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Relevant bibliographies by topics / Greek drama, translations into english

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Academic literature on the topic 'Greek drama, translations into english'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 August 2024

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Journal articles on the topic "Greek drama, translations into english"

1

Brooks, Jason. "Found in Translation: Greek Drama in English." Comparative Literature Studies 45, no. 4 (2008): 534–37. http://dx.doi.org/10.2307/complitstudies.45.4.0534.

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Jackson, Lucy. "Proximate Translation: George Buchanan's Baptistes, Sophocles’ Antigone, and Early Modern English Drama." Translation and Literature 29, no. 1 (2020): 85–100. http://dx.doi.org/10.3366/tal.2020.0410.

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This essay takes up the question of what impact Greek tragedy had on original plays written in Latin in the sixteenth century. In exploring George Buchanan's biblical drama Baptistes sive calumnia (printed 1577) and its reworking of scenes and images from Sophocles' Antigone, we see how neo-Latin drama provided a valuable channel for the sharing and shaping of early modern ideas about Greek tragedy. The impact of the Baptistes on English drama is then examined, with particular reference to Thomas Watson's celebrated Latin translation of Antigone (1581). The strange affinities between Watson's

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Kutzko, David. "Found in Translation: Greek Drama in English (review)." Comparative Drama 41, no. 4 (2007): 515–18. http://dx.doi.org/10.1353/cdr.2008.0006.

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Katrina Bondari. "Found in Translation: Greek Drama in English (review)." Theatre Journal 60, no. 3 (2008): 515–16. http://dx.doi.org/10.1353/tj.0.0077.

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Suthren, Carla. "Translating Commonplace Marks in Gascoigne and Kinwelmersh's Jocasta." Translation and Literature 29, no. 1 (2020): 59–84. http://dx.doi.org/10.3366/tal.2020.0409.

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This essay locates the moment at which commonplace marks were ‘translated’ from printed classical texts into English vernacular drama in a manuscript of Gascoigne and Kinwelmersh's Jocasta, dated 1568. Based on a survey of the use of printed commonplace marks in classical drama between 1500 and 1568, it demonstrates that this typographical symbol was strongly associated with Greek tragedy, particularly Sophocles and Euripides, and hardly at all with Seneca. In light of this, it argues that the commonplace marks in the Jocasta manuscript should be read as a deliberate visual gesture towards Eur

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Nilova, Anna. ""POETICS" OF ARISTOTLE IN RUSSIAN TRANSLATIONS." Проблемы исторической поэтики 19, no. 4 (2021): 7–39. http://dx.doi.org/10.15393/j9.art.2021.9822.

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The article presents an overview of the existing translations of Aristotle's “Poetics”, characterizes the features of each of them. In the preface to his translation of Aristotle's “Poetics”, V. Zakharov characterized the work of the Greek philosopher as a “dark text.” Each translation of this treatise, which forms the basis of European and world literary theory, is also its interpretation, an attempt to interpret the “dark places.” The first Russian translation of “Poetics” was made by B. Ordynsky and published in 1854, however, the Russian reader was familiar with the contents of the treatis

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Nielsen, Rosemary M., and Robert H. Solomon. "Horace and Hopkins: The Point of Balance in Odes 3.1." Ramus 14, no. 1 (1985): 1–15. http://dx.doi.org/10.1017/s0048671x00005026.

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In May of 1868, less than two years after Gerard Manley Hopkins left the English Church to become a Roman Catholic and after eight months spent teaching at Newman's Oratory School in Birmingham, the classical scholar burned nearly all of his poetry; he called the act ‘the sacrifice of my innocents’. Austin Warren describes Hopkins as feeling caught through his life between conflicting desires to be a pdet and to be a saint. This strain and the anxieties it produced appear in his later poems, such as ‘The Wreck of the Deutschland’ and ‘Heaven Haven’, and in his journals and letters. In the latt

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Puchner, Walter. "Ο Ορφέας στη νεοελληνική δραματουργία: Γεώργιος Σακελλάριος - Άγγελος Σικελιανός Γιώργος Σκούρτης". Σύγκριση 11 (31 січня 2017): 46. http://dx.doi.org/10.12681/comparison.10768.

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The paper gives a short comparison of three dramatic versions of the Orpheus-myth in Modern Greek drama. Among the mythological themes dramatized in Modern Greece the most frequent is Troia cycle, the Atrides, the Argonautic cycle, heroes like Prometheus, Heracles, Theseus, Zeus etc. Orpheus is quite rare. The first analysis concerns the Greek translation of «Orphée et Euridice», the second reformation opera of Christoph Willibald Gluck, concretely the French version of Pierre Louis Moline (1774 in Paris), which is edited in Greek in Vienna 1796, and highlights the context of this translation.

