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Book review of Matheson. S.,Okpadah. S. and Raj. P. (eds.)(2020).Locating Transnational Spaces: Culture, Theatre, and Cinema. Canada:The International Association of Theatre Critics and Faculty of the Arts, Business and Science, University College of the North. 246 pages.ISBN: 978-978-56857-7-0-X

100%
Adjeketa B.
Language, Discourse & Society
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2021
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vol. 9 (2)
183-186
EN
Book review of Matheson. S., Okpadah. S. and Raj. P. (eds.) (2020). Locating Transnational Spaces: Culture, Theatre, and Cinema, pp. 246, Book published in English. Transnationalism as an emerging field of study is covered widely in this book in the areas of literature, linguistics and performance space.
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Teatro Praga’s Omission of Shakespeare – An Intercultural Space

100%
Sequeira Mendes M.
Multicultural Shakespeare: Translation, Appropriation and Performance
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2017
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vol. 15
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issue 30
91-104
EN
Teatro Praga’s (a Portuguese theatre company) adaptations of A Midsummer Night’s Dream and The Tempest omit what is usually considered crucial to a Shakespearean adaptation by giving primacy to neither text nor plot, nor to a stage design that might highlight the skill and presence of the actors, a decision arguably related to what the company perceives as a type of imprisonment, that of the lines themselves and of the tradition in which these canonical plays have been staged. Such fatigue with a certain way of dealing with Shakespeare is deliberately portrayed and places each production in a space in-between, as it were, which might be described as intercultural. “Inter,” as the OED clarifies, means something “among, amid, in between, in the midst.” Each of Teatro Praga’s Shakespearean adaptations, seems to exist in this “in-between” space, in the sense that they are named after Shakespeare, but are mediated by a combination of subsequent innovations. Shakespeare then emerges, or exists, in the interval between his own plays and the way they have been discussed, quoted, and misquoted across time, shaping the identities of those trying to perform his works and those observing its re-enactments on stage while being shaped himself. The fact that these adaptations only use Shakespeare’s words from time to time leads critics to consider that Teatro Praga is working against Shakespeare (or, to admirers of Henry Purcell, against his compositions). This process, however, reframes Shakespeare’s intercultural legacy and, thus, reinforces its appeal.
3

SIGNS and MEANINGS: Translation in the Middle Ages versus Translation today: The Semiotics of Translation

84%
Guillaume A.
Human and Social Studies
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2014
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vol. 3
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issue 2
47-79
EN
Translation in the Middle Ages did not involve the same constraints as translation today for various reasons, which this article will attempt to highlight through a semiotic analysis of the opposing powers and other translation-related pressures which interact in the translation process. This process involves a source language and a target language, but above all a source culture and target culture. Translation in the Middle Ages, like translation today, is primarily about taking into consideration certain constraints, some of which are shared between the two eras but which, in all cases, take into account the period in which they were translated. Indeed, an era involves modes of thought, political and religious ideologies, translation and stylistic practices that are unique to that particular time. If, as example periods, we have chosen two eras which are quite remote from each other, it is to demonstrate that the issues certainly differ, but not as much as one might imagine, particularly in certain political and ideological contexts.
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