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Автор: Grafiati

Опубліковано: 14 грудня 2024

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Статті в журналах з теми "French translations of 18th Century plays"

Topilsky, A. G. "The French-language translated book of Russia of the second third of the 18th century: features of the repertoire and importance for book culture." Tambov University Review. Series: Humanities 29, no. 4 (October 17, 2024): 1069–77. http://dx.doi.org/10.20310/1810-0201-2024-29-4-1069-1077.

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Importance. The beginning of the process of interaction between Russian and French book cultures was laid by the era of the Europeanisation of Peter I. The Russian autocrat tirelessly sought to bring his country among the leading countries of the world, to smooth out the difference between Russia and the West. The nobility, the most educated stratum of society at that time, was to become the main conductor of the reformer’s advanced aspirations. The aim of the research is to study the significance for the Russian book culture of the French–language translated book of the second third of the 18th century.Materials and Methods. The comparative historical method makes it possible to establish the correlation of the role of French literature in the distribution of printed materials in the Russian Empire. The use of the comparative analysis method, which made it possible to comprehensively study the role of foreign literature in the bookselling process in the Russian Empire of the 18th century, plays an important role in the study.Results and Discussion. The inclusion of a work in the publishing list was conditioned by the community demand, which allows us to speak about the development of the book culture of Russia in the second quarter of the 18th century. In order to capture readers’ mood better, the specialists of the Academy of Sciences found out the specialists’ opinion about publications.Conclusion. By the middle of the 18th century, the Academy of Sciences had prepared translations of valuable treatises on history, literature, mathematics, psychology and pedagogy, enriching Russian book culture with advanced European bestsellers. This period of the Academy’s activity should be regarded as a new stage in the development of book printing in Russia, which created significant prerequisites for the rapid rise of interest in French culture in the second half of the 18th century.

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Borokh, O. N. "China in Quesnay’s doctrine: Interpretations, translations, cultural aspects." Journal of the New Economic Association 50, no. 2 (2021): 137–62. http://dx.doi.org/10.31737/2221-2264-2021-50-2-7.

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The paper analyzes the Chinese influences on the doctrine of the French physiocrat François Quesnay from the perspective of the cultural specifics of the perception of economic and political ideas. The approaches of Chinese researchers were impacted by Marxist methodology, sinocentric views and fragmentary use of primary sources. The application of the Marxist concept of socio-economic formations supported the arguments that feudal Confucianism could not influence the views of physiocrats, which reflected the emergence of capitalist relations. In the 18th century opponents of the physiocrats used the comparison of the Tableau Économique with the scheme of the Chinese Book of Changes to disqualify Quesnay’s doctrine. For Chinese researchers this comparison became a confirmation of the value of the Tableau Économique and an incentive to search for the ideas of circular flows and equilibrium in both tables. The study of Despotism in China content confirms its connection with the actual historical China. It is concluded that Chinese scholars seek to interpret the historical precedent of the influence of Confucian thought on Quesnay’s doctrine in the context of plans to increase the global clout of China’s social sciences.

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LEVCHENKO, O. YU. "TEACHING FOREIGN LANGUAGES IN PERSONNEL TRAINING FOR THE MINING INDUSTRY IN THE 18TH - 19TH CENTURIES." Pushkin Leningrad State University Journal, no. 2 (2024): 10–29. http://dx.doi.org/10.35231/18186653_2024_2_10.

