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An introduction to the political and historical context to Shakespeare's tragedy and history plays, written in an accessible, jargon-free style.
Early literary criticism was undisciplined. Unlike the staid essays and monographs of later academic scholarship, English criticism first appeared in the contentious world of the London theater: dramatists and other poets argued about their craft in contending prefaces and dedications, and their disputes spilled into the public sphere in pamphlet wars, mock epics, lampoons, and even novels. Across these forms, criticism was personal, political, and unconcerned with analysis for its own sake. Yet this unruly discourse laid the groundwork both for modern literary criticism and for the discipline of literary studies. The Invention of English Criticism explores the earliest uses of criticism and the attempts by some to convert a field of literary debate into an archive of useful knowledge. Criticism's undisciplined past thus illuminates its contested, ambivalent, and never fully disciplined present.
The Routledge Encyclopedia of Translation Studies has been the standard reference in the field since it first appeared in 1998. The second, extensively revised and extended edition brings this unique resource up to date and offers a thorough, critical and authoritative account of one of the fastest growing disciplines in the humanities. The Encyclopedia is divided into two parts and alphabetically ordered for ease of reference: Part I (General) covers the conceptual framework and core concerns of the discipline. Categories of entries include: * central issues in translation theory (e.g. equivalence, translatability, unit of translation) * key concepts (e.g. culture, norms, ethics, ideology, shifts, quality) * approaches to translation and interpreting (e.g. sociological, linguistic, functionalist) * types of translation (e.g. literary, audiovisual, scientific and technical) * types of interpreting (e.g. signed language, dialogue, court) New additions in this section include entries on globalisation, mobility, localization, gender and sexuality, censorship, comics, advertising and retranslation, among many others. Part II (History and Traditions) covers the history of translation in major linguistic and cultural communities. It is arranged alphabetically by linguistic region. There are entries on a wide range of languages which include Russian, French, Arabic, Japanese, Chinese and Finnish, and regions including Brazil, Canada and India. Many of the entries in this section are based on hitherto unpublished research. This section includes one new entry: Southeast Asian tradition. Drawing on the expertise of over ninety contributors from thirty countries and an international panel of consultant editors, this volume offers a comprehensive overview of translation studies as an academic discipline and anticipates new directions in the field.
Originally published in 1992. What, in apparently pictorial poetry, do words represent? Conversely, how can words in a poem be picturable? Murray Krieger develops a systematic theoretical statement out of answers to such questions. Ekphrasis is his account of the continuing debates over meaning in language from Plato to the present. Krieger sees the modernist position as the logical outcome of these debates but argues that more recent theories radically question the political and aesthetic assumptions of the modernists and the two-thousand-year tradition they claim to culminate. Krieger focuses on ekphrasis—the literary representation of visual art, real or imaginary—a form at least as old as its most famous example, the shield of Achilles verbally invented in the Iliad. He argues that the "ekphrastic principle" has remained enduringly problematic in that it reflects the resistant paradoxes of representation in words. As he examines the conflict between the spatial and temporal, between vision-centered and word-centered metaphors, Krieger reveals how literary theory has been shaped by the attempts and the deceptive failures of language to do the job of the "natural sign."