While translation theorists influenced by the current ""sociological turn"" view social factors as determining translation activities and strategies, this volume argues that the translator's or the dramatist's theology and religious values interact with the socio-cultural milieu to carve out a unique drama production. Often it is the religious values of the translating agents that determine the product, rather than social factors. Further, the translatability of religious discourse should be understood in a broader sense according to the seven dimensions proposed by Ninian Smart, rather than merely focusing on untranslatability as a result of semantic and linguistic differences.
""Few people have understood the human heart so well as Shakespeare. He understood our volatile frailty, that mixture of the comic and the tragic which elicits the greatest human acts. This is a brilliant, innovative study of intercultural stagecraft and the performability of such intimations of humanity. I cannot commend it too highly.""
--Very Rev Professor Iain Torrance, Pro-Chancellor of the University of Aberdeen, President Emeritus of Princeton Theological Seminary
""Taking Shakespeare in the Chinese context as an example, Jenny Wong's book eloquently argues that the omission or repression of religious terms and allusions in literary translation has more to do with difficulties in social, political, and cultural backgrounds than the usually empty talk about linguistic or conceptual untranslatability. This book makes a significant contribution to translation studies and comparative literature. It is a useful book for anyone interested in global Shakespeare, comparative study of religion and literature, and translation and world literature.""
--Zhang Longxi, Chair Professor of Comparative Literature and Translation at City University of Hong Kong
Jenny Wong has taught translation and interpretation at universities in China, including at the Chinese University of Hong Kong, at Hang Seng Management College in Hong Kong, at United International College in Zhuhai, and elsewhere. She is the founder of the Society for English Learning Through Biblical Literature, SELBL (www.selbl.org), a non-profit organization that promotes the cultural significance of the Bible among international students.
|Publisher:||Wipf & Stock Publishers|
|Product dimensions:||6.00(w) x 9.00(h) x 0.61(d)|
About the Author
Table of Contents
Lists of Illustrations and Tables vii
1 Introduction 1
2 History of Effects: Historical Overview of the Treatment of the Religious Dimension since the Early Twentieth Century 40
3 Case Studies of The Merchant of Venice in Mainland China 94
Weinisi Shangren ($$$): the First Shakespearean Drama in China after the Cultural Revolution in 1980 94
For the Heiress' Hand ($$$) in 2007 in Guangzhou, a Cantonese Operatic Version of The Merchant of Venice 114
Shylock ($$$): An Adaptation of The Merchant of Venice in Shanghai in 2010 134
4 Case Studies of The Merchant of Venice in Hong Kong 149
5 The Merchant of Venice in Taiwan-Bond in 2009 186
6 The World behind the Text-Pre-understanding of Directors and Translators 212
7 The Problems of Translating the Religious Language in Plays 245