Lost in mistranslation : A case study of Japanese TV-drama fansubs

「Fansubs」というのはファンが翻訳した字幕のことである。
 本稿では日本のテレビドラマの「Fansubs」の特徴を調べる為、3つのテレビドラマの日本 語の台詞と、ファンが作った字幕を比べている。原文のテキストが翻訳と字幕制作でどの ように変わったかを情報の増減や誤訳など9つのカテゴリーに分類し、字幕テキストを 分析した。作成したのがプロの翻訳者ではなく、または非常に短期間で作成されたこの 「Fansubs」は、公式のテレビやDVDの字幕よりも誤訳などのエラーが非常に多いことが分 かった。 

Intent and Method: A Study of Female Characters in Aeschylean and Euripidean Drama

Aeschylus and Euripides used tragic female characters to help fulfill the purpose of religious celebration and to achieve the motivation of public reaction. The playwrights, revising myths about tragic woman and redefining the Greek definition of appropriate femininity, supported or questioned the very customs which they changed. Originally composed as part of a religious festival for Dionysus, the god of wine, revelry and fertility, the tragedies of Aeschylus and Euripides were evaluated by Aristotle. He favored Aeschylus over Euripides, but it appears as if his stipulations for tragic characterization do not apply to Aeschylean and Euripidean women. Modem critics question both Aristotle's analysis in the Poetics as well as the tragedies which he evaluated. As part of the assessment of Aeschylus, the character of the Persian Queen, Atossa, appears as a conradiction the images that Greeks maintain of non-Greeks. The Persians is discussed in relation to modem criticisms and as on its function as a warning against radical changes in Athenian domestic life. The Oresteia, a trilogy, also charts the importance of an atypical woman in Aeschylean tragedy, and how this role, Clytaemnestra, represents an extreme example of the natural and necessary evolution of families, households and kingdoms. In contrast to Aeschylus' plea to retain nomoi (traditional custom and law), EUripides' tragedy, the Medea, demonstrates the importance of a family and a country to provide security, especially for women. Medea's abandonment by Jason and subsequent desperation drives her to commit murder in the hope of revenge. Ultimately, Euripides advocates changes in social convention away from the alienation of non-Greek, non-citizens, and females. Euripides is, unfortunately, tagged a misogynist by some in this tragedy and another example-the Hippolytus. Euripides' Phaedra becomes entangled in a scheme of divine vengeance and ultimately commits suicide in an attempt to avoid societal shame. Far from treatises of hate, Euripidean women take advantage of the little power they possess within a constrictive social system. While both Aeschylus and Euripides revise customary images and expectations of women in the context of religiously-motivated drama, one playwright intends to maintain civic order and the other intends to challenge the secular norm.

Problem of Tragedy and Tragic Consciousness in Russia at the turn of the 19th Century

This project intertwines philosophical and historico-literary themes, taking as its starting point the concept of tragic consciousness inherent in the epoch of classicism. The research work makes use of ontological categories in order to describe the underlying principles of the image of the world which was created in philosophical and scientific theories of the 17th century as well as in contemporary drama. Using these categories brought Mr. Vilk to the conclusion that the classical picture of the world implied a certain dualism; not the Manichaean division between light and darkness but the discrimination between nature and absolute being, i.e. God. Mr. Vilk begins with an examination of the philosophical essence of French classical theatre of the XVII and XVIII centuries. The history of French classical tragedy can be divided into three periods: from the mid 17th to early 19th centuries when it triumphed all over France and exerted a powerful influence over almost all European countries; followed by the period of its rejection by the Romantics, who declared classicism to be "artificial and rational"; and finally our own century which has taken a more moderate line. Nevertheless, French classical tragedy has never fully recovered its status. Instead, it is ancient tragedy and the works of Shakespeare that are regarded to be the most adequate embodiment of the tragic. Consequently they still provoke a great number of new interpretations ranging from specialised literary criticism to more philosophical rumination. An important feature of classical tragedy is a system of rules and unities which reveals a hidden ontological structure of the world. The ontological picture of the dramatic world can be described in categories worked out by medieval philosophy - being, essence and existence. The first category is to be understood as a tendency toward permanency and stability (within eternity) connected with this or that fragment of dramatic reality. The second implies a certain set of permanent elements that make up the reality. And the third - existence - should be understood as "an act of being", as a realisation of permanently renewed processes of life. All of these categories can be found in every artistic reality but the accents put on one or another and their interrelations create different ontological perspectives. Mr. Vilk plots the movement of thought, expressed in both philosophical and scientific discourses, away from Aristotle's essential forms, and towards a prioritising of existence, and shows how new forms of literature and drama structured the world according to these evolving requirements. At the same time the world created in classical tragedy fully preserves another ontological paradigm - being - as a fundamental permanence. As far as the tragic hero's motivations are concerned this paradigm is revealed in the dedication of his whole self to some cause, and his oath of fidelity, attitudes which shape his behaviour. It may be the idea of the State, or personal honour, or something borrowed from the emotional sphere, passionate love. Mr. Vilk views the conflicting ambivalence of existence and being, duty as responsibility and duty as fidelity, as underlying the main conflict of classical tragedy of the 17th century. Having plotted the movement of the being/existence duality through its manifestations in 17th century tragedy, Mr. Vilk moves to the 18th century, when tragedy took a philosophical turn. A dualistic view of the world became supplanted by the Enlightenment idea of a natural law, rooted in nature. The main point of tragedy now was to reveal that such conflicts as might take place had an anti-rational nature, that they arose as the result of a kind of superstition caused by social reasons. These themes Mr. Vilk now pursues through Russian dramatists of the 18th and early 19th centuries. He begins with Sumarakov, whose philosophical thought has a religious bias. According to Sumarakov, the dualism of the divineness and naturalness of man is on the one hand an eternal paradox, and on the other, a moral challenge for humans to try to unite the two opposites. His early tragedies are not concerned with social evils or the triumph of natural feelings and human reason, but rather the tragic disharmony in the nature of man and the world. Mr Vilk turns next to the work of Kniazhnin. He is particularly keen to rescue his reputation from the judgements of critics who accuse him of being imitative, and in order to do so, analyses in detail the tragedy "Dido", in which Kniazhnin makes an attempt to revive the image of great heroes and city-founders. Aeneas represents the idea of the "being" of Troy, his destiny is the re-establishment of the city (the future Rome). The moral aspect behind this idea is faithfulness, he devotes himself to Gods. Dido is also the creator of a city, endowed with "natural powers" and abilities, but her creation is lacking internal stability grounded in "being". The unity of the two motives is only achieved through Dido's sacrifice of herself and her city to Aeneus. Mr Vilk's next subject is Kheraskov, whose peculiarity lies in the influence of free-mason mysticism on his work. This section deals with one of the most important philosophical assumptions contained in contemporary free-mason literature of the time - the idea of the trinitarian hierarchy inherent in man and the world: body - soul - spirit, and nature - law - grace. Finally, Mr. Vilk assess the work of Ozerov, the last major Russian tragedian. The tragedies which earned him fame, "Oedipus in Athens", "Fingal" and "Dmitri Donskoi", present a compromise between the Enlightenment's emphasis on harmony and ontological tragic conflict. But it is in "Polixene" that a real meeting of the Russian tradition with the age-old history of the genre takes place. The male and female characters of "Polixene" distinctly express the elements of "being" and "existence". Each of the participants of the conflict possesses some dominant characteristic personifying a certain indispensable part of the moral world, a certain "virtue". But their independent efforts are unable to overcome the ontological gap separating them. The end of the tragedy - Polixene's sacrificial self-immolation - paradoxically combines the glorification of each party involved in the conflict, and their condemnation. The final part of Mr. Vilk's research deals with the influence of "Polixene" upon subsequent dramatic art. In this respect Katenin's "Andromacha", inspired by "Polixene", is important to mention. In "Andromacha" a decisive divergence from the principles of the philosophical tragedy of Russian classicism and the ontology of classicism occurs: a new character appears as an independent personality, directed by his private interest. It was Katenin who was to become the intermediary between Pushkin and classical tragedy.

