Uumajursiutik unaatuinnamut / Hunter with Harpoon / Chasseur au harpon

IF 2.2 2区 文学 0 LANGUAGE & LINGUISTICS Translation Studies Pub Date : 2023-01-02 DOI:10.1080/14781700.2022.2147583
Mélissa Major
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引用次数: 1

Abstract

duction by actors from the Republic of Georgia. The difference is partly a question of control; Sakowska critiques the venue’s decision to let the performance proceed without translation, thus rendering it, for Anglophone audiences, a foreign spectacle rather than a conscious experience of the play. For Cavanagh, the decision to use physical and non-verbal aural cues to form meaning permitted a startling focus on the body as an immediate site of meaning and poetry. Cavanagh’s plea for more scholarship on such physicality is compelling in theory, but in practice it is challenging, since the kinetic action of dance eludes such treatment, because terms such as “eye movement” (245) are so indebted to physical presence that they retain, in subsequent discussion, more of an eidetic presence than a discursive meaning. In sum, this is a rich and valuable anthology about a fascinating topic. It should be useful not just to scholars of translation, but also to research on the play in general, as each of these iterations teaches us about this strange and manifold tragedy.
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Uumajursitik unaatuinnamut/鱼叉猎人/鱼叉狩猎者
格鲁吉亚共和国演员制作。这种差异在一定程度上是一个控制问题;萨科夫斯卡批评了演出场地决定让演出在没有翻译的情况下进行,从而使英语观众觉得这是一场外国奇观,而不是有意识的戏剧体验。对卡瓦纳来说,使用身体和非语言听觉线索来形成意义的决定,让人们对身体作为意义和诗歌的直接场所产生了惊人的关注。卡瓦纳呼吁对这种物理性进行更多的研究,这在理论上是令人信服的,但在实践中是具有挑战性的,因为舞蹈的动力学动作没有得到这样的处理,因为像“眼球运动”(245)这样的术语是如此依赖于物理存在,以至于在随后的讨论中,它们更多地保留了一种虚假的存在,而不是一种话语意义。总之,这是一本关于一个引人入胜的主题的丰富而有价值的选集。它不仅对翻译学者有用,而且对一般戏剧的研究也有用,因为每一次迭代都教会了我们关于这场奇怪而多样的悲剧。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
CiteScore
2.10
自引率
10.00%
发文量
27
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