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Hardwick, Lorna. "'Murmurs in the Cathedral': The Impact of Translations from Greek Poetry and Drama on Modern Work in English by Michael Longley and Seamus Heaney." Yearbook of English Studies 36, no. 1 (2006): 204–15. http://dx.doi.org/10.1353/yes.2006.0041.

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Bond, Robin. "Found in Translation: Greek Drama in English. J. Michael Walton. Cambridge: Cambridge University Press, 2006. Pp. vii+320." Modern Philology 107, no. 2 (2009): 154–58. http://dx.doi.org/10.1086/647996.

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Dissertations / Theses on the topic "Greek drama, translations into english"

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Geller, Grace. "Translations and adaptations of Euripides' Trojan Women /." Norton, Mass. : Wheaton College, 2010. http://hdl.handle.net/10090/15122.

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Chakrabarty, Sushanta Kumar. "The Influence of Greek and Latin tragedies on English drama." Thesis, University of North Bengal, 1996. http://hdl.handle.net/123456789/1209.

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Sorby, Stella Lanxing. "Translating Western musicals into Chinese: texts, networks, consumers." HKBU Institutional Repository, 2014. https://repository.hkbu.edu.hk/etd_oa/113.

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When translating musicals from one culture to another, a translator’s role is to convert the text for its stage representation in a different context. However, during the process from this translated text to it finally being performed on stage, changes are inevitable. Issues surrounding the nature of such changes, the reasons for which they are made, and their resulting effects, have hitherto been little researched. The present study seeks to explore such issues through an examination of the ways in which the development of the translated text is shaped by interactions between the various stak

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Sosonis, Vilelmini. "Aspects of Lexical Cohesion in EU Texts : A Critical Study of Greek Translations and English Hybrid Texts." Thesis, University of Surrey, 2003. http://epubs.surrey.ac.uk/1044/.

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Vedelago, Angelica. "The Reception of Sophocles'"Antigone" in Early Modern English Drama." Doctoral thesis, Università degli studi di Padova, 2019. http://hdl.handle.net/11577/3425407.

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This thesis analyses the reception of Sophocles’ Antigone in early modern English drama in the form of translation and adaptation. It focusses on the only two extant texts that can be defined as a translation or an adaptation of Sophocles’ Antigone by English authors in the early modern period: "Sophoclis Antigone" (1581), a Latin translation by Thomas Watson, and "The Tragedy of Antigone, The Theban Princesse" (1631), an English adaptation by Thomas May. Opting for the historicist strand within reception studies, I argue that these two English Antigones intersect at a crossroads of contexts –

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Handall, Monique Elizabeth. "Translating Spanish language plays into English: A focus on the translation and production of Xavier Robles' Rojo amanecer." CSUSB ScholarWorks, 2005. https://scholarworks.lib.csusb.edu/etd-project/2958.

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The purpose of this culminating project is to start translating quality Mexican and Latin American dramatic literature in order to provide to educators and theatrical directors a fundamental collection of plays. The author worked with her San Gorgonio High School students to conduct a dramaturgical study of the setting and political background of Rojo Amanecer by Xavier Robles, a play which outlines the events leading to the 1968 student massacre at Mexico City's Plaza de Tlatelolco. The author then directed the play in her role as San Gorgonio High School's new theater teacher.

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Wang, Hing Suen Teresa. "An ethnohistoric investigation of the operation and function of translation in the dissemination of Chinese Xiqu in the US : a study of three encounters." HKBU Institutional Repository, 2020. https://repository.hkbu.edu.hk/etd_oa/884.

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In this study, the role of translation in the introduction of Chinese xiqu into the United States is examined using an anthropological approach. This study identifies three encounters that exemplify the three critical stages of acceptance of xiqu in the United States, and examines how translation operates and functions as a tool of cultural mediation in the introduction and promotion of xiqu there. The three critical encounters this study identifies are: the 19th century performance tours of Cantonese opera in San Francisco, the 1930s tour of Mei Lan-fang to the U.S., and the 2006 tour of Kenn

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Gargiulo, Jennifer. "Vivere sul serio: Eduardo De Filippo and the Art of Life." Thesis, The University of Sydney, 2006. http://hdl.handle.net/2123/2169.

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This thesis offers the first English translation of Eduardo De Filippo’s last play, Gli esami non finiscono mai (1973). It analyzes the play in the context of the dramatist’s career and describes the philosophical shift that took place in Eduardo’s dialectic as he progressed from a post-war, neorealist drama like Napoli milionaria! toward the existential reflections present in his last play. Unlike previous studies, this work concentrates on Eduardo’s philosophical journey from neorealism to existential query and identifies the factors that influenced his thinking process. To this end, I have

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Zaroulia, Marilena. "Staging the Other/Imagining The Greek : Paradigms of Greekness in the reception of post-1956 English drama in the post-colonels Athens (1974-2002)." Thesis, Royal Holloway, University of London, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.498255.