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Introduction. The mining industry traditionally plays a strategic role in the domestic economy. Significant facts in its history of the 18th century. began the organization of mining districts and the creation of mining factories. The dynamic development of the industry required various specialists with professional education in the field of mining. To train personnel for mining plants, mining schools were created, and later mining schools, whose activities were widely covered in scientific works. At the same time, there remains a need to identify and systematize information related to the teaching of foreign languages. The novelty of the study lies in the fact that it contributes to a holistic description of the history of the formation and development of domestic mining education and allows us to meaningfully complement the picture of the history of professionally oriented teaching of foreign languages in educational institutions of Russia in the 18th-19th centuries. Materials and methods. The source base of the study is represented by regulatory documents, historical, historical and pedagogical, statistical, journalistic works, archival materials covering various aspects of personnel training for the mining industry in our country in the 18th-19th centuries. To solve the research problems, a set of complementary research methods was used, the leading among which was the theoretical analysis of sources. Results. Mining education has a rich history. In the 18th century Mining schools began to open, training workers and technicians for the mining industry. They provided general education and vocational training, differing in the list of subjects taught and the duration of training. The mining school program involved studying a wide range of general educational and professional subjects. The curriculum included French and German, students mastered reading and writing, and did translations. Much attention was paid to the study of grammar. After graduating from the mining school, the most capable graduates could continue their professional education. Many entered the Mountain Cadet Corps (later the Institute), where they studied German, French, and later English. Teaching foreign languages was aimed at developing skills in all types of speech activity. The available opportunities for regular language practice increased the effectiveness of teaching oral speech. The technical translation course made it possible to master professional vocabulary and develop the ability to fully and accurately understand and convey the content of texts in the specialty. In some years, Latin was taught. Studying foreign languages provided the opportunity to read and understand foreign-language professional literature and allowed for business communication during foreign business trips. Discussion and conclusion. Foreign languages played a significant role in training personnel for the mining industry. Studying this experience is important for creating a holistic picture of the history of professionally oriented teaching of foreign languages.

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Krakow, Annett. "The Polish interest in the Eddas — Joachim Lelewel’s Edda of 1828." European Journal of Scandinavian Studies 50, no. 1 (April 28, 2020): 111–33. http://dx.doi.org/10.1515/ejss-2020-0006.

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AbstractIn the second half of the 18th century and early 19th century, a rising interest in Old Norse literature outside the Nordic countries could be noted that, to a great deal, focused on the Poetic Edda and the Prose Edda as sources for Norse mythology. This interest is also reflected in the works of the Polish historian Joachim Lelewel (1786–1861) who, in 1807 and 1828, published translations and retellings of the Poetic and the Prose Edda. These were based on French, German and Latin translations. The second edition of 1828 is characterised by a more comprehensive section with eddic poetry, the selection of which is also explained by Lelewel, as well as an essay on pre-Christian religion that also includes a research overview and a list of editions/translations of the Eddas.

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Monzone, Chiel. "Traduzioni belles infidèles. Commenti a quelle dei componimenti lubrici di Domenico Tempio." Italianistica Debreceniensis 24 (December 1, 2018): 161–82. http://dx.doi.org/10.34102/italdeb/2018/4668.

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Belles infidèles is a French expression highlighting a well-known problem in translating from one language to another. This is true especially in the field of literature and particularly in poetry, where the exterior aspects of the words (for example, the harmony of rhymes, the images, the emotional vibrations, the semantic fields, the polysemy, and so on) become substantial and hardly translatable. The essay focuses on some bad translations of some selected verses from the obscene poems by a 18th-century Sicilian dialect poet, Domenico Tempio: they clearly show the translators’ intervention, who took many liberties and betrayed the formulation, the sense and the effect of the original texts. The essay proposes some more faithful translations of them.

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Humphreys, Derek. "Krylov's Fables." Canadian-American Slavic Studies 44, no. 4 (2010): 443–70. http://dx.doi.org/10.1163/221023910x536042.

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AbstractThe introduction briefly points out Krylov's early literary attempts merely to show what he did before he started producing his fables. It also mentions the influence of French culture in Russia at the end of the 18th Century and the beginning of the 19th Century. La Fontaine was a big influence on Krylov who translated or adapted many of his fables as well as producing many originals of his own. Some of Krylov's fables are analyzed, however, most of them speak for themselves since they have a moral conclusion or in some cases a moral introduction. The translations endeavor to keep as close to the Russian as possible and are not adaptations.

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Mörte Alling, Annika. "Fransk litteratur i Sverige 1830–1900." Tidskrift för litteraturvetenskap 40, no. 3-4 (January 1, 2010): 179–92. http://dx.doi.org/10.54797/tfl.v40i3-4.11941.

