Dance as Intermedial Translation: Moving Across Page, Stage, Canvas
Innovative perspective to the meaningful import of body and materiality in the translation process, a focal point of recent literature in Translation StudiesThis book is situated in the breach opened up by recent debates on inherited notions of text, language, and translation that followed the emerg...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Leuven
Leuven University Press
2024
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| Schriftenreihe: | Translation, Interpreting and Mediation
10 |
| Schlagworte: | |
| Zusammenfassung: | Innovative perspective to the meaningful import of body and materiality in the translation process, a focal point of recent literature in Translation StudiesThis book is situated in the breach opened up by recent debates on inherited notions of text, language, and translation that followed the emergence of new technologies. It examines two works of contemporary dance, Marie Chouinard’s Jérôme Bosch: Le Jardin des Délices (2016) and Mathieu Geffré’s Froth on the Daydream (2018), as examples of intermedial translation. Conceptualising translation through the lens of theatrical dance allows us to see the translation process as a creative, corporeal, and political practice of negotiating human and non-human agencies, deeply intertwined with issues of memory and struggles over representation. Drawing on a wide range of theoretical debates from translation theory, dance studies, cultural theory, gender studies, postcolonialism, art history, cognitive linguistics, multimodality, film studies, and memory studies, as well as on concrete examples of performative works, the book charts a course for the development of dance translation as a legitimate, if still under-researched, subfield of translation studies.With free digital appendicesThis publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).This book will be made open access within three years of publication thanks to Path to Open, a program developed in partnership between JSTOR, the American Council of Learned Societies (ACLS), University of Michigan Press, and The University of North Carolina Press to bring about equitable access and impact for the entire scholarly community, including authors, researchers, libraries, and university presses around the world. Learn more at https://about.jstor.org/path-to-open |
| Beschreibung: | 31 black & white illustrations. - This book is situated in the breach opened up by recent debates on inherited notions of text, language, and translation that followed the emergence of new technologies. It examines two works of contemporary dance, Marie Chouinard’s Jérôme Bosch: Le Jardin des Délices (2016) and Mathieu Geffré’s Froth on the Daydream (2018), as examples of intermedial translation. Conceptualising translation through the lens of theatrical dance allows us to see the translation process as a creative, corporeal, and political practice of negotiating human and non-human agencies, deeply intertwined with issues of memory and struggles over representation. Drawing on a wide range of theoretical debates from translation theory, dance studies, cultural theory, gender studies, postcolonialism, art history, cognitive linguistics, multimodality, film studies, and memory studies, as well as on concrete examples of performative works, the book charts a course for the development of dance translation as a legitimate, if still under-researched, marc:subfield of translation studies.Vanessa Montesi is a HE Lecturer in Dance Studies at Dance City/University of Sunderland, a member of the Centre for Comparative Studies (University of Lisbon), and a trustee at Company of Others."A very original and daring work, which grapples with some of the most complex theoretical questions currently animating Translation Studies, and applies them, in a compelling way, to the study of theatrical dance." - Karen Bennett, NOVA University of Lisbon – School of Social Sciences and Humanities (NOVA FCSH) List of Figures ; List of Text Boxes ; List of Tables ; Acknowledgements; Prelude: Setting Words in Motion; Three Anecdotes… ; …and an Introduction; OFFSTAGE; 1.Stretching; Ways of Stretching ; What about Dance? ; Theoretical Grounding: Multimodal Social Semiotics and Intermediality; 2.Rehearsing ; Dance and the Visual Arts ; Dance and Language ; Dance and Literature ; Dance and Translation ; Transition; TROIS COUPS; 3.What’s in a Name?; O’, Be Some Other Name! ; ‘Tis but thy Name that is my Enemy! ; What’s in a Name? ; Deny thy Father, - and Refuse thy Name; 4.Words Written in the Air: Dance as Ephemeral Writing ; How Can We Know the Dancer from the Dance? ; We Need to Know the Dancer from the Dance ; Can We Know the Dancer from the Dance? ; Why Should We Know the Dancer from the Dance?; 5.Translated/Translating Bodies and the Translator’s Embodied Dramaturgy ; The Dancer’s Embodied Dramaturgy ; Translated Bodies ; The Translator’s Embodied Dramaturgy ; Interlude ; Methodology and Methods ; Embodied