Opera in translation :: unity and diversity /
"This volume covers aspects of opera translation within the Western world and in Asia, as well as some of opera's many travels between continents, countries, languages and cultures-and also between genres and media. The concept of 'adaptation' is a thread running through the sixt...
Gespeichert in:
| Weitere Verfasser: | , |
|---|---|
| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Amsterdam ; Philadelphia :
John Benjamins Publishing Company,
[2020]
|
| Schriftenreihe: | Benjamins translation library ;
v. 153. |
| Schlagworte: | |
| Online-Zugang: | Volltext |
| Zusammenfassung: | "This volume covers aspects of opera translation within the Western world and in Asia, as well as some of opera's many travels between continents, countries, languages and cultures-and also between genres and media. The concept of 'adaptation' is a thread running through the sixteen contributions, which encompass a variety of composers, operas, periods and national traditions. Sung translation, libretto translation, surtitling, subtitling are discussed from a range of theoretical and methodological perspectives. Exploration of aspects such as the relationship between language and music, multimodality, intertextuality, cultural and linguistic transfer, multilingualism, humour, identity and stereotype, political ideology, the translator's voice and the role of the audience is driven by a shared motivation: a love of opera and of the beauty it has never ceased to provide through the centuries, and admiration for the people who write, compose, perform, direct, translate, or otherwise contribute to making the joy of opera a part of our lives"-- |
| Beschreibung: | 1 online resource (vii, 369 pages) |
| Bibliographie: | Includes bibliographical references and index. |
| ISBN: | 9789027260789 9027260788 |
| ISSN: | 0929-7316 ; |
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| 520 | |a "This volume covers aspects of opera translation within the Western world and in Asia, as well as some of opera's many travels between continents, countries, languages and cultures-and also between genres and media. The concept of 'adaptation' is a thread running through the sixteen contributions, which encompass a variety of composers, operas, periods and national traditions. Sung translation, libretto translation, surtitling, subtitling are discussed from a range of theoretical and methodological perspectives. Exploration of aspects such as the relationship between language and music, multimodality, intertextuality, cultural and linguistic transfer, multilingualism, humour, identity and stereotype, political ideology, the translator's voice and the role of the audience is driven by a shared motivation: a love of opera and of the beauty it has never ceased to provide through the centuries, and admiration for the people who write, compose, perform, direct, translate, or otherwise contribute to making the joy of opera a part of our lives"-- |c Provided by publisher | ||
| 588 | 0 | |a Online resource; title from digital title page (viewed on November 12, 2020). | |
| 505 | 0 | |a Intro -- Opera in Translation -- Editorial page -- Title page -- Copyright page -- Table of contents -- Introduction: Translation and the world of opera -- References -- Open perspectives -- Opera and intercultural musicology as modes of translation -- 1. Introduction -- 2. 'Sogni' as intercultural practice -- 3. 'Sogni': An intercultural production -- 4. Conclusions: Intercultural musicology as a mode of translation -- References -- Surtitles and the multi-semiotic balance: Can over-information kill opera? -- 1. Introduction: From concise to verbose in thirty years | |
| 505 | 8 | |a 2. A flexible approach to surtitling with reference to additional semiotic information -- 3. Audience surtitle reading habits and expectations: The tendency to use language as a first point of reference -- 4. Considering semiotic complements when composing a surtitle script -- 5. Reducing the quantity of surtitle text to improve audience engagement with the action on stage -- 6. Considerations to be taken into account when displaying text -- 7. Examples of operatic scenes -- 8. Conclusion -- References -- Tradition and transgression: W.H. Auden's musical poetics of translation | |
