By Shirley Chew, Alistair Stead

This quantity brings jointly eighteen titanic essays via unusual students, critics and translators, and interviews with eminent figures of British theatre, to discover the belief and perform of translation. the person, yet conceptually comparable, contributions study issues from the Renaissance to the current within the context of apt exploration of the interpretation procedure, invoking either constrained and prolonged senses of translation. The endeavour is to review intimately the idea, workings and implications of what will be known as the artwork of inventive transposition, powerful on the point of interlingual transcoding, dynamic rewriting, theatrical and cinematic version, intersemiotic or intermedial translation, and cultural alternate. a number of the essays specialise in points of intertextuality, the discussion with textual content, previous and current, as they undergo at the factor of translation, getting to the historic, political or cultural dimensions of the perform, even if it illuminates a gendered reading

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Miller et al. (Ithaca and London: Cornell University Press, 1994), pp. 123–50. 11. Kott, The Bottom Translation, p. 52. 12. James L. Calderwood, A Midsummer Night’s Dream, Twayne’s New Critical Introductions to Shakespeare (Hemel Hempstead: Harvester Wheatsheaf, 1992), p. 63. 13. The Sunday Times, 8 November 1931, quoted by Griffiths, A Midsummer Night’s Dream, p. 53. 14. Griffiths, A Midsummer Night’s Dream, p. 60. 15. Inga-Stina Ewbank, ‘Shakespeare Translation as Cultural Exchange’, Shakespeare Survey, 48 (1995), 1–12.

Elizabethan Translation 51 11. As does a passage in which Phoebus Apollo, the sun god, slips out from the bed of Leucothoë in order to dally with Salmacis. Leucothoë was the unfortunate girl in the tale told by Leuconoë, the second daughter of Minyas. The near-doubling of names between narrator and protagonist is another aspect of Book Four’s broader interest in quasi-hermaphroditic fusion of identities. 12. Renaissance mythographers tended to conflate Sol and Phoebus Apollo into a single figure of the sun god.

667–69) In a stratified society like Ovid’s Rome, where distinctions of gender, age and rank (patrician versus plebeian) are the glue that holds the communal order in place, it is dangerous to celebrate these conjunctions. The release and conjunction of women represent a special affront to Roman manhood (virtus). Bacchic rites are associated with what Pentheus scornfully calls ‘femineae voces’, women’s voices (536), rendered by Golding as ‘sheepish shriekes of simple women fray’. The bacchantes are emblems of an alternative female power, bearing the thyrsus instead of the arms which are the mark of the male.

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