Ethnography and Embodied Writing; PERFORMING; 6.Translational Agency in Jérôme Bosch: Le Jardin des Délices ; Jérôme Bosch: Le Jardin des Délices (2016) ; Political Agency in Dance and Translation; 7.Distributed Agency in Jérôme Bosch: Le Jardin des Délices ; Translating the Painting into Somatic Sensations ; Distributed Agency ; Spatial and Discursive Framings: The Garden of Earthly Delights at the Gallery of Nassau ; Spatial and Discursive Framings: Jérôme Bosch: Le Jardin des Délices at the CCB; - 8.Translation and Memory in Froth on the Daydream (2018) ; Translation and Memory Studies ; Boris Vian: Living and Writing in the Translation Zone ; Translation History of L’Écume des Jours ; Froth on the Daydream (2018): Offstage ; Froth on the Daydream (2018): Performing; 9.Translations and Memories of L’Écume des Jours ; Cracks in the color-blind image of Paris: Belmont’s L’Écume des Jours (1967) ; Performing the Imaginative West in Late Soviet Russia: Denisov’s Chloé (1981) ; From Surrealism to Magic(al) Realism: Gô Rijû’s Kuroe (2001) ; Performing the Materiality of Bodies and Graphic Line: Preteseille’s L’Écume d’Écume des Jours (2005) ; Inheriting French Surrealist Cinema: Michel Gondry’s Mood Indigo (2013) ; After the Tide Has Gone, What Remains? Translation and/as Memory; Postlude: Unwinding ; Three Anecdotes… ; …and a Conclusion; Appendixes ; Notes ; References |
| Beschreibung: | 320 Seiten 485 gr |
| ISBN: | 9789462704398 |
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| 500 | |a 31 black & white illustrations. - This book is situated in the breach opened up by recent debates on inherited notions of text, language, and translation that followed the emergence of new technologies. It examines two works of contemporary dance, Marie Chouinard’s Jérôme Bosch: Le Jardin des Délices (2016) and Mathieu Geffré’s Froth on the Daydream (2018), as examples of intermedial translation. Conceptualising translation through the lens of theatrical dance allows us to see the translation process as a creative, corporeal, and political practice of negotiating human and non-human agencies, deeply intertwined with issues of memory and struggles over representation. Drawing on a wide range of theoretical debates from translation theory, dance studies, cultural theory, gender studies, postcolonialism, art history, cognitive linguistics, multimodality, film studies, and memory studies, as well as on concrete examples of performative works, the book charts a course for the development of dance translation as a legitimate, if still under-researched, marc:subfield of translation studies.Vanessa Montesi is a HE Lecturer in Dance Studies at Dance City/University of Sunderland, a member of the Centre for Comparative Studies (University of Lisbon), and a trustee at Company of Others."A very original and daring work, which grapples with some of the most complex theoretical questions currently animating Translation Studies, and applies them, in a compelling way, to the study of theatrical dance." - Karen Bennett, NOVA University of Lisbon – School of Social Sciences and Humanities (NOVA FCSH) | ||
| 500 | |a List of Figures ; List of Text Boxes ; List of Tables ; Acknowledgements; Prelude: Setting Words in Motion; Three Anecdotes… ; …and an Introduction; OFFSTAGE; 1.Stretching; Ways of Stretching ; What about Dance? ; Theoretical Grounding: Multimodal Social Semiotics and Intermediality; 2.Rehearsing ; Dance and the Visual Arts ; Dance and Language ; Dance and Literature ; Dance and Translation ; Transition; TROIS COUPS; 3.What’s in a Name?; O’, Be Some Other Name! ; ‘Tis but thy Name that is my Enemy! ; What’s in a Name? ; Deny thy Father, | ||
| 500 | |a - and Refuse thy Name; 4.Words Written in the Air: Dance as Ephemeral Writing ; How Can We Know the Dancer from the Dance? ; We Need to Know the Dancer from the Dance ; Can We Know the Dancer from the Dance? ; Why Should We Know the Dancer from the Dance?; 5.Translated/Translating Bodies and the Translator’s Embodied Dramaturgy ; The Dancer’s Embodied Dramaturgy ; Translated Bodies ; The Translator’s Embodied Dramaturgy ; Interlude ; Methodology and Methods ; Embodied Ethnography and Embodied Writing; PERFORMING; 6.Translational Agency in Jérôme Bosch: Le Jardin des Délices ; Jérôme Bosch: Le Jardin des Délices (2016) ; Political Agency in Dance and Translation; 7.Distributed Agency in Jérôme Bosch: Le Jardin des Délices ; Translating the Painting into Somatic Sensations ; Distributed Agency ; Spatial and Discursive Framings: The Garden of Earthly Delights at the Gallery of Nassau ; Spatial and Discursive Framings: Jérôme Bosch: Le Jardin des Délices at the CCB; | ||
