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Canons and Heroes: The Reception of the Complete Works Translation Project in Finland, 2002-13

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Keinänen N.
Multicultural Shakespeare: Translation, Appropriation and Performance
|
2017
|
vol. 16
|
issue 31
109-125
EN
This essay examines the reception of the ten-year Complete Works translation project undertaken by the Finnish publishing company Werner Söderström Oy (WSOY) in 2004-13. Focusing on reviews published in the first and last years of the project, the essay details ongoing processes of Shakespeare (re-)canonization in Finland, as each new generation explains to itself what Shakespeare means to them, and why it continues to read, translate and perform Shakespeare. These processes are visible in comments from the series editors and translators extolling the importance of Shakespeare’s work and the necessity of creating new, modern translations so Finns can read Shakespeare in their mother tongue; in discussions of the literary qualities of a good Shakespeare translation, e.g. whether it is advisable to use iambic pentameter in Finnish, a trochaic language; and in the creation of publisher and translator “heroes,” who at significant cost to themselves, whether in money in terms of the publisher, or time and effort in terms of the translators, labour to provide the public with their Shakespeare in modern Finnish. While on the whole reviewers celebrated the new translations, there was some resistance to changes in familiar lines from older translations, such as Macbeth’s “tomorrow” speech, suggesting that there are nevertheless some limits on modernizing “classic” translations.
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Receptive Aesthetic Criteria: Reader Comparisons of Two Finnish Translations of "Hamlet"

100%
Keinänen N.
Multicultural Shakespeare: Translation, Appropriation and Performance
|
2018
|
vol. 18
|
issue 33
23-42
EN
This article examines the subjective aesthetic criteria used to assess two Finnish translations of Hamlet, one by Eeva-Liisa Manner (1981) and the other by Matti Rossi (2013), both accomplished translators for the stage. A survey consisting of one general question (“Briefly describe your idea of how Shakespeare translation should sound in Finnish, and what you think are the qualities of a good Shakespeare translation”) and five text extracts was distributed on paper and electronically, generating 50 responses. For the extracts, respondents were asked whether one or the other translation most closely dorresponded to their idea of what a Shakespeare translation should sound like and why, along with questions on whether they would prefer to see or read one or the other. The results show that there are no strong shared expectancy norms in Finland regarding Shakespeare translation. Manner was generally felt to be more concise and poetic, while Rossi was praised for his exquisite use of modern Finnish. Respondents agreed that rhythm was an important criterion, but disagreed on what sorts of rhythms they preferred. Translation of the “to be or not to be” speech raised the most passions, with many strongly preferring Manner’s more traditional translation. The results suggest that Shakespeare scholars would do well to take variations in expectancy norms into account when assessing and analysing Shakespeare in translation.
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