Beyond Interlingual Translation: Transforming History, Corporeality, and Spatiality in Femi Osofisan’s Women of Owu

Adaptation ◽  
2019 ◽  
Vol 12 (3) ◽  
pp. 257-270 ◽  
Author(s):  
Ifeoluwa Aboluwade
Keyword(s):  
Recent Work ◽  
Translation Studies ◽  
Literary Studies ◽  
Social Semiotics ◽  
Adaptation Studies ◽  
Transdisciplinary Approach ◽  
Stage Performance ◽  
And Performance

Abstract Building mostly on the seminal works of André Lefevere and Bassnett, recent work carried out in translation studies has problematized extant conceptions of translation and the distinction between various forms of creative rewritings. Similarly, individual scholars such as Katja Krebs and Laurence Raw in the field of adaptation studies have illuminated points of convergence and overlap between translation and adaptation. This article espouses and extends existing studies by explicating the redundancy of the borders constructed between translation and adaptation within the broader framework of Nigerian theatre and performance. Informed by a transdisciplinary approach adapted from multimodal social semiotics and literary studies, the author engages in analysis and close-readings of the play text and stage performance of Femi Osofisan’s Women of Owu (2004/2006) to investigate how translation transcends simple interlingual practice to encompass adaptations of the spatial, temporal and embodied aspects of societies and cultures.

The Classical Tradition in University Theatre

2018 ◽  
Author(s):  
Nurit Yaari
Keyword(s):  
Art Education ◽  
Classical Tradition ◽  
Theory And Practice ◽  
Theatre Arts ◽  
Tel Aviv ◽  
Greek Drama ◽  
Mise En Scene ◽  
History Of ◽  
Stage Performance ◽  
And Performance

This chapter surveys the history of classical Greek drama productions at the Department of Theatre Arts of Tel Aviv University as the basis for an exploration of the issue of theatre and art education. By analysing the students’ approach to classical Greek drama, we can see how they deal with the interpretative reading, translation, and performance of such texts on stage. We also see how the ancient works invite the students to delve more deeply into their distinctive content and forms; to draw links between theory and practice, and between text and context; to gain a deeper understanding of the issues of style and styling; and to engage in a richer experimentation with various aspects of stage performance—such as pronunciation, diction, voice, movement, music, and mise-en-scène.

scholarly journals Image in Translated Novels from English into Persian

2016 ◽  
Vol 6 (4) ◽  
pp. 50
Author(s):  
Gholam-Reza Parvizi
Keyword(s):  
Aesthetic Experience ◽  
Translation Studies ◽  
Literary Translation ◽  
Literary Studies ◽  
Theoretical Frameworks ◽  
Translation Strategies ◽  
The Aesthetic ◽  
The Mind

The question of image in literary studies and in recent years in Translation Studies is one of the most problematic innature. In the present study an attempt was made to define the nature of translating linguistic constructions – evokingimages in the mind of reader – in English novels and their rendered versions in Persian translations. In this studyseven types of images (visual, auditory, olfactory, gustatory, tactile, kinesthetic and organic) in two English novelsand their rendered versions in Persian were analyzed based on two theoretical frameworks, the first one is Jiang’sImage-Based Model to Literary Translation (2008) by which the nature of translation of images were examined andthe other is Chesterman’s translation strategies (1997) which help to systematize translation strategies adopted bytranslators in rewriting the images in English novels. The results have shown that in most of the cases the images thatare intended by original author have been changed in the translations, and the aesthetic experience of the ST reader isdifferent from that of the TT reader.

scholarly journals Adventures in Music Translation: Italian Songs and Arias (aka “The Yellow Book”) and Me

2017 ◽  
Vol 9 (1) ◽  
pp. 63
Author(s):  
Lynn Penrod
Keyword(s):  
Art Song ◽  
Translation Studies ◽  
Collaborative Approach ◽  
The Future ◽  
Working Together ◽  
Italian Songs ◽  
And Performance ◽  
Critical Interest

This article is a general exploration of translation issues involved in the translation and performance of the art song, arguing that although critical interest in recent years has been growing, the problems involved in these hybrid translation projects involving both text and music present a number of conundrums: primacy of text or music, focus on performability, and age-old arguments about fidelity and/or foreignization vs domestication. Using information from theatre translation and input from singers themselves, the author argues that this particular area of translation studies will work best in the future with a collaborative approach that includes translators, musicologists, and performers working together in order to produce the most “singable” text as possible for the art song in performance.

Power Implications Within Competitive Organizations

2020 ◽  
pp. 153-176
Author(s):  
Mark E. Nissen ◽  
Shelley P. Gallup ◽  
Paul R. Shigley ◽  
Robert M. Tanner
Keyword(s):  
Recent Work ◽  
Research Attention ◽  
Knowledge Measurement ◽  
And Performance ◽  
Dynamic Context

The power of a competitive organization is often very clear: one organization is able to impose its will upon another, dominate a competitive arena, or otherwise succeed in a contested environment. However, the implications of power within such competitive organization are tenuous: the concept organization power remains ambiguous, resists quantification, and continues a longstanding lack of research attention, particularly in a dynamic context. Building upon recent work to develop a system for visualizing and measuring dynamic knowledge in the organization, the research described in this chapter addresses the power within organizations. It also identifies important linkages between organization knowledge and power, providing a novel focus on how power is wielded and perceived in the competitive organization. This elucidates how the effects of organization power on knowledge, action and performance can be measured empirically. The use and utility of this approach are illustrated through two measurement examples, both in overtly competitive contexts. The research makes a theoretic contribution by advancing a coherent approach to dynamic knowledge measurement and by extending the understanding of organization power. It makes a practical contribution also through the organization illustrations. As such, it is likely to stimulate considerable thinking, discussion, debate, and continued research.