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French Literature in Sweden 1830–1900. Translation, Reception and Circulation The article presents some results from an international project on the introduction of French literature in Scandinavia during the 19th century. A point of departure is the database BREFS (Bibliographie du Réalisme Français en Scandinavie), containing the translations of novels, short stories, poetic works and theatre plays that were published in Denmark, Finland, Iceland, Norway and Sweden in book form from 1830 to 1900. The Swedish part of the bibliography is in focus, consisting of as many as 1 500 translations, and a list of the seemingly most popular French writers in Sweden during the period is presented. With some exceptions, these writers are probably unknown to most Swedes, and not even mentioned in historical surveys of Swedish literature: Eugène Scribe, Eugène Sue, Charles Perrault, Anne H. J. Duveyrier, Henri Meilhac, Olivier Gloux, Michel Carré, Alice Durand and Jean F. A. Bayard. In fact, when it comes to the number or translations published, these authors by far exceed the wellknown representations of the French realist period, Stendhal, Balzac, Flaubert and Maupassant. I try, briefly, to relate these results to research that has been done by others on translation in the nineteenth century, the working conditions of the translators, the reception of French authors and the role of French theatre in Sweden, which was so successful at the time.

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Thomson, Ann. "Countering Islamophobia in the Early Eighteenth Century." Diciottesimo Secolo 7 (November 18, 2022): 101–10. http://dx.doi.org/10.36253/ds-13198.

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This article looks at a certain number of writers in the early 18th Century, mainly British and French, who reacted against the dominant hostility to Islam and the Muslim world and tried to provide a more accurate presentation of them. After surveying different ideological uses of more positive representations of Islam and the Ottoman Empire, as well as the work of some scholars of Arabic who were concerned with greater accuracy, I concentrate on two authors about whom we know very little; they both spent time in and wrote about the North African state of Algeria and tried openly to counter European prejudices against Muslims. A brief discussion of the only work written by the French diplomat Jean-Philippe Laugier de Tassy (a history of Algiers) is followed by a longer section on Joseph Morgan, who published several works. Both his History of Algiers and his annotated translations of a poem on Islam written by a Spanish Moor and of a work on North Africa by French monks who went there to ransom captives show an excellent knowledge of the region, its people and their language. While far from being totally positive about the state which lived by piracy, he makes a vigorous case against disinformation concerning Islam and Muslims and encourages his readers to understand others and to judge them by the same standards we apply to ourselves.

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Pentkovskaya, Tatiana. "Towards the History of Borrowings in the Russian Language of the Petrine Era: the lexeme Dervish." Stephanos Peer reviewed multilanguage scientific journal 56, no. 6 (November 30, 2022): 36–44. http://dx.doi.org/10.24249/2309-9917-2022-56-6-36-44.

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The focus of this paper is the rendering of the word deruis in two translations of the Petrine era. Both of them are associated with the name of P.A. Tolstoy, a diplomat who was in the Ottoman Empire in 1702–1714. “The History of the Ottoman Empire Administration”, which was translated from the Italian version of P. Rycaut’s work, has the variant dervish (dervizh). At the same time, in the printed edition of the Quran of 1716, translated from André Du Ryer’s French original, there is a variant drevis, not taken into account in the dictionary of the Russian language of the 18th century. Possible reasons for this discrepancy are considered.

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Vogel, Christine. "Pombaline propaganda in France: Translation, visualization, radicalization." e-Letras com Vida: Revista de Estudos Globais, Humanidades, Ciências e Artes, no. 10 (June 30, 2023): 51–65. http://dx.doi.org/10.53943/elcv.0123_51-65.

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The fact that Pombal is today one of the most important actors of enlightened absolutism is due above all to his comprehensive reform program, which included virtually all political fields of action of the 18th century. At least as important, however, is the fact that he accompanied his measures with extremely intensive public relations work: Pombal had understood how important it was to get public opinion in Europe on his side, because especially those reforms that threatened the traditional rights and positions of power of the Catholic Church were the subject of controversial debate in a Europe divided along confessional lines. France played an important role in the European battle of opinion: French intellectuals and publicists dominated international public opinion, and French was the language of the educated and enlightened. This paper will therefore examine how Pombal's propaganda functioned in France and what significance French translations and adaptations had for the European battle of opinion.

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Дисертації з теми "French translations of 18th Century plays"

Cataldi, Gemma. "Représentatiοns et traductiοns de La Calandra du cardinal Bibbiena : prοblèmes de réceptiοn en France d'une pièce au cοmique licencieux". Electronic Thesis or Diss., Normandie, 2024. http://www.theses.fr/2024NORMC012.

