The Word of the Lord to Shylock

2018 ◽  
Vol 51 (2) ◽  
pp. 83-90
Author(s):  
Atar Hadari
Keyword(s):  
Key Words ◽  
Cultural Context ◽  
Textual Analysis ◽  
Literary Analysis ◽  
Merchant Of Venice ◽  
The Merchant Of Venice ◽  
Hebrew Language ◽  
Biblical Texts

Dror Abend-David’s Scorned My Nation in its comparative literary analysis of the German, Yiddish and Hebrew translations of The Merchant of Venice concludes that cultural context and political intentions changed dramatically between the two Hebrew translations in 1921 and 1972, limiting his textual analysis to the closing line of Shylock’s famous speech: ‘it shall go hard’. I examine two key words in that speech in the two translations to detect which biblical texts the translator called on, consciously or unconsciously, and gauge what the literary resources of the Hebrew language can make of Shylock and his complaint and whether the language portraying Shylock and his complaint did actually change over those fifty years.

The Word of the Lord to Shylock

2018 ◽  
Vol 51 (2) ◽  
pp. 83-90
Author(s):  
Atar Hadari
Keyword(s):  
Key Words ◽  
Cultural Context ◽  
Textual Analysis ◽  
Literary Analysis ◽  
Merchant Of Venice ◽  
The Merchant Of Venice ◽  
Hebrew Language ◽  
Biblical Texts

Abstract Dror Abend-David’s Scorned My Nation in its comparative literary analysis of the German, Yiddish and Hebrew translations of The Merchant of Venice concludes that cultural context and political intentions changed dramatically between the two Hebrew translations in 1921 and 1972, limiting his textual analysis to the closing line of Shylock’s famous speech: ‘it shall go hard’. I examine two key words in that speech in the two translations to detect which biblical texts the translator called on, consciously or unconsciously, and gauge what the literary resources of the Hebrew language can make of Shylock and his complaint and whether the language portraying Shylock and his complaint did actually change over those fifty years.

Lin Shu's Translation of Shakespeare's Religious Motifs in Twentieth-Century China

2017 ◽  
Vol 53 ◽  
pp. 389-404
Author(s):  
Jenny Wong
Keyword(s):  
Twentieth Century ◽  
Textual Analysis ◽  
Religious Values ◽  
Translation Product ◽  
Merchant Of Venice ◽  
The Merchant Of Venice ◽  
Early Twentieth Century ◽  
Close Textual Analysis ◽  
The Individual ◽  
Target Culture

When Christian values fall into the hands of translators, how are these Christian values represented in a non-religious or areligious target culture? How do the translations reflect the conflicting ideologies of the time and of the individual translators? This article will examine Lin Shu's major translations of The Merchant of Venice in early twentieth-century China, an important period when reform of Confucianism encountered imported Western ideals. Close textual analysis of the translation produced by Lin Shu, a Confucian literatus and a reformist, reveals that religious content in English literary works was manipulated, Christian references often being omitted or adapted. This study illustrates the translator's strategies, picking and choosing what to domesticate in the translated work to suit his ideology, and how a society's expectations and ideologies shape the translation product. The analysis offers some perspectives for understanding how the translator's linguistic and religious roles and ideologies shaped the Chinese Shakespeare, and how the religious values were re-presented in early twentieth-century China.

The Law That Never Was: A Note on The Merchant of Venice

1991 ◽  
Vol 16 (3) ◽  
pp. 249-252 ◽  
Author(s):  
Amiel Schotz
Keyword(s):  
Textual Analysis ◽  
Merchant Of Venice ◽  
Intimate Contact ◽  
The Merchant Of Venice ◽  
The Law ◽  
Fresh Insight

My approach to textual analysis is that of a practising director and actor although I am usually fairly familiar with the main streams of commentary on a particular play or playwright. Thus, when preparing a production I do not often engage in exhaustive examination of the literature. Such reading can actually be harmful, since it may interfere with the direct and intimate contact with the material that can sometimes lead to a fresh insight or approach.

