Dancing in translation: Irina Brook’s mise en scène of 'Danser à Lughnasa', Jean-Marie Besset’s translation of Brian Friel’s 'Dancing at Lughnasa'

This essay contributes to debates about theatre and cross-cultural encounter through an analysis of Irina Brook’s 1999 Swiss / French co-production of Irish playwright Brian Friel’s Dancing at Lughnasa, in a French translation by Jean-Marie Besset. While the translation and Brook’s mise en scène clearly identified the source text and culture as Irish, they avoided cultural stereotypes, and rendered the play accessible to francophone audiences without entirely assimilating it to a specific Swiss or French cultural context. Drawing on discourses of theatre translation, and concepts of cosmopolitanism and conviviality, the essay focuses on the potential of such textual and theatrical translation to acknowledge specific cultural traces but also to estrange the familiar perceptions and boundaries of both the source and target cultures, offering modes of interconnection across diverse cultural affiliations.

Language networks, literary translation and the friars in late medieval ireland

Dublin, Trinity College MS 667 (olim F 5 3) is something of a meeting point of languages and traditions, representing one of the most significant witnesses to Latin exemplars for vernacular translations to survive from medieval Ireland. What is more, the translated texts appear to travel in groups, with several Irish-language manuscripts bearing close comparison to Trinity 667 in the texts and versions of texts they contain. Examining these texts and the contexts in which they circulated in Irish can give us a sense of the sorts of historical and cultural currents to which such translation work appears to have been responding.

War and culture studies in 2016. Putting 'translation' into the transnational?

The first issue of the 'Journal of War and Culture Studies' in 2008 mapped out the academic space which the discipline sought to occupy. Nearly a decade later, the location of war, traditionally within the nation-state, is being challenged in ways which arguably affect the analytical spaces of War and Culture Studies. The article argues for an overt engagement with a reconceptualization of the location of war as broader in both spatial and temporal terms than the nation-state. Within this framing, it identifies local 'contact zones' which are multi-vocal translational spaces, and calls for an incorporation of 'translation' into our analyses of war: translating identities, including associations of the material as well as of subjective identities, and espousing a conscious interdisciplinarity which might lead us to focus more on the performative than the representational. Putting 'translation' into the 'transnational' marks the spaces of War and culture studies as multilingual, making accessible the cultural products and cultural analyses of a much broader range of sources and reflections. The article calls for the discipline of Translation Studies to become a leading contributor to War and Culture Studies in the years to come.