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Cette thèse se propose d’étudier la réception scénique et traductive de La Calandra du cardinal Bibbiena, qui s’amorce en France à partir du XVIe siècle. L’objectif est, dans un premier temps, de comprendre quel type d’accueil cette pièce a reçu en France et, dans un deuxième temps, de saisir la manière dont le comique licencieux de cette pièce, repris du Décaméron, a été transposé dans les traductions françaises au XIXe siècle. A cette fin, après avoir reparcouru d’abord sa première représentation à Urbino en 1513, puis celle de Lyon en 1548, nous proposons une analyse des deux traductions réalisées l’une par Théodore Muret en 1835, l’autre par Alcide Bonneau en 1887. À travers ce parcours qui traverse plusieurs siècles, nous souhaitons montrer comment s’articulent l’accueil dramaturgique et l’accueil traductif de cette pièce, lesquels sont la conséquence de réalités très riches et variées
The objective of this thesis is the study of the reception of the staging and translation of Cardinal Bibbiena’s La Calandra in France from the 16th to 19th centuries. It firstly explores how this play was received in France, then seeks to understand how its licentious comedy, taken from the living language of the stories of Decameron, was conveyed in the 19th century French translations. Through examination of the work’s first performance in Urbino in 1513, then Lione’s 1548 version, it subsequently seeks to demonstrate how the comedy of the dialogue was communicated in the two French translations: the first by Theodore Muret in 1835 and the second by Alcide Bonneau in 1887. The process of the reception of La Calandra in the centuries examined, which resulted from rich and varied phenomena, is evidenced in detail

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Книги з теми "French translations of 18th Century plays"

1655-1709, Regnard Jean François, and Carlson Marvin A. 1935-, eds. The heirs of Molière: Four French comedies of the 17th and 18th centuries. New York: Martin E. Segal Theatre Center, 2003.

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Theater, Ubu Repertory, ed. Gay plays: An international anthology. [New York]: Ubu Repertory Theater Publications, 1989.

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Voltaire. Les œuvres complètes de Voltaire. Oxford: Voltaire Foundation, 2007.

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Jørn, Schøsler, and Voltaire Foundation, eds. La diffusion de Locke en France: Traduction au dix-huitiéme siècle ; lectures de Rousseau. Oxford: Voltaire Foundation, 2001.

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François, La Rochefoucauld. Moral maxims. Newark, Del: University of Delaware Press, 2003.

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François, La Rochefoucauld. Réflexions, ou Sentences et maximes morales, réflexions diverses, choix de lettres et variantes, apologie de M. le Prince de Marcillac. [Paris]: Librairie Générale Française, 1991.

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François, La Rochefoucauld. Maximes. [Paris]: Impr. nationale éditions, 1998.

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Goncourt, Académie, ed. Maximes. [France?]: Grands Écrivains, 1987.

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1955-, Warner Stuart D., and Douard Stéphane 1969-, eds. Maxims. South Bend, Indiana: St. Augustine's Press, 2001.

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Balzac, Honoré de. Père Goriot: A new translation : responses, contemporaries and other novelists, twentieth-century criticism. New York: W.W. Norton & Co., 1998.

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Chesnokova, Tatiana G. "Fielding the Novelist as an Intermediary in the Development of English and French Drama in 1760–1780s." In The Multifaceted Fielding, 221–47. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2023. http://dx.doi.org/10.22455/978-5-9208-0616-1-221-247.

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Novels by Fielding (including the best of them — The History of Tom Jones) not only accumulated and transformed the experience of the earlier development of English comedy of manners (belonging to Restoration and early Enlightenment), but in their own turn affected theatrical plays both in England and other European countries. Providing a source for many dramatic pieces on both sides of the English Channel, the famous novel kept on playing an intermediary part in the literary process and in theatrical life in the second half of the 18th century, acting as a catalyst for current tendencies both in style or genre development (particularly in drama). The multidirectional processes expressing this function are considered by the example of original plays, translations and adaptations which appeared in England and France in 1760–1780s and belonged to George Colman the Elder, Richard Cumberland, Richard Brinsley Sheridan, Mari-Jeanne Riccoboni, and Pierre Jean-Baptiste Choudard (Desforges). The author points out the special significance of Colman’s comedy The Jealous Wife which played an important role in the processes of genre adaptation of the central motifs of novels by Fielding on the ground of dramatic literature and in the interrelations of different national theatrical traditions in the 18th century.

