239–44. http://dx.doi.org/10.1017/s0040557406000214.
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Any discussion of ancient Greek and Roman drama on the contemporary stage must begin with a brief acknowledgment of both the radically increased worldwide interest in translating, (often radically) revising, and performing these plays in the past thirty-five years and the growing scholarly response to that development. Electronic resources are developing to record not only recent but many more past performances, from the Renaissance to the present.1 A group of scholars at the Archive of Performances of Greek and Roman Drama at Oxford—Edith Hall, Fiona Macintosh, Oliver Taplin, and their associates Pantelis Michelakis and Amanda Wrigley—are at the forefront, along with Lorna Hardwick and her associates at the U.K.'s Open University, in organizing conferences and lecture series; these have already resulted in several volumes that aim to understand the recent explosion of performances as well as to develop a more extensive picture of earlier reception of Greek and Roman drama (above all, Greek tragedy, to which this essay will be largely confined).2 These scholars, along with others, have also tried to confront conceptual issues involved in the theatrical reception of classical texts.3 Most earlier work has confined itself to studies of individual performances and adaptations or to significant directors and playwrights; an important and exemplary exception is Hall and Macintosh's recent Greek Tragedy and British Theatre 1660–1914.4 This massive study profits from an unusually advantageous set of archival materials preserved in part due to official efforts to censor works presented on the British stage. Oedipus Rex, for example, was not licensed for a professional production until 1910 due to its scandalous incest theme. This study makes a particular effort to locate performances in their social and historical contexts, a goal shared by other recent studies of postcolonial reception discussed below.5 For example, British Medeas, which repeatedly responded to controversies over the legal and political status of women, always represented the heroine's choice to kill her children as forced on her from the outside rather than as an autonomous choice. Such connections between the performance of Greek tragedy and historical feminism have proved significant in many later contexts worldwide. Work on the aesthetic side of performances of Greek drama, including translation, is at an earlier stage, but has begun to take advantage of important recent work on ancient staging, acting, and performance space.6
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Nielsen, Rosemary M., and Robert H. Solomon. "Horace and Hopkins: The Point of Balance in Odes 3.1." Ramus 14, no. 1 (January 1985): 1–15. http://dx.doi.org/10.1017/s0048671x00005026.
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In May of 1868, less than two years after Gerard Manley Hopkins left the English Church to become a Roman Catholic and after eight months spent teaching at Newman's Oratory School in Birmingham, the classical scholar burned nearly all of his poetry; he called the act ‘the sacrifice of my innocents’. Austin Warren describes Hopkins as feeling caught through his life between conflicting desires to be a pdet and to be a saint. This strain and the anxieties it produced appear in his later poems, such as ‘The Wreck of the Deutschland’ and ‘Heaven Haven’, and in his journals and letters. In the latter he describes the emotional effect he wanted poems to have upon readers: some poems must, Hopkins asserted, ‘explode’ within the reader. Intensifying the psychological reaction of the readers of literature was one of Hopkins's aims when he created poetry, just as it was a goal when he wrote redactions of the speeches in Shakespeare's tragedies or when he chose from among variant readings for Greek drama. In September 1868, when he entered the priesthood as a Jesuit, Hopkins began a new life of personal intensity and, perhaps to his own surprise, a second poetic career. But a number of poems survived the destruction. One is his translation of Horace's Odes 3.1, the longer of the only two extant translations of complete Latin poems. As with A. E. Housman's sole surviving translation of a Latin ode, Horace's 4.7, this one reveals a profound identification with Horace, a subtle understanding of the original poem, and an intense revelation of the mind of the English writer during the period of translating. The emotional intensity, technical virtuosity and psychological richness of the translation make Hopkins's version of 3.1 a significant poem for scholars of English and classical poetry.
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Jing, Tan. "On the Formal Equivalence of Translating Classical Chinese Drama <br/>—Centered on the English translations of the Northern Drama <i>Han gong qiu</i> of the Yuan Dynasty." Advances in Literary Study 09, no. 02 (2021): 61–72. http://dx.doi.org/10.4236/als.2021.92008.
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