A Hebrew Take on Shylock on the New York Stage

2018 ◽  
Vol 51 (2) ◽  
pp. 159-164
Author(s):  
Edna Nahshon
Keyword(s):  
New York ◽  
Merchant Of Venice ◽  
The Merchant Of Venice ◽  
The Holocaust ◽  
Hebrew Language

Shylock ’47 was a Hebrew-language stage production presented by the Pargod Theatre in New York in 1947. Conceived and directed by Peter Frye, it was a metatheatrical play-within-a-play that interrogated the idea of producing The Merchant of Venice in the aftermath of the Holocaust. It combined original scenes culled from Shimon Halkin’s Hebrew translation of Merchant with present-based transitional scenes, created mostly through improvisation and discussion between director and cast. What eventually emerged was a script based on Shakespeare’s text with added dramatized discussions about the play’s meaning and relevance to Jews at that particular moment in history.

A Hebrew Take on Shylock on the New York Stage

2018 ◽  
Vol 51 (2) ◽  
pp. 159-164
Author(s):  
Edna Nahshon
Keyword(s):  
New York ◽  
Merchant Of Venice ◽  
The Merchant Of Venice ◽  
The Holocaust ◽  
Hebrew Language

Abstract Shylock’47 was a Hebrew-language stage production presented by the Pargod Theatre in New York in 1947. Conceived and directed by Peter Frye, it was a metatheatrical play-within-a-play that interrogated the idea of producing The Merchant of Venice in the aftermath of the Holocaust. It combined original scenes culled from Shimon Halkin’s Hebrew translation of Merchant with present-based transitional scenes, created mostly through improvisation and discussion between director and cast. What eventually emerged was a script based on Shakespeare’s text with added dramatized discussions about the play’s meaning and relevance to Jews at that particular moment in history.

The Merchant of Venice

2018 ◽  
Author(s):  
William Shakespeare ◽  
Tom Lockwood
Keyword(s):  
Merchant Of Venice ◽  
The Merchant Of Venice

The Translation of Passive Voice in Harry Potter Novel into Bahasa Indonesia

2015 ◽  
Vol 12 (1) ◽  
Author(s):  
Harry Sumbayu ◽  
Amrin Saragih ◽  
Syahron Lubis
Keyword(s):  
Key Words ◽  
Cultural Context ◽  
Harry Potter ◽  
Qualitative Approach ◽  
Cultural Value ◽  
Passive Voice ◽  
Active Voice ◽  
Source Language ◽  
Lexical Categories ◽  
Bahasa Indonesia

This study addresses the translation of passive voice in Harry Potter and the Prisoner of Azakaban into Bahasa Indonesia. The study was based on descriptive qualitative approach. The data were collected by applying documentary techniques. There were three chapters taken as the source of the data. They were chapters 1, 8 and 15. The findings indicated that there were two types of passive voices as a product of passive voices’ translation in Bahasa Indonesia. The passive voice retained as passive one in TL was more dominantly translated into passive voice type one than type two in TL. It caused the use of prefix di+verb base, prefix di+verb base suffix i, and prefix di +verb base+ suffix+ kan are able to represent the meaning of the SL literally and culturally. The changing of English passive voice into Bahasa Indonesia active voice when they were translated indicated that the translator has attempted to find the closest natural equivalent of the source language in aspect of grammar, style, and cultural value. In essence naturalization rate of an expression is a matter of looking for matches in level lexical categories, grammatical categories, semantic, and cultural context.   Key words: translation, passive voice, English, Bahasa Indonesia.

Maritime Fantasies and Gender Space in Three Shakespearean Comedies

2012 ◽  
Vol 11 (1) ◽  
pp. 23-37
Author(s):  
Wai Fong Cheang
Keyword(s):  
Female Characters ◽  
Merchant Of Venice ◽  
Twelfth Night ◽  
The Merchant Of Venice ◽  
The Tempest ◽  
Gender Space ◽  
And Gender ◽  
Gender And Space

Abstract Laden with sea images, Shakespeare‘s plays dramatise the maritime fantasies of his time. This paper discusses the representation of maritime elements in Twelfth Night, The Tempest and The Merchant of Venice by relating them to gender and space issues. It focuses on Shakespeare‘s creation of maritime space as space of liberty for his female characters.

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