| 505 | 8 | |a 1. Auden: Translation, pastiche, satire, and tradition -- 2. Auden as translator and the context of opera translation -- 3. Auden and Kallman's opera translations: Tradition and transmutation -- References -- Across genres and media -- When Mei Lanfang encountered Fei Mu: Adaptation as intersemiotic translation in early Chinese opera film -- 1. Introduction -- 2. Mei Lanfang: Transmission of operatic heritage -- 3. Fei Mu: Restoring the operatic stage in cinematic reproduction -- 4. Coda -- References | |
| 505 | 8 | |a Fluid borders: From 'Carmen' to 'The Car Man'. Bourne's ballet in the light of post-translation -- 1. Introduction -- 2. The new epistemology -- 3. Changes in translation and music -- 3.1 Towards a new definition of translation -- 3.2 The new musicology -- 4. From 'Carmen' to 'The Car Man' -- 5. Inconclusive conclusions: New venues in Translation Studies -- Funding -- References -- Aesthetics of translation: From Western European drama into Japanese operatic forms -- 1. Introduction -- 1.1 Baroque opera and Kabuki -- 1.2 Opera and Noh -- 2. From Shakespeare into Japanese operatic forms | |
| 505 | 8 | |a 2.1 Shakespeare's 'Twelfth Night' into the Japanese operatic form of Kabuki -- 2.2 Shakespeare's 'Comedy of Errors' into the Japanese operatic form of Kyōgen -- 3. Beckett into the Japanese operatic form of Noh -- 3.1 Japanese operatic form in Yeats's 'At the Hawk's Well' -- 3.2 Beckett's 'Footfalls' within the framework of Japanese operatic form -- 4. The aesthetics of translation -- 4.1 Translation aesthetics: Adaptation -- 4.2 Translation aesthetics: Paralanguage, kinesics, and proxemics -- 5. Conclusion -- References -- Text and context | |
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| contents | Intro -- Opera in Translation -- Editorial page -- Title page -- Copyright page -- Table of contents -- Introduction: Translation and the world of opera -- References -- Open perspectives -- Opera and intercultural musicology as modes of translation -- 1. Introduction -- 2. 'Sogni' as intercultural practice -- 3. 'Sogni': An intercultural production -- 4. Conclusions: Intercultural musicology as a mode of translation -- References -- Surtitles and the multi-semiotic balance: Can over-information kill opera? -- 1. Introduction: From concise to verbose in thirty years 2. A flexible approach to surtitling with reference to additional semiotic information -- 3. Audience surtitle reading habits and expectations: The tendency to use language as a first point of reference -- 4. Considering semiotic complements when composing a surtitle script -- 5. Reducing the quantity of surtitle text to improve audience engagement with the action on stage -- 6. Considerations to be taken into account when displaying text -- 7. Examples of operatic scenes -- 8. Conclusion -- References -- Tradition and transgression: W.H. Auden's musical poetics of translation 1. Auden: Translation, pastiche, satire, and tradition -- 2. Auden as translator and the context of opera translation -- 3. Auden and Kallman's opera translations: Tradition and transmutation -- References -- Across genres and media -- When Mei Lanfang encountered Fei Mu: Adaptation as intersemiotic translation in early Chinese opera film -- 1. Introduction -- 2. Mei Lanfang: Transmission of operatic heritage -- 3. Fei Mu: Restoring the operatic stage in cinematic reproduction -- 4. Coda -- References Fluid borders: From 'Carmen' to 'The Car Man'. Bourne's ballet in the light of post-translation -- 1. Introduction -- 2. The new epistemology -- 3. Changes in translation and music -- 3.1 Towards a new definition of translation -- 3.2 The new musicology -- 4. From 'Carmen' to 'The Car Man' -- 5. Inconclusive conclusions: New venues in Translation Studies -- Funding -- References -- Aesthetics of translation: From Western European drama into Japanese operatic forms -- 1. Introduction -- 1.1 Baroque opera and Kabuki -- 1.2 Opera and Noh -- 2. From Shakespeare into Japanese operatic forms 2.1 Shakespeare's 'Twelfth Night' into the Japanese operatic form of Kabuki -- 2.2 Shakespeare's 'Comedy of Errors' into the Japanese operatic form of Kyōgen -- 3. Beckett into the Japanese operatic form of Noh -- 3.1 Japanese operatic form in Yeats's 'At the Hawk's Well' -- 3.2 Beckett's 'Footfalls' within the framework of Japanese operatic form -- 4. The aesthetics of translation -- 4.1 Translation aesthetics: Adaptation -- 4.2 Translation aesthetics: Paralanguage, kinesics, and proxemics -- 5. Conclusion -- References -- Text and context |
