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This book provides a comparative analysis of Shakespeare's reception and translation in Japan and Germany. It explicitly compares and contrasts the two, including consideration of their mutual awareness but also covers issues relating to the international reception and translation of the entire Shakespeare canon. It includes study of a number of translators from each country from the 18th century to translators working today, including Odashima Yushi. Examples are drawn from all parts of Shakespeare's canon, with most extensive discussion on The Tempest.
Where, when, and why did European Romantics take to Shakespeare? How about Shakespeare's reception in enduring Neoclassical or in popular traditions? And above all: which Shakespeare did these various groups promote? This collection of essays leaves behind the time-honoured commonplaces about Shakespearean translation (the 'translatability' of Shakespeare's forms and meanings, the issue of 'loss' and 'gain' in translation, the distinction between 'translation' and 'adaptation', translation as an 'art'. etc.) and joins modern Shakespearean scholarship in its attempt to lay bare the cultural mechanisms endowing Shakespeare's texts with their supposedly inherent meanings. The book presents a fresh approach to the subject by its radically descriptive stance, by its search for an adequate underlying theory along interdisciplinary lines, and not in the least by its truly European scope. It traces common trends and local features not just in France and Germany, but also in Hungary, Italy, the Netherlands, Portugal, Russia, Scandinavia, and the West Slavic cultures.
Shakespeare's international status as a literary icon is largely based on his masterful use of the English language, yet beyond Britain his plays and poems are read and performed mainly in translation. Shakespeare and the Language of Translation addresses this apparent contradiction and is the first major survey of its kind. Covering the many ways in which the translation of Shakespeare's works is practised and studied from Bulgaria to Japan, South Africa to Germany, it also discusses the translation of Macbeth into Scots and of Romeo and Juliet into British Sign Language. The collection places renderings of Shakespeare's works aimed at the page and the stage in their multiple cultural contexts, including gender, race and nation, as well as personal and postcolonial politics. Shakespeare's impact on nations and cultures all around the world is increasingly a focus for study and debate. As a result, the international performance of Shakespeare and Shakespeare in translation have become areas of growing popularity for both under- and post-graduate study, for which this book provides a valuable companion.
Professor Williams focuses on the classical period of German literature and theatre, when Shakespeare's plays were first staged in Germany in a relatively complete form, and when they had a potent influence on the writings of German drama and dramatic criticism.
This book examines Shakespeare's influence and popularity in all aspects of eighteenth-century literature, culture and society.
This is Volume 18 of eighteen in a book series on Musicology. Originally published in 1996, this is a collection of essays in honor or Paul Brainard. Critica Musica-thinking critically about music-is at the heart of Paul Brainard's long career, and of his legacy to his students, colleagues, and friends. As a scholar, performer, and teacher, Professor Brainard has embodied a thorough, meticulous, and reasoned approach to music and scholarship that has set a high standard for all who have come in contact with him.