| 500 | |a - 8.Translation and Memory in Froth on the Daydream (2018) ; Translation and Memory Studies ; Boris Vian: Living and Writing in the Translation Zone ; Translation History of L’Écume des Jours ; Froth on the Daydream (2018): Offstage ; Froth on the Daydream (2018): Performing; 9.Translations and Memories of L’Écume des Jours ; Cracks in the color-blind image of Paris: Belmont’s L’Écume des Jours (1967) ; Performing the Imaginative West in Late Soviet Russia: Denisov’s Chloé (1981) ; From Surrealism to Magic(al) Realism: Gô Rijû’s Kuroe (2001) ; Performing the Materiality of Bodies and Graphic Line: Preteseille’s L’Écume d’Écume des Jours (2005) ; Inheriting French Surrealist Cinema: Michel Gondry’s Mood Indigo (2013) ; After the Tide Has Gone, What Remains? Translation and/as Memory; Postlude: Unwinding ; Three Anecdotes… ; …and a Conclusion; Appendixes ; Notes ; References | ||
| 520 | |a Innovative perspective to the meaningful import of body and materiality in the translation process, a focal point of recent literature in Translation StudiesThis book is situated in the breach opened up by recent debates on inherited notions of text, language, and translation that followed the emergence of new technologies. It examines two works of contemporary dance, Marie Chouinard’s Jérôme Bosch: Le Jardin des Délices (2016) and Mathieu Geffré’s Froth on the Daydream (2018), as examples of intermedial translation. Conceptualising translation through the lens of theatrical dance allows us to see the translation process as a creative, corporeal, and political practice of negotiating human and non-human agencies, deeply intertwined with issues of memory and struggles over representation. Drawing on a wide range of theoretical debates from translation theory, dance studies, cultural theory, gender studies, postcolonialism, art history, cognitive linguistics, multimodality, film studies, and memory studies, as well as on concrete examples of performative works, the book charts a course for the development of dance translation as a legitimate, if still under-researched, subfield of translation studies.With free digital appendicesThis publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).This book will be made open access within three years of publication thanks to Path to Open, a program developed in partnership between JSTOR, the American Council of Learned Societies (ACLS), University of Michigan Press, and The University of North Carolina Press to bring about equitable access and impact for the entire scholarly community, including authors, researchers, libraries, and university presses around the world. Learn more at https://about.jstor.org/path-to-open | ||
| 650 | 4 | |a bisacsh / PERFORMING ARTS / Dance / Choreography & Dance Notation | |
| 650 | 4 | |a bisacsh / LANGUAGE ARTS & DISCIPLINES / Translating & Interpreting | |
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| spelling | Montesi, Vanessa Verfasser aut Dance as Intermedial Translation Moving Across Page, Stage, Canvas Leuven Leuven University Press 2024 320 Seiten 485 gr txt rdacontent n rdamedia nc rdacarrier Translation, Interpreting and Mediation 10 31 black & white illustrations. - This book is situated in the breach opened up by recent debates on inherited notions of text, language, and translation that followed the emergence of new technologies. It examines two works of contemporary dance, Marie Chouinard’s Jérôme Bosch: Le Jardin des Délices (2016) and Mathieu Geffré’s Froth on the Daydream (2018), as examples of intermedial translation. Conceptualising translation through the lens of theatrical dance allows us to see the translation process as a creative, corporeal, and political practice of negotiating human and non-human agencies, deeply intertwined with issues of memory and struggles over representation. Drawing on a wide range of theoretical debates from translation theory, dance studies, cultural theory, gender studies, postcolonialism, art history, cognitive linguistics, multimodality, film studies, and memory studies, as well as on concrete examples of performative works, the book charts a course for the development of dance translation as a legitimate, if still under-researched, marc:subfield of translation studies.Vanessa Montesi is a HE Lecturer in Dance Studies at Dance City/University of Sunderland, a member of the Centre for Comparative Studies (University of Lisbon), and a trustee at Company of Others."A very original and daring work, which grapples with some of the most complex theoretical questions currently animating Translation Studies, and applies them, in a compelling way, to the study of theatrical dance." - Karen Bennett, NOVA University of Lisbon – School of Social Sciences and Humanities (NOVA FCSH) List of Figures ; List of Text Boxes ; List of Tables ; Acknowledgements; Prelude: Setting Words in Motion; Three Anecdotes… ; …and an Introduction; OFFSTAGE; 1.Stretching; Ways of Stretching ; What about Dance? ; Theoretical Grounding: Multimodal Social Semiotics and Intermediality; 2.Rehearsing ; Dance and the Visual Arts ; Dance and Language ; Dance and Literature ; Dance and Translation ; Transition; TROIS COUPS; 3.What’s in a Name?; O’, Be Some Other Name! ; ‘Tis but thy Name that is my Enemy! ; What’s in a Name? ; Deny thy Father, - and Refuse thy Name; 4.Words Written in the Air: Dance as Ephemeral