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This thesis investigates performances of and critical responses to English plays that have been written and performed in the post-1956 period and subsequently been staged in Athens in the years following the downfall of the colonels' dictatorship. Theatre productions and reviewing are located within or positioned against the specific socio-political, ideological and cultural matrices that helped determine each intervention. The central focus of the thesis is an exploration of the relation between theatre and Greek national identity. Starting from Benedict Anderson's definition of the nation as

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Hazel, Ruth Mary. "The mediation in late twentieth-century English theatres of selected ancient Greek tragedy texts and themes concerned with women and power." n.p, 1998. http://ethos.bl.uk/.

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Books on the topic "Greek drama, translations into english"

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Aeschylus, Euripides, and Sophocles, eds. Classic Greek drama. Gramercy Books, 1996.

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David, Grene, and Lattimore Richmond Alexander 1906-, eds. Greek tragedies. 2nd ed. University of Chicago Press, 1991.

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Aeschylus, Aeschylus, and McDonald Marianne, eds. Six Greek tragedies. Methuen Drama, 2002.

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1903-, Fitts Dudley, ed. Four Greek plays. Harcourt Brace Jovanovich, 1985.

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Shomit, Dutta, ed. Greek tragedy. Penguin, 2004.

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Sophocles. The complete Sophocles. Oxford University Press, 2010.

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Sophocles. The complete Sophocles: The Theban plays. Oxford University Press, 2010.

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Sophocles. The complete Sophocles. Oxford University Press, 2009.

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Sophocles. The complete Sophocles. Oxford University Press, 2010.

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10

DUTTA, SHOMIT, ed. GREEK TRAGEDY. PENGUIN BOOKS, 2004.

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Book chapters on the topic "Greek drama, translations into english"

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Reynolds, Matthew. "VII. ‘Walk’ and ‘Wander’ through Language(s)." In Prismatic Jane Eyre. Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0319.22.

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This chapter offers a close reading of the pair of terms ‘walk’ and ‘wander’ in the English text, and explains the different patterns of significance created in Greek, Estonian, Italian and Chinese, presenting a series of instances in video animations and printed multilingual arrays (with back-translations). It then introduces Javascript animations of ‘Prismatic Scenes’ (the ‘red-room’ and the ‘shape in Jane’s bedroom) created by Paola Gaudio. Finally, it expounds the theory of ‘littoral reading’ – that is, a mode of close reading suited to a world literary text, in which the words’ potential to transform across language difference is continually being activated.

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VanderKam, James C. "James H. Charlesworth, et al., eds., The Dead Sea Scrolls: Hebrew, Aramaic, and Greek Texts with English Translations, vol. 6B: Pesharim, Other Commentaries, and Related Documents." In Perspectives on Hebrew Scriptures I. Gorgias Press, 2006. http://dx.doi.org/10.31826/9781463210823-120.

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Kashow, Robert C. "James H. Charlesworth Et Al. (Eds), Temple Scroll And Related Documents, Vol. 7 Of The Dead Sea Scrolls: Hebrew, Aramaic, And Greek Texts With English Translations." In Perspectives on Hebrew Scriptures X, edited by Christophe Nihan and Ehud Ben Zvi. Gorgias Press, 2017. http://dx.doi.org/10.31826/9781463237646-046.

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Ó Siadhail, Pádraig. "Gearóid Ó Lochlainn: The Gate Theatre’s Other Irish-Speaking Founder." In Cultural Convergence. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-57562-5_3.

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Abstract The association of the Gate Theatre with the Irish language has been always conceived via Micheál mac Liammóir; however, another of its founders, Gearóid Ó Lochlainn, was also Irish-speaking. Ó Lochlainn was a versatile actor in Irish and English, wrote a series of plays in Irish and translated into Irish works by Shakespeare, Ibsen and others. This chapter seeks to fill a gap in the story of the Gate by providing a brief biographical sketch of Ó Lochlainn, including his time in Denmark, a discussion of his role in efforts to establish Irish-language theatre in Dublin (specifically, An Comhar Drámuíochta, which was hosted by the Gate Theatre in 1930-1934), a summary of his involvement with the Gate, a critique of his original plays and his translations which, in introducing Dublin’s Irish-language theatregoers to world drama, complemented the mission of the Gate, and an assessment of Ó Lochlainn’s achievement.

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Lennard, John, and Mary Luckhurst. "The study." In The Drama Handbook. Oxford University PressOxford, 2002. http://dx.doi.org/10.1093/oso/9780198700708.003.0013.

