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The Archive and the Digital Age: Field Notes from the Pedagogical Front

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Makaryk I. R., Hemingway A.

Multicultural Shakespeare: Translation, Appropriation and Performance

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2019

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vol. 20

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issue 35

23-36

EN

The digital environment in which the humanities are now firmly immersed has opened the door to innovative ways for students to interact with traditional formats such as archival and print material, and to develop a deep and personal understanding of topics and issues. Libraries, museums and archives are in the unique position of facilitating the creation of digital initiatives in the classroom by offering up their collections as “learning laboratories,” and by sharing their expertise in technology, information, and digital literacy as well as data management. Through active collaboration with course instructors, they can build bridges between their collections and the digital skills students need in order to embrace the new learning paradigm and to help lead them into the future. This paper outlines an archival-digital pilot launched in 2015 at the University of Ottawa, Canada. It situates the project in its historical context; details its early and subsequent iterations; and surveys the assumptions, challenges, surprises, and pleasures of introducing students to archival sources and to acquiring digital skills.

2

The Shifting Appreciation of "Hamlet" in Its Japanese Novelizations: Hideo Kobayashi’s "Ophelia’s Will" and Its Revisions

86%

Nakatani M.

Multicultural Shakespeare: Translation, Appropriation and Performance

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2020

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vol. 21

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issue 36

69-83

EN

Hideo Kobayashi, who is today known as one of the most prominent literary critics of the Showa era in Japan, published Ophelia’s Will in 1931 when he was still an aspiring novelist. This novella was an adaptation of Shakespeare’s Hamlet, composed as a letter written by Ophelia to Hamlet before her enigmatic death in the original play. While the novel has previously been considered as a psychological novel that sought to illustrate the inner life of the Shakespearean heroine, this paper examines the process by which Kobayashi rediscovered Hamlet as a drama that foregrounds the impenetrability of the characters’ inwardness and highlighted in Ophelia’s Will his diversion from the psychological rendition of Ophelia. In so doing, the paper analyses the revisions Kobayashi continued to make to the novel even until the post-war era, especially when it was republished in 1933 and 1949. Though these revisions have rarely been discussed by the researchers, they demonstrate the essential changes made to the novel, mainly to its literary style, which corroborates Kobayashi’s shifting interest and his developing interpretation of Shakespeare’s works and Hamlet.

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Receptive Aesthetic Criteria: Reader Comparisons of Two Finnish Translations of "Hamlet"

86%

Keinänen N.

Multicultural Shakespeare: Translation, Appropriation and Performance

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2018

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vol. 18

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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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Questioning the ‘of’ in Performance-as-translation: Multimedia as a Subtext in the 2003 Pécs Performance ‘of’ Hamlet

58%

Minier M.

Multicultural Shakespeare: Translation, Appropriation and Performance

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2017

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vol. 16

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issue 31

89-108

EN

This article explores a theatre performance (National Theatre Pécs, 2003, dir. Iván Hargitai) working with a 1999 Hungarian translation of Hamlet by educator, scholar, translator and poet Ádám Nádasdy as a structural transformation (Fischer-Lichte 1992) of the dramatic text for the stage. The performance is perceived as an intersemiotic translation but not as one emerging from a source-to-target one-way route. The study focuses on certain substructures such as the set design and the multimedial nature of the performance (as defined by Giesekam 2007), and by highlighting intertextual and hypertextual ways of accessing this performance-as-translation it questions the ‘of’ in the ‘performance of Hamlet (or insert other dramatic title)’ phrase. This experimentation with the terminology around performance-as-translation also facilitates the unveiling of a layer of the complex Hungarian Hamlet palimpsest, which, as a multi-layered cultural phenomenon, consists of much more than literary texts: its fabric includes theatre performance and other creative works.

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4 Multicultural Shakespeare: Translation, Appropriation and Performance

1 Hemingway A.

1 Keinänen N.

1 Makaryk I. R.

1 Minier M.

1 Nakatani M.

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1 2019

1 2018

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The Archive and the Digital Age: Field Notes from the Pedagogical Front

The Shifting Appreciation of "Hamlet" in Its Japanese Novelizations: Hideo Kobayashi’s "Ophelia’s Will" and Its Revisions

Receptive Aesthetic Criteria: Reader Comparisons of Two Finnish Translations of "Hamlet"

Questioning the ‘of’ in Performance-as-translation: Multimedia as a Subtext in the 2003 Pécs Performance ‘of’ Hamlet