Resetting Taxonomies

2020 ◽  
pp. 201-222
Author(s):  
Kamilla Elliott
Keyword(s):  
Identity Politics ◽  
Translation Studies ◽  
Adaptation Studies ◽  
Second Stage ◽  
Contrast Adaptation ◽  
The Arts ◽  
Adaptation Practice ◽  
Historical Periods

Chapter 6 demonstrates how and why adaptation resists theorization at its second stage: the development of taxonomies. While taxonomization has been challenged as a theoretical enterprise generally, adaptation offers more particular resistance to it. As a process that crosses taxonomical borders of all kinds, adaptation is itself anti-taxonomical. Even so, examining how some scholars have sought to taxonomize adaptation and others have resisted adaptation taxonomies informs adaptation’s relationship to theorization. As with definitions, taxonomies have subjected adaptation to other disciplines and their taxonomies. While discussions of adaptation taxonomies have been largely focused on taxonomies from translation studies and narratology, adaptation has been subjected to a host of others, studied and organized by adapters, genres, nations, historical periods, media forms and technologies, and by the taxonomies of identity politics, which are rarely addressed as taxonomical systems. Moreover, disciplines are themselves taxonomies: certain disciplines (most notably philosophy, history, linguistics/rhetoric) have been accorded theorizing power in the humanities, while others have not. By contrast, adaptation inhabits all disciplines and cannot be satisfactorily theorized without input from them all. Joining scholars who have for centuries questioned the ability of rational and empirical epistemologies to theorize the arts, Chapter 6 argues for creative-critical adaptation practice as a way to generate dialogues between the theorizing and “non-theorizing” disciplines. As with definition, retheorizing adaptation theorization at the level of taxonomization is not a matter of deciding which taxonomies developed to study other things we should apply to adaptation but of taxonomizing adaptation as adaptation and of setting these in dialogue with the taxonomies we already have in adaptation studies.

Theatre Audiences, Redux

2006 ◽  
Vol 47 (2) ◽  
pp. 225-230 ◽  
Author(s):  
Susan Bennett
Keyword(s):  
Working Class ◽  
Performance Studies ◽  
Literary Studies ◽  
Critical Position ◽  
Class A ◽  
Explicit Recognition ◽  
And Performance ◽  
Male Authority ◽  
Performance Frame ◽  
Death Of The Author

In retrospect, that Roland Barthes's insistence on “the death of the author” should have provoked an emergent interest in theatre audiences is hardly surprising. As, in literary studies, this brought about a new privilege for and investment in the reader, so too, in theatre and performance studies, there was an explicit recognition that what went on in the theatre was qualitatively and quantitatively more complicated and more exciting than the study of the playtext in the classroom. At the same time, the move to challenge a universalized (and thus male) viewing subject created new readings of the audience and new understandings of both individual and collective spectatorship across a range of subjectivities. So, Jill Dolan could argue that the “feminist spectator viewing such a representation is necessarily in the outsider's critical position.” Dolan continued:She cannot find a comfortable way into the representation, since she finds herself, as a woman (and even more so, as a member of the working class, a lesbian, or a woman of color), excluded from its address. She sees in the performance frame representatives of her gender class with whom she might identify—if women are represented at all—acting passively before the specter of male authority.1

Theresa, I Miss You (Arsenale Veneto)

October ◽  
2019 ◽  
Vol 170 ◽  
pp. 146-147
Author(s):  
Mia Kang
Keyword(s):  
Asian American ◽  
Korean American ◽  
Literary Studies ◽  
Theresa Hak Kyung Cha ◽  
Research Writing ◽  
Long Day ◽  
American Artist ◽  
And Performance ◽  
Venice Biennale

This poem was written after a long day at the 2019 Venice Biennale. It is from a body of work—spanning research, writing, and performance—dedicated to Theresa Hak Kyung Cha. Cha's seminal autoethnography Dictée has been readily mobilized by the disciplinary demands of both Asian American and literary studies, becoming the beloved exception reifying the rule of the false (and racialized, and gendered) binary between expressivity and innovation. Meanwhile, Cha's visual, video, and performance work has remained relatively obscure. My project for Theresa wants to un-discipline her archive while interrogating my own marking as a “Korean” “American” artist. In order to write this introduction, I had to go into the rain in all white, to move through silence with a hand to my mouth. In addressing these texts and rituals to Theresa, I seek to acknowledge the exchange we make in communing with the lost.

Religion and Representation

2020 ◽  
Author(s):  
Joanna Rzepa
Keyword(s):  
Cultural History ◽  
Interdisciplinary Research ◽  
Book History ◽  
Postcolonial Studies ◽  
Continental Philosophy ◽  
Translation Studies ◽  
Religious Studies ◽  
Literary Studies ◽  
The Real ◽  
The Relationship

Abstract This review is divided into three sections: 1. Jeffrey T. Zalar, Reading and Rebellion in Catholic Germany, 1770–1914; 2. Edward Baring, Converts to the Real: Catholicism and the Making of Continental Philosophy; 3. ‘Translation and Religion: Crafting Regimes of Identity’, a thematic issue of Religion edited by Hephzibah Israel and Matthias Frenz. Taken together, these works provide an overview of approaches that demonstrate the value of interdisciplinary research into religion and representation. Drawing on the disciplines of social, political, and cultural history, literary studies, book history, theology, religious studies, translation studies, and postcolonial studies, they highlight the importance of research that contextualizes the relationship between religion and representation, bringing attention to its historically overlooked aspects.

Sign in / Sign up

Export Citation Format

Share Document