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Abstract A written play-text must be written somewhere. One such space is evoked in Jonson’s ‘An Execration upon Vulcan’, written after fire destroyed his rooms and books in November 1623; the poem is a partial inventory both of his own books and of his mental furniture, suggesting the range of sources on which he drew. He mentions verse and prose romances, tales of adventure that many of his characters know and admire or scorn, the Talmud and Koran, classical works and translations, his own English Grammar, some poems, and a substantial work-in-progress about Henry V; books in Latin, Greek, and Hebrew borrowed from three notable scholars, Richard Carew (1555-1620), Robert Cotton (1571-1631), and John Selden (1584-1654), may have been among those destroyed.

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Vedelago, Angelica. "Imitation, Collaboration, Competition Between English and Continental Translators of Greek Tragedy." In Translating Ancient Greek Drama in Early Modern Europe. De Gruyter, 2023. http://dx.doi.org/10.1515/9783110719185-006.

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Miola, Robert S. "Jane Lumley." In Early Modern Catholicism. Oxford University PressOxford, 2007. http://dx.doi.org/10.1093/oso/9780199259854.003.0054.

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Abstract Jane Lumley (1537?–1577?), Catholic noblewoman, left behind in manuscript Isocrates translated into Latin, two Latin letters, and Iphigeneia at Aulis (1555?), the Wrst extant rendering of a Greek tragedy into English. Probably consulting the Greek original along with Erasmus’s Latin translation, her primary source, Lumley strips the Euripidean action to its bare bones, omits the choruses and lyric Xights, and produces a redactive but powerful paraphrase. Christianizing the terms and meaning of the ancient drama, she transforms the alien pagan sacriWce into a contemporary martyrdom.

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Carson, Anne, and Michael Shaw. "Translator’s Foreword Screaming in Translation." In Sophocles Electra. Oxford University PressNew York, NY, 2001. http://dx.doi.org/10.1093/oso/9780195049602.003.0002.

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Abstract A translator is someone trying to get in between a body and its shadow. Translating is a task of imitation that faces in two directions at once, for it must line itself up with the solid body of the original text and at the same time with the shadow of that text where it falls across another language. Shadows fall and move. The following paper, based on my own attempts to render the Greek text of Sophocles’ Electra into English, will indicate some of the moving shadows cast by this unusual and difficult play and describe how they have proven problematic for its translation into readable verse and performable drama.

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Carson, Anne, and Michael Shaw. "On The Translation." In Electra and Other Plays. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195387827.003.0010.

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Abstract A translator is someone trying to get in between a body and its shadow. Translating is a task of imitation that faces in two directions at once, for it must line itself up with the solid body of the original text and at the same time with the shadow of that text where it falls across another language. Shadows fall and move. The following paper, based on my own attempts to render the Greek text of Sophocles’ Electra into English, will indicate some of the moving shadows cast by this unusual and difficult play and describe how they have proven problematic for its translation into readable verse and performable drama.

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Eastman, Helen. "Ancient Greek Sailors with Twentieth-Century Metaphors (and Pan-Chronic Trousers)." In Seamus Heaney and the Classics. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198805656.003.0007.

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This chapter particularly focuses on the duality of Heaney’s chorus, who are nominally the ancient sailors of the original, but use a diction and metaphoric landscape that places the play firmly in Heaney’s Ireland. We look not only at the literary and political implications of this, but specifically at the challenge it gives actors and directors working on the text. This chapter examines how the dual locus of The Cure at Troy works dramaturgically and visually, as an act of translation across time, space, and cultures, and the political questions the play raises by fusing chorus and God at the end of the play. As part of this exploration, the chapter charts Heaney’s journey to find a workable English verse line and metre for translating ancient drama, exploring his correspondence with Ted Hughes on the question. Furthermore, we look at the afterlife of The Cure at Troy, particularly revisions that Heaney has made when excerpts have been published in other contexts.

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Conference papers on the topic "Greek drama, translations into english"

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Mihaila, Ramona. "TRANSCULTURAL CONTEXTS: NETWORKS OF LITERARY TRANSLATIONS." In eLSE 2017. Carol I National Defence University Publishing House, 2017. http://dx.doi.org/10.12753/2066-026x-17-167.

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While in the Western societies the act of translating was a phenomenon that had a powerful tradition which started long before the sixteenth century, in the Romanian Principalities the first timid attempts were recorded at the beginning of the nineteenth century. Taking into account the translations accomplished by the nineteenth Romanian women writers and the large range of languages (French, Italian, Greek, Latin, German, English, Spanish) they used, I have tried to “discover” and “revive” as many women writers as I could, first of all by focusing all my attention on the works of the neglect

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