Hamlet's Mobility: The Reception of Shakespeare's Tragedy in US-American and Canadian Narrative Fiction

This essay presents a comprehensive study of how Hamlet figures in North American fiction. Gabriele Rippl takes her cue from Stephen Greenblatt’s notion of Shakespeare’s ‘theatrical mobility’ (Greenblatt, Cultural Mobility. Cambridge University Press, 2010). This initial mobility, based on the playwright’s own borrowings, appears to facilitate, or even instigate further migrations. Rippl proceeds to give an overview of adaptations of Shakespeare’s Hamlet in the USA and Canada, thus providing an insight into the historical and cultural uses to which the play has been put by authors such as John Updike or Margaret Atwood. Phenomena such as the ‘republicanization’ of Shakespeare (James Fenimore Cooper), or his appropriation for a feminist counter-discourse in Canada circumscribe a space for the negotiation of cultural and political identities.

El drama griego y romano y La Eneida

A partir del énfasis en aproximaciones culturales que exceden la visión de la literatura como el mero reflejo de la política y las instituciones, este articulo estudia la influencia del drama griego y romano en la Eneida. Haciendo uso de los conceptos de "problematización" y "dramatización", se analizan separadamente la apropiación virgiliana de la tragedia griega, la relación de los trágicos y de Virgilio con Homero, el final de la Eneida y el nexo entre Virgilio y el drama romano, derivándose de este último punto la injerencia de la recepción virgiliana de la tragedia en los trágicos romanos posteriores

El drama griego y romano y La Eneida

A partir del énfasis en aproximaciones culturales que exceden la visión de la literatura como el mero reflejo de la política y las instituciones, este articulo estudia la influencia del drama griego y romano en la Eneida. Haciendo uso de los conceptos de "problematización" y "dramatización", se analizan separadamente la apropiación virgiliana de la tragedia griega, la relación de los trágicos y de Virgilio con Homero, el final de la Eneida y el nexo entre Virgilio y el drama romano, derivándose de este último punto la injerencia de la recepción virgiliana de la tragedia en los trágicos romanos posteriores

El drama griego y romano y La Eneida

A partir del énfasis en aproximaciones culturales que exceden la visión de la literatura como el mero reflejo de la política y las instituciones, este articulo estudia la influencia del drama griego y romano en la Eneida. Haciendo uso de los conceptos de "problematización" y "dramatización", se analizan separadamente la apropiación virgiliana de la tragedia griega, la relación de los trágicos y de Virgilio con Homero, el final de la Eneida y el nexo entre Virgilio y el drama romano, derivándose de este último punto la injerencia de la recepción virgiliana de la tragedia en los trágicos romanos posteriores

Johann Wolfgang von Goethe: Faust, part I, Engmont, Hermann and Dorothea; Christopher Marlowe: Doctor Faustus;

The tragedy of Faust -- The tragical history of Doctor Faustus -- Egmont -- Hermann and Dorothea.

The student's manual of Greek tragedy;

Chapters from Dr. Munk's "Geschichte der griechischen litteratur" translated by D. B. Kitchin. cf. Pref.

The land