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Kroll, Simon. "El teatro clásico español en Alemania Cuatro siglos y veinte años de recepción." In Biblioteca di Rassegna iberistica. Venice: Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-490-5/005.

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This article seeks to give a first and comprehensive impression on the different stages of translations from Spanish Baroque theatre into German. While in the 17th and 18th centuries that contact is usually established through Dutch, Italian and French translations, it is at the beginning of the 19th century that key figures of the German Romanticism translate theatrical plays of the Spanish Baroque with a strong focus on formal aspects and philological accuracy. Nevertheless, this article shows that the first contacts between Golden Age theatre and Germany are much older than generally assumed and that the influence of Calderón and Lope on the creation of a German theatre tradition might be much stronger than it is commonly thought. Therefore, this article calls for a more profound study of the circulation of Spanish Golden Age theatre in Europe.

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Robertson, Ritchie. "3. Classical art and world literature." In Goethe: A Very Short Introduction, 45–64. Oxford University Press, 2016. http://dx.doi.org/10.1093/actrade/9780199689255.003.0003.

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‘Classical art and world literature’ shows that Goethe’s knowledge of art and literature was wide-ranging and explains that, in both, he came to believe that the works produced by the ancient Greeks formed a standard that could never be surpassed. In art, he explored the classical tradition that descended via the Renaissance to the neoclassicism of the 18th century. In literature, his taste was much wider. He read easily in French, Italian, English, Latin, and Greek, and in his later life he eagerly read translations of Asian texts—novels from China, epics and plays from India, and the Arabic and Persian poetry that would inspire his great lyrical collection, the West-östlicher Divan (West-Eastern Divan).

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Ryjik, Veronika. "Los vaivenes del canon Traducción y puesta en escena de la comedia áurea en Rusia." In Biblioteca di Rassegna iberistica. Venice: Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-490-5/007.

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This chapter surveys the history of Russian translations of Golden Age Spanish theatre from the early 18th century until now, with a special focus on the relationship between translation trends and performance history. Our main goal is not only to document all known Russian translations of Spanish classical plays completed in the past 300 years, but also to elucidate the processes by which translation took part in the development and transformation of a specifically Russian comedia canon.

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Chevrier, Alain. "Les traductions homophoniques du français au français." In Sound /Writing : traduire-écrire entre le son et le sens, 131–46. Editions des archives contemporaines, 2019. http://dx.doi.org/10.17184/eac.2150.

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This chapter aims at presenting a historical mapping of intralingual French-to-French homophonic translations (or adaptations), consisting essentially of equivocations and puns. The ambiguous rhymes are refinements of court poetry in the Renaissance. Puns developed as mind games in 18th century salons. Lexicographers then gave the first records of homonyms. Humorous homophonic verse experienced a journalistic efflorescence at the end of the 19th century. Some modernist poets attempted an episodic use of puns. Just like the Oulipo systematically explored homophony, contemporary poets keep resorting to these games on double meaning.

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Doyle, William. "1. Echoes." In The French Revolution: A Very Short Introduction, 1–18. Oxford University Press, 2019. http://dx.doi.org/10.1093/actrade/9780198840077.003.0001.

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‘Echoes’ examines the legacy of the French Revolution in the Western world through the lens of late 18th-century and 19th-century literature and culture. It considers writing by Edmund Burke and Thomas Carlyle, but it is Charles Dickens’s A Tale of Two Cities (1859) that offers the most influential image that posterity has of the French Revolution. It took as its main theme the contrast between violent Paris and tranquil London. The images of this book define the French Revolution for many, and were reinforced elsewhere, for example in The Scarlet Pimpernel (1905). Despite enjoying all the romance of the French Revolution in books and plays, did people really know what caused it?

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Pakhsarian, Natalia T. "Fielding and Marivaux (on the Genealogy of the English Rococo Novel)." In The Multifaceted Fielding, 142–59. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2023. http://dx.doi.org/10.22455/978-5-9208-0616-1-142-159.

