Brecht's parable of good and evil was first performed in 1943 and remains one of his most popular and frequently produced plays worldwide. This unique bilingual edition allows students to compare the original German text with a translation by one of the world's leading playwrights, Tony Kushner. Three gods come to earth hoping to discover one really good person. No one can be found until they meet Shen Te, a prostitute with a heart of gold. Rewarded by the gods, she gives up her profession and buys a tobacco shop but finds it is impossible to survive as a good person in a corrupt world without the support of her ruthless alter ego Shui Ta. The English translation by Pulitzer Prize-winning playwright Tony Kushner is original and accessible. Contemporary, lively language makes it the perfect English version to elucidate and compare with the original text. This edition also includes a critical introduction and commentary notes on particular words and phrases.
The Translation Studies Readeris the definitive reader for the study of this dynamic interdisciplinary field. Providing an introduction to translation studies, this book places a wide range of readings within their social, thematic, and historical contexts. The selections included are from the twentieth century, with a particular focus on the last thirty years of the century. Features include: *Organization into five chronological sections, divided by decade *An introductory essay prefacing each section *A detailed bibliography and suggestions for further reading. Readings: Kwame Anthony Appiah, Walter Benjamin, Antoine Berman, Shoshana Blum-Kulka, Jorge Luis Borges, Annie Brisset, J.C. Catford, Lori Chamberlain, Jean Darbelnet and Jean-Paul Vinay, Itamar Even-Zohar, William Frawley, Ernst-August Gutt, Keith Harvey, Basil Hatim and Ian Mason, James S. Holmes, Roman Jakobson, Andre Lefevere, Jiri Levy, Philip E. Lewis, Vladimir Nabakov, Eugen Nida, Jose Ortega y Gasset, Ezra Pound, Willard V.O. Quine, Katharina Reiss, Gayatri Spivak, George Steiner, Gideon Toury, Hans J. Vermeer A new piece by Lawrence Venuti suggests the future of translation studies.
From its creation in 1950, to the fall of the Berlin Wall in 1989, the German Democratic Republic's Ministry for State Security closely monitored its nation's citizens. Known as the Staatssicherheit or Stasi, this organization was regarded as one of the most repressive intelligence agencies in the world. Florian Henckel von Donnersmarck's 2006 film The Lives of Others ( Das Leben der Anderen) has received international acclaim -- including an Academy Award, an Independent Spirit Award, and multiple German Film Awards -- for its moving portrayal of East German life under the pervasive surveillance of the Stasi. In Totalitarianism on Screen, political theorists Carl Eric Scott and F. Flagg Taylor IV assemble top scholars to analyze the film from philosophical and political perspectives. Their essays confront the nature and legacy of East Germany's totalitarian government and outline the reasons why such regimes endure. Other than magazine and newspaper reviews, little has been written about The Lives of Others. This volume brings German scholarship on the topic to an English-speaking audience for the first time and explores the issue of government surveillance at a time when the subject is often front-page news. Featuring contributions from German president Joachim Gauck, prominent singer-songwriter Wolf Biermann, journalists Paul Hockenos and Lauren Weiner, and noted scholars Paul Cantor and James Pontuso, Totalitarianism on Screen contributes to the growing scholarship on totalitarianism and will interest historians, political theorists, philosophers, and fans of the film.
China’s profound influence on the avant-garde in the 20th century was nowhere more apparent than in the work of Ezra Pound, Bertolt Brecht, and the writers associated with the Parisian literary journal Tel quel. Chinese Dreams explores the complex, intricate relationship between various “Chinas”—as texts—and the nation/culture known simply as “China”—their context—within the work of these writers. Eric Hayot calls into question the very means of representing otherness in the history of the West and ultimately asks if it might be possible to attend to the political meaning of imagining the other, while still enjoying the pleasures and possibilities of such dreaming. The latest edition of this critically acclaimed book includes a new preface by the author. “Lucid and accessible . . . an important contribution to the field of East-West comparative studies, Asian studies, and modernism.” —Comparative Literature Studies “Instead of trying to decipher the indecipherable ‘China’ in Western literary texts and critical discourses, Hayot chose to show us why and how ‘China’ has remained, and will probably always be, an enchanting, ever-elusive dream. His approach is nuanced and refreshing, his analysis rigorous and illuminating.” —Michelle Yeh, University of California, Davis
Most of the essays in this volume developed from a series of lectures on the forms and functions of theatre in different cultures, and correspondences between them, organized by the Leiden University Department of Theatre and Film Studies. Some contributions to this volume discuss origins, forms and functions of theatre in the Far and in the Middle East, as well as how in some cases the contemporary theatre in these cultures have managed to incorporate Western theatrical elements into their local traditions. Other articles consider how such twentieth-century Western dramatists as Yeats, Brecht and Beckett have been inspired by Asian theatre forms; how Western theatre-goers have misunderstood the true nature of Russian drama; how the inspiration of the best known of those Russian playwrights has manifested itself in the work of an American film-maker; and how African dance has helped to reshape North Atlantic modern and post-modern choreography. Thus this collection is arranged to take the reader on a journey of discovery, or possibly recovery, from China to Japan, from India to Africa, from Iran to Turkey, to Russia and finally from Moscow to Manhattan. Theatre Intercontinental will be of value to scholars, teachers and students with an interest in how theatre manifests itself in various cultures, how it originated, what needs it fulfils and how it is affected by cross-cultural influences. It provides a few tentative conclusions, some thought provoking questions and, we hope, the stimulus to compare the issues raised here with theatrical cultures not covered by this book.