Shakespeare, Reception and Translation: Germany and JapanBloomsbury Academic, 2004 - 253 páginas 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. |
Dentro del libro
Resultados 1-3 de 55
Página 154
... Shôyô introduced his translation of The Tempest with detailed , paratextual information and high recommendations . In the Intro- duction , Shôyô argues that because The Tempest was edited particularly carefully and is the first text in ...
... Shôyô introduced his translation of The Tempest with detailed , paratextual information and high recommendations . In the Intro- duction , Shôyô argues that because The Tempest was edited particularly carefully and is the first text in ...
Página 155
... Shôyô compares him to the Japanese stage character Gozumezu ( 1915 : 59 ) . Shôyô's introduction and afterword thus contain many examples of ' cultural translations ' that reconfigure the play and its frames of reference in a code that ...
... Shôyô compares him to the Japanese stage character Gozumezu ( 1915 : 59 ) . Shôyô's introduction and afterword thus contain many examples of ' cultural translations ' that reconfigure the play and its frames of reference in a code that ...
Página 180
... Shôyô uses forms of the verb oboeru , but instead of using the customary Chinese character for it , he makes use of ... Shôyô continuously uses oboeru . Thus , what Shakespeare achieves through paraphrasing , Shôyô achieves through ...
... Shôyô uses forms of the verb oboeru , but instead of using the customary Chinese character for it , he makes use of ... Shôyô continuously uses oboeru . Thus , what Shakespeare achieves through paraphrasing , Shôyô achieves through ...
Contenido
2 | 22 |
Shakespeare Reception and Translation in Germany and Japan | 49 |
4 | 71 |
Derechos de autor | |
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Shakespeare, Reception and Translation: Germany and Japan Friederike Von Schwerin-High Sin vista previa disponible - 2004 |
Shakespeare, Reception and Translation: Germany and Japan Friedrike Von Schwerin-High Sin vista previa disponible - 2004 |
Términos y frases comunes
allegories Antonio archaic argue Ariel Ariel's song aspects audience August Wilhelm Schlegel become Bunraku Caliban Chapter characters Christoph Martin Wieland contemporary context criticism culture described dramatic English Erich Fried essay example father Ferdinand Flatter Fried Friedrich Schlegel Fukuda Tsuneari furigana German Shakespeare German stage German translators Goethe Gonzalo Günther Hamlet instances Japan Japanese translators Johann Heinrich Voß kanji keywords language lation Lefevere lines linguistic literature lyrical magic meaning metaphor metre Midsummer Night's Dream Miranda modern moreover norms Odashima particular passage performance poetic poetry political pronounced prose Prospero published rendered rendition rewriting rhyme Rothe Rothe's scene Schaller Schlegel Schlegel-Tieck Schlegel's translation Sebastian secret studies sentence Shake Shakespeare translations Shakespearean plays Shakespearean texts Shakespearean translations shipwreck Shôyô speare's speech strange style supernatural Tempest theatre theatrical thou Tieck Toyoda traditional trans translator's Tsubouchi Shôyô verb verse Voẞ's Wieland Wieland's translation word writes