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| spelling | Opera in translation : unity and diversity / edited by Adriana Șerban, Kelly Kar Yue Chan. Amsterdam ; Philadelphia : John Benjamins Publishing Company, [2020] 1 online resource (vii, 369 pages) text txt rdacontent computer c rdamedia online resource cr rdacarrier Benjamins translation library (BTL), 0929-7316 ; volume 153 Includes bibliographical references and index. "This volume covers aspects of opera translation within the Western world and in Asia, as well as some of opera's many travels between continents, countries, languages and cultures-and also between genres and media. The concept of 'adaptation' is a thread running through the sixteen contributions, which encompass a variety of composers, operas, periods and national traditions. Sung translation, libretto translation, surtitling, subtitling are discussed from a range of theoretical and methodological perspectives. Exploration of aspects such as the relationship between language and music, multimodality, intertextuality, cultural and linguistic transfer, multilingualism, humour, identity and stereotype, political ideology, the translator's voice and the role of the audience is driven by a shared motivation: a love of opera and of the beauty it has never ceased to provide through the centuries, and admiration for the people who write, compose, perform, direct, translate, or otherwise contribute to making the joy of opera a part of our lives"-- Provided by publisher Online resource; title from digital title page (viewed on November 12, 2020). Intro -- Opera in Translation -- Editorial page -- Title page -- Copyright page -- Table of contents -- Introduction: Translation and the world of opera -- References -- Open perspectives -- Opera and intercultural musicology as modes of translation -- 1. Introduction -- 2. 'Sogni' as intercultural practice -- 3. 'Sogni': An intercultural production -- 4. Conclusions: Intercultural musicology as a mode of translation -- References -- Surtitles and the multi-semiotic balance: Can over-information kill opera? -- 1. Introduction: From concise to verbose in thirty years 2. A flexible approach to surtitling with reference to additional semiotic information -- 3. Audience surtitle reading habits and expectations: The tendency to use language as a first point of reference -- 4. Considering semiotic complements when composing a surtitle script -- 5. Reducing the quantity of surtitle text to improve audience engagement with the action on stage -- 6. Considerations to be taken into account when displaying text -- 7. Examples of operatic scenes -- 8. Conclusion -- References -- Tradition and transgression: W.H. Auden's musical poetics of translation 1. Auden: Translation, pastiche, satire, and tradition -- 2. Auden as translator and the context of opera translation -- 3. Auden and Kallman's opera translations: Tradition and transmutation -- References -- Across genres and media -- When Mei Lanfang encountered Fei Mu: Adaptation as intersemiotic translation in early Chinese opera film -- 1. Introduction -- 2. Mei Lanfang: Transmission of operatic heritage -- 3. Fei Mu: Restoring the operatic stage in cinematic reproduction -- 4. Coda -- References Fluid borders: From 'Carmen' to 'The Car Man'. Bourne's ballet in the light of post-translation -- 1. Introduction -- 2. The new epistemology -- 3. Changes in translation and music -- 3.1 Towards a new definition of translation -- 3.2 The new musicology -- 4. From 'Carmen' to 'The Car Man' -- 5. Inconclusive conclusions: New venues in Translation Studies -- Funding -- References -- Aesthetics of translation: From Western European drama into Japanese operatic forms -- 1. Introduction -- 1.1 Baroque opera and Kabuki -- 1.2 Opera and Noh -- 2. From Shakespeare into Japanese operatic forms 2.1 Shakespeare's 'Twelfth Night' into the Japanese operatic form of Kabuki -- 2.2 Shakespeare's 'Comedy of Errors' into the Japanese operatic form of Kyōgen -- 3. Beckett into the Japanese operatic form of Noh -- 3.1 Japanese operatic form in Yeats's 'At the Hawk's Well' -- 3.2 Beckett's 'Footfalls' within the framework of Japanese operatic form -- 4. The aesthetics of translation -- 4.1 Translation aesthetics: Adaptation -- 4.2 Translation aesthetics: Paralanguage, kinesics, and proxemics -- 5. Conclusion -- References -- Text and context Libretto Translating. Opera. http://id.loc.gov/authorities/subjects/sh85094900 Livret (Musique) Traduction. Libretto Translating fast Opera fast Electronic book. Serban, Adriana, editor. http://id.loc.gov/authorities/names/no2009114373 Chan, Kelly Kar Yue, editor. http://id.loc.gov/authorities/names/n2020026918 has work: Opera in translation (Text) https://id.oclc.org/worldcat/entity/E39PCFTFpQM3p66d6pw3k3cfD3 https://id.oclc.org/worldcat/ontology/hasWork Print version: Opera and translation. Philadelphia, PA : John Benjamins Publishing Company, 2020 9789027207500 (DLC) 2020023172 Benjamins translation library ; v. 153. http://id.loc.gov/authorities/names/n94010568 FWS01 ZDB-4-EBA FWS_PDA_EBA https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=2646622 Volltext |