Writing ; How Can We Know the Dancer from the Dance? ; We Need to Know the Dancer from the Dance ; Can We Know the Dancer from the Dance? ; Why Should We Know the Dancer from the Dance?; 5.Translated/Translating Bodies and the Translator’s Embodied Dramaturgy ; The Dancer’s Embodied Dramaturgy ; Translated Bodies ; The Translator’s Embodied Dramaturgy ; Interlude ; Methodology and Methods ; Embodied Ethnography and Embodied Writing; PERFORMING; 6.Translational Agency in Jérôme Bosch: Le Jardin des Délices ; Jérôme Bosch: Le Jardin des Délices (2016) ; Political Agency in Dance and Translation; 7.Distributed Agency in Jérôme Bosch: Le Jardin des Délices ; Translating the Painting into Somatic Sensations ; Distributed Agency ; Spatial and Discursive Framings: The Garden of Earthly Delights at the Gallery of Nassau ; Spatial and Discursive Framings: Jérôme Bosch: Le Jardin des Délices at the CCB; - 8.Translation and Memory in Froth on the Daydream (2018) ; Translation and Memory Studies ; Boris Vian: Living and Writing in the Translation Zone ; Translation History of L’Écume des Jours ; Froth on the Daydream (2018): Offstage ; Froth on the Daydream (2018): Performing; 9.Translations and Memories of L’Écume des Jours ; Cracks in the color-blind image of Paris: Belmont’s L’Écume des Jours (1967) ; Performing the Imaginative West in Late Soviet Russia: Denisov’s Chloé (1981) ; From Surrealism to Magic(al) Realism: Gô Rijû’s Kuroe (2001) ; Performing the Materiality of Bodies and Graphic Line: Preteseille’s L’Écume d’Écume des Jours (2005) ; Inheriting French Surrealist Cinema: Michel Gondry’s Mood Indigo (2013) ; After the Tide Has Gone, What Remains? Translation and/as Memory; Postlude: Unwinding ; Three Anecdotes… ; …and a Conclusion; Appendixes ; Notes ; References Innovative perspective to the meaningful import of body and materiality in the translation process, a focal point of recent literature in Translation StudiesThis book is situated in the breach opened up by recent debates on inherited notions of text, language, and translation that followed the emergence of new technologies. It examines two works of contemporary dance, Marie Chouinard’s Jérôme Bosch: Le Jardin des Délices (2016) and Mathieu Geffré’s Froth on the Daydream (2018), as examples of intermedial translation. Conceptualising translation through the lens of theatrical dance allows us to see the translation process as a creative, corporeal, and political practice of negotiating human and non-human agencies, deeply intertwined with issues of memory and struggles over representation. Drawing on a wide range of theoretical debates from translation theory, dance studies, cultural theory, gender studies, postcolonialism, art history, cognitive linguistics, multimodality, film studies, and memory studies, as well as on concrete examples of performative works, the book charts a course for the development of dance translation as a legitimate, if still under-researched, subfield of translation studies.With free digital appendicesThis publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).This book will be made open access within three years of publication thanks to Path to Open, a program developed in partnership between JSTOR, the American Council of Learned Societies (ACLS), University of Michigan Press, and The University of North Carolina Press to bring about equitable access and impact for the entire scholarly community, including authors, researchers, libraries, and university presses around the world. Learn more at https://about.jstor.org/path-to-open bisacsh / PERFORMING ARTS / Dance / Choreography & Dance Notation bisacsh / LANGUAGE ARTS & DISCIPLINES / Translating & Interpreting |
| spellingShingle | Montesi, Vanessa Dance as Intermedial Translation Moving Across Page, Stage, Canvas bisacsh / PERFORMING ARTS / Dance / Choreography & Dance Notation bisacsh / LANGUAGE ARTS & DISCIPLINES / Translating & Interpreting |
| title | Dance as Intermedial Translation Moving Across Page, Stage, Canvas |
| title_auth | Dance as Intermedial Translation Moving Across Page, Stage, Canvas |
| title_exact_search | Dance as Intermedial Translation Moving Across Page, Stage, Canvas |
| title_full | Dance as Intermedial Translation Moving Across Page, Stage, Canvas |
| title_fullStr | Dance as Intermedial Translation Moving Across Page, Stage, Canvas |
| title_full_unstemmed | Dance as Intermedial Translation Moving Across Page, Stage, Canvas |
| title_short | Dance as Intermedial Translation |
| title_sort | dance as intermedial translation moving across page stage canvas |
| title_sub | Moving Across Page, Stage, Canvas |
| topic | bisacsh / PERFORMING ARTS / Dance / Choreography & Dance Notation bisacsh / LANGUAGE ARTS & DISCIPLINES / Translating & Interpreting |
| topic_facet | bisacsh / PERFORMING ARTS / Dance / Choreography & Dance Notation bisacsh / LANGUAGE ARTS & DISCIPLINES / Translating & Interpreting |
| work_keys_str_mv | AT montesivanessa danceasintermedialtranslationmovingacrosspagestagecanvas |