When plays by British playwrights were banned in the Third Reich in September 1939, Shakespeare’s... more When plays by British playwrights were banned in the Third Reich in September 1939, Shakespeare’s works were granted an exception. Reichsdramaturg Rainer Schlosser argued that Shakespeare in German translation was not an enemy author but a ‘German classic’.3 Although Schlosser’s statement might appear somewhat odd today, it did not originate from a radically new National Socialist take on Shakespeare. Rather, it relied on a long-established German tradition, eloquently epitomised by Gerhart Hauptmann’s famous lines from the previous war: ‘There is not a people, not even the English, that would have as much right to claim Shakespeare as the Germans. Shakespeare’s characters are part of our world; his soul became one with ours; and if it is in England that he was born and buried, Germany is the country where he truly lives.’4 In times of international conflict, this German, even Nordic, Shakespeare could thus be deployed as a token of German genius and cultural superiority.
Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y ... more Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l'
With the aid of a specific (or idiosyncratic) understanding of the concept of appropriation that ... more With the aid of a specific (or idiosyncratic) understanding of the concept of appropriation that suggests that appropriations are reciprocal manoeuvres of hybridisation that negotiate and construct both their subjects and their objects at the same time, this article explores Shakespeare as a cultural hybrid. In closing, it deploys the preceding theoretical considerations to investigate the cultural and temporal aspects of an anecdote about the Hungarian theatre director Arthur Bárdos.
SHAKESPEARE IN SUCCESSION: TRANSLATION AND TIME. Eds. Michael Saenger and Sergio Costola., 2023
In the early 1980s, Paul de Man, following Walter Benjamin, contended, “The process of translatio... more In the early 1980s, Paul de Man, following Walter Benjamin, contended, “The process of translation, if we can call it process, is one of change and of motion that has the appearance of life, but of life as an afterlife, because translation also reveals the death of the original.” Paul de Man claims that a series of linguistic disjunctions alienate the work from its translations and bring about “the death of the original”; for de Man, the process of translation is relegated to the realm of an “afterlife” of the original. This article argues that de Man's theory is based on a tendentious mistranslation of key words ("Überleben" and "Fortleben") in Walter Benjamin's "Die Aufgabe des Übersetzers" and suggests that any translation of a Shakespearean play is, in fact, an act of not death but survival.
When plays by British playwrights were banned in the Third Reich in September 1939, Shakespeare’s... more When plays by British playwrights were banned in the Third Reich in September 1939, Shakespeare’s works were granted an exception. Reichsdramaturg Rainer Schlosser argued that Shakespeare in German translation was not an enemy author but a ‘German classic’.3 Although Schlosser’s statement might appear somewhat odd today, it did not originate from a radically new National Socialist take on Shakespeare. Rather, it relied on a long-established German tradition, eloquently epitomised by Gerhart Hauptmann’s famous lines from the previous war: ‘There is not a people, not even the English, that would have as much right to claim Shakespeare as the Germans. Shakespeare’s characters are part of our world; his soul became one with ours; and if it is in England that he was born and buried, Germany is the country where he truly lives.’4 In times of international conflict, this German, even Nordic, Shakespeare could thus be deployed as a token of German genius and cultural superiority.
Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y ... more Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l'
With the aid of a specific (or idiosyncratic) understanding of the concept of appropriation that ... more With the aid of a specific (or idiosyncratic) understanding of the concept of appropriation that suggests that appropriations are reciprocal manoeuvres of hybridisation that negotiate and construct both their subjects and their objects at the same time, this article explores Shakespeare as a cultural hybrid. In closing, it deploys the preceding theoretical considerations to investigate the cultural and temporal aspects of an anecdote about the Hungarian theatre director Arthur Bárdos.
SHAKESPEARE IN SUCCESSION: TRANSLATION AND TIME. Eds. Michael Saenger and Sergio Costola., 2023
In the early 1980s, Paul de Man, following Walter Benjamin, contended, “The process of translatio... more In the early 1980s, Paul de Man, following Walter Benjamin, contended, “The process of translation, if we can call it process, is one of change and of motion that has the appearance of life, but of life as an afterlife, because translation also reveals the death of the original.” Paul de Man claims that a series of linguistic disjunctions alienate the work from its translations and bring about “the death of the original”; for de Man, the process of translation is relegated to the realm of an “afterlife” of the original. This article argues that de Man's theory is based on a tendentious mistranslation of key words ("Überleben" and "Fortleben") in Walter Benjamin's "Die Aufgabe des Übersetzers" and suggests that any translation of a Shakespearean play is, in fact, an act of not death but survival.
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