| spellingShingle | Opera in translation : unity and diversity / Benjamins translation library ; Intro -- Opera in Translation -- Editorial page -- Title page -- Copyright page -- Table of contents -- Introduction: Translation and the world of opera -- References -- Open perspectives -- Opera and intercultural musicology as modes of translation -- 1. Introduction -- 2. 'Sogni' as intercultural practice -- 3. 'Sogni': An intercultural production -- 4. Conclusions: Intercultural musicology as a mode of translation -- References -- Surtitles and the multi-semiotic balance: Can over-information kill opera? -- 1. Introduction: From concise to verbose in thirty years 2. A flexible approach to surtitling with reference to additional semiotic information -- 3. Audience surtitle reading habits and expectations: The tendency to use language as a first point of reference -- 4. Considering semiotic complements when composing a surtitle script -- 5. Reducing the quantity of surtitle text to improve audience engagement with the action on stage -- 6. Considerations to be taken into account when displaying text -- 7. Examples of operatic scenes -- 8. Conclusion -- References -- Tradition and transgression: W.H. Auden's musical poetics of translation 1. Auden: Translation, pastiche, satire, and tradition -- 2. Auden as translator and the context of opera translation -- 3. Auden and Kallman's opera translations: Tradition and transmutation -- References -- Across genres and media -- When Mei Lanfang encountered Fei Mu: Adaptation as intersemiotic translation in early Chinese opera film -- 1. Introduction -- 2. Mei Lanfang: Transmission of operatic heritage -- 3. Fei Mu: Restoring the operatic stage in cinematic reproduction -- 4. Coda -- References Fluid borders: From 'Carmen' to 'The Car Man'. Bourne's ballet in the light of post-translation -- 1. Introduction -- 2. The new epistemology -- 3. Changes in translation and music -- 3.1 Towards a new definition of translation -- 3.2 The new musicology -- 4. From 'Carmen' to 'The Car Man' -- 5. Inconclusive conclusions: New venues in Translation Studies -- Funding -- References -- Aesthetics of translation: From Western European drama into Japanese operatic forms -- 1. Introduction -- 1.1 Baroque opera and Kabuki -- 1.2 Opera and Noh -- 2. From Shakespeare into Japanese operatic forms 2.1 Shakespeare's 'Twelfth Night' into the Japanese operatic form of Kabuki -- 2.2 Shakespeare's 'Comedy of Errors' into the Japanese operatic form of Kyōgen -- 3. Beckett into the Japanese operatic form of Noh -- 3.1 Japanese operatic form in Yeats's 'At the Hawk's Well' -- 3.2 Beckett's 'Footfalls' within the framework of Japanese operatic form -- 4. The aesthetics of translation -- 4.1 Translation aesthetics: Adaptation -- 4.2 Translation aesthetics: Paralanguage, kinesics, and proxemics -- 5. Conclusion -- References -- Text and context Libretto Translating. Opera. http://id.loc.gov/authorities/subjects/sh85094900 Livret (Musique) Traduction. Libretto Translating fast Opera fast |
| subject_GND | http://id.loc.gov/authorities/subjects/sh85094900 |
| title | Opera in translation : unity and diversity / |
| title_auth | Opera in translation : unity and diversity / |
| title_exact_search | Opera in translation : unity and diversity / |
| title_full | Opera in translation : unity and diversity / edited by Adriana Șerban, Kelly Kar Yue Chan. |
| title_fullStr | Opera in translation : unity and diversity / edited by Adriana Șerban, Kelly Kar Yue Chan. |
| title_full_unstemmed | Opera in translation : unity and diversity / edited by Adriana Șerban, Kelly Kar Yue Chan. |
| title_short | Opera in translation : |
| title_sort | opera in translation unity and diversity |
| title_sub | unity and diversity / |
| topic | Libretto Translating. Opera. http://id.loc.gov/authorities/subjects/sh85094900 Livret (Musique) Traduction. Libretto Translating fast Opera fast |
| topic_facet | Libretto Translating. Opera. Livret (Musique) Traduction. Libretto Translating Opera Electronic book. |
| url | https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=2646622 |
| work_keys_str_mv | AT serbanadriana operaintranslationunityanddiversity AT chankellykaryue operaintranslationunityanddiversity |