Showing posts with label translations. Show all posts
Showing posts with label translations. Show all posts

Tuesday, December 17, 2013

Conference call on International Shakespeare (in Amherst, MA this March)

Sounds like Arabists would be welcome... 

International Shakespeare: Translation, Adaptation, and Performance

University of Massachusetts Amherst 
8-9 March 2014 
The Translation Center in partnership with The Renaissance Center for Interdisciplinary Studies, co-sponsored by the English Department and the Comparative Literature Program at the University of Massachusetts Amherst, invite scholars to its first annual conference, “International Shakespeare: Translation, Adaptation, and Performance,” on March 8-9, 2014. Paper proposals are welcome on a number of topics: case studies of translation, production, imitation or reception of Shakespeare worldwide, as well as on the impact of these phenomena on the interpretation of Shakespeare’s texts. The conference can integrate theories of identity, political perspectives, translation, readership, reception and censorship. Please submit 250-500 word abstracts to Marie Roche (rochemarie23@gmail.com) and/or Edwin Gentzler (gentzler@complit.umass.edu)  by Jan.15, 2014.

Wednesday, September 11, 2013

CFP: Essays on cross-cultural Hamlet translation

Reposting this from the ESRA list.  Any takers? 

Hamlet Translations
Call for Contributions
This interdisciplinary collection of articles discusses how Shakespeare's Hamlet has been translated into different languages and cultures at various historical moments (including our times) and for different purposes: performance, reading, artistic experimentation, language-learning, nation-building and personal identity-formation, among many others.
Hamlet, a central text not only of the Shakespearean canon but Western culture generally has travelled in translation worldwide; yet, as Laura Bohannan reminds us in “Shakespeare in the Bush”, the oft-cited universality of the story may not be more than a myth. There are many Hamlets, and rather than straightforward replicas of the original (indeed, which one?) they are texts that carry traces of their own time and place. Hamlets in different tongues may be seen as significant memory-places and multi-layered palimpsests. This volume is interested in shedding light on the many hues and refractions Hamlet gains in translation and, at the same time, reasons for its transcultural presence as cultural capital.
Contributions are welcome on any aspect of translating Hamlet, primarily in interlingual contexts (theatrical, literary, scholarly, retranslations, dramaturgical adjustments, surtitling productions, translations in manuscripts as well as those canonised and constantly re-edited, translations from English as well as from relay languages or indeed translation from English into English, nontranslation or a lack of translation). Different approaches will be considered: contextualised case studies (contemporary and historical), overviews focusing on a particular national culture, comparative articles, insights into language history, style and translation norms through Hamlet, gender- or social-class oriented analyses, character-based, scene-based or motif-based approaches, theoretical explorations, practitioners' reflections, and so on.
Please email a 300 word abstract accompanied by a short biographical note to the editor, Márta Minier, by 15 November 2013 to marta.minier@southwales.ac.uk and miniermarta@hotmail.co.uk.
If you have any questions please do not hesitate to contact the editor.

Monday, July 9, 2012

"A Naughty World": Syria - Shakespeare on... Wikileaks

My jet-lagged friend Elias alerted me early yesterday morning that the latest batch of Wikileaks Syria emails includes some correspondence with one Lamis Ismail Omar, an intimate friend of Bashar al-Asad who's completing a PhD at Durham University in the UK.  She's in the School of Modern Languages and Cultures: Translation and Linguistics.
Dissertation topic: "The Translation of Metaphor in Shakespeare's Drama from English into Arabic."
Dissertation advisors: Daniel Newman, Paul Starkey, David Cowling.
And forgive me but: she's very hot, for a Shakespeare studies grad student!

By the time I've gotten to look into it, the press in several languages is alleging that Lamis is Asad's lover, citing the extremely affectionate tone of their email and the large portrait of him on her wall in Durham.  Durham university is scrambling to deny any formal links with Asad or knowledge that he or his pariah regime (but she enrolled in 2006!) paid Lamis Ismail Omar's tuition. Wikileaks' copy of Lamis' fourth-year-student review is down (probably from excess traffic) and a search for Lamis Ismail's profile on LinkedIn, with what seems to be her correct dissertation title, mysteriously re-routes to another profile named Janah Rahman.  No further information to be gleaned from Academia.edu. In a more recent photo she looks more grad-studenty, or perhaps just harried by the press.