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The article specifies the course of evolution of the English novel in the 17th and 18th centuries and compares it to the development of the French novelistic prose of the same period. The semantics of the Enlightenment terms “romance” and “novel” is spelled out, as well as the part Introductions played in making the novela self-conscious genre. Fielding’s critical stance, informing both his plays and novels, prompts appearance of elements of Rococo poetics in his early writings, which are very similar to those employed by Marivaux, a recognized Rococo author. The ironic games, the urge to amuse the reader, certain particularities of comism, keeping the burlesque at bay, the habit to represent action in interior spaces, the remarkable engagement with the Cervantes tradition — all of this distinguishes both Fielding’s Joseph Andrews and Marivaux’s Pharsamon, as well as other early writings of the French author. The offered analysis allows readers to rethink the accustomed evaluation of Fielding’s novels as realistic and pay closer attention to the Rococo matter in English prose of the 18th century.

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Powell, John S. "The Dramatic Pastorale and Pastorale en Musique." In Music and Theatre in France 1600–1680, 160–225. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198165996.003.0004.

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Abstract While isolated examples of pastoral plays appeared in France during the Middle Ages, native pastoral drama, like ballet de cour, had its true beginning in the latter part of the sixteenth century and reached fruition during the reign of Louis XIII. The Renaissance pastorale came to France from Italy and Spain, primarily through the French translations of Jacopo Sannazaro’s Arcadia (1505; trans. 1544), Jorge de Montemayor’s Diana (c.1560; trans. 1578), Torquato Tasso’s Aminta (1581; trans. 1584), Giambattista Guarini’s Il Pastor fido (1585; trans. 1595), and Luigi Grata’s fl Pentimento amoroso (trans. 1590).

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Marshall, Hallie. "The Early Years at the National Theatre: Harrison’s Molière and Racine." In New Light on Tony Harrison, 91–100. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266519.003.0009.

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While Tony Harrison’s career as a poet was perhaps inevitable by the early 1970s with the publication of his award winning volume The Loiners (1970), this chapter argues that it was not a given that a significant portion of Harrison’s poetic output would be for the stage, nor that the British Theatre would readily welcome a contemporary poet writing verse plays. I argue that Harrison’s career in the theatre was fostered by his early commissions from the National Theatre and the collaborators he worked with in those early years, especially director John Dexter. Their work together on Harrison’s translations/adaptations of two seventeenth-century French plays—Molière’s Le Misanthrope (1666) and Racine’s Phèdre (1677), staged as The Misanthrope (1973) and Phaedra Britannica (1975)—allowed Harrison to bring to bear on his theatrical translations for the modern stage the ideas that he had been exploring in his doctoral thesis on Vergil and translation. Moreover, the close involvement of Harrison from commission to production served to reinforce his belief that writing for the stage and the page are very different things, with theatrical texts needing to facilitate a three dimensional performance. This would shape the nature of Harrison’s dramatic verse for decades to come. The success of The Misanthrope, which critics praised for the brilliance of its translation, was essential in establishing the claim of contemporary poets to a place on the modern British stage.

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Litvin, Margaret. "The Global Kaleidoscope: How Egyptians Got Their Hamlet, 1901–64." In Hamlet's Arab Journey. Princeton University Press, 2011. http://dx.doi.org/10.23943/princeton/9780691137803.003.0004.

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This chapter presents the global kaleidoscope theory as a much-needed revision to the Prospero-and-Caliban model of postcolonial rewriting. To this end, the chapter summarizes the actual kaleidoscope of Hamlets available to Egyptian theatre professionals and audiences by 1964. It argues that the origins of Arab Shakespeare were varied; different sources gained importance in different periods. Nineteenth-century French sources helped plant the seeds of a decisive, heroic Hamlet in pursuit of justice. Direct-from-English translations, with a greater commitment to treating Shakespeare's plays as written texts, became part of the kaleidoscope by the 1930s, as did German-inspired Romantic readings of Hamlet's introspective depths. At the juncture of these competing approaches, the chapter considers a high-profile Egyptian production of Hamlet in 1964–65: an effort to mediate between the British and Soviet readings of Hamlet and a bid to claim Egypt's place on the world stage by showing mastery of the “world classics.”

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