Newspapers have republished some of the 800 emails released by Wikileaks. The messages are mostly in English, with a lot of Arabic mixed in.  In some cases they're downright romantic, quoting Nizar Qabbani poems about roses etc.; elsewhere, Lamis shares worries about her mother's health.  Others reveal a shared interest (between Lamis and Bashar, who writes as sam@alshahba.com) in some subtleties of the English language: metaphors, catchphrases, stock expressions, lexical nuances. She coaches him on stock expressions to use in upcoming meetings. They share an iPhone app for idioms, and she sends him a very long writeup (with sample quotes from books by scholars such as Steven Heydemann who are of course critical of his regime) of the issues involved in translating certain politically loaded terms such as "revisionist."  As a translation professional she seems really smart. You can read a few more of the emails here  [update - does Lamis have a son??] and see Al-Akhbar's analysis of the whole cache.


[Update, which casts more light on how things work in academia than anything else. Wikileaks is back up. In her review, Lamis' committee writes:
As usual, the quality of her work is very high. She is currently working on the revisions of chapters submitted this session, as well as on a sample analysis of metaphors in her corpus (Shakespearean plays and their Arabic translations). Professor Newman has no doubt that Lamis will be able successfully to complete her PhD by 2012, and that her dissertation will make a significant contribution to her field of study; he adds only that it is imperative she does not lose momentum during her stay in Syria.
If she has other projects going on besides grad school, such as, e.g., translating Bashar's speeches or performing any other services in Syria's Ministry of Presidential Affairs (!), her advisors do not mention it and probably don't know or care.]

I should say that Arabic Shakespeare translations have been a staple topic for dissertations by Arab students doing PhDs in the UK (and, to a lesser but still important extent, in the US).  I catalog over a dozen such dissertations in the intro to my book.  Many of them are excellent, though some are unduly nitpicky (asserting the grad student's superiority over an Arab translation tradition portrayed as backward). None so far has been published as a monograph, perhaps because the students leave with their PhDs and go on to publish and teach in the Arab world, so English-language academic publications may be less important.  A dissertation on "The Translation of Metaphor in Shakespeare's Drama from English into Arabic" seems plausible, even potentially trendy.  I don't understand when and how Durham University is supposed to have intuited that Lamis Ismail was being sponsored by the Syrian regime, or why it's necessarily a scandal that she's due to graduate in September.  (If she's having an affair with Bashar, that's a scandal of a very different scale and kind.)

Finally: the sig quote that wraps up most of Lamis' emails is, you might say, weirdly a propos of the Wikileaks phenomenon:
How far that little candle throws his beams!
So shines a good deed in a weary world.
It comes from The Merchant of Venice 5.1- albeit in the Willy Wonka version rather than Portia's.  In Shakespeare it's a "naughty world" -- which seems apter still.

Tuesday, May 8, 2012

M.M. Badawi RIP

I didn't realize that the groundbreaking scholar Muhammad Mustafa Badawi had died last month until a few minutes ago when, searching for his contact info to share with a documentary producer interested in Shakespeare translation, I looked him up online. Allah yarhamhu.

Long interested in the topic of "Shakespeare and the Arabs" (on which he gave a much-quoted lecture on the occasion of the quadricentennial in 1964, later published in Cairo Studies in English, 1964/65), Badawi turned late in life to translating Shakespeare's plays. I have several of his texts at home: Hamlet, King Lear, Othello (partial text online), and I believe he's also done a Macbeth and maybe a Richard III.  You can find these at the National Center for Translation bookstore at the Opera complex in Cairo.

 

Wednesday, June 24, 2009

Early Arabic Shakespeare translations

This week I figured out which French translation was used by Tanyus Abdu, author of the first published Arabic Hamlet. (Hint: pick up John Pemble's very entertaining Shakespeare Goes to Paris (2005). Then spend three days at Widener comparing half a dozen 18th and 19th-c French translations.)

It's amazing no one has bothered to trace this before. It's common knowledge that the early Arabic adapters/translators of Shakespeare were mainly Syrian-Lebanese immigrants to Egypt who knew French better than English and had absorbed the neo-classical aesthetics of French theatre. It's even known that the earliest Arabic versions of Shakespeare were translated not from English but from French. (No surprise there -- same thing happened in Russian, in Spanish, probably in plenty of other languages. Paris, capital of the 19th century, etc., etc.)

But... doesn't this matter? Every critic and scholar I've seen notes the French mediation, then proceeds as though it never happened. They spill ink deploring or defending the "distortions" introduced by early adapters, especially Abdu and Mutran -- without considering which of these distortions (like Abdu's much-mocked happy ending!) were already present in their French sources. What a waste. Stop seeing it as a simple two-way exchange between Shakespeare and his Arab translator, and the literary argument about textual fidelity falls apart; even the Bourdieusian sociological argument (adaptation to the needs of Cairo's emerging middle-class commercial theatre audience, then pursuit of autonomous aesthetic standards, etc.) can be made in a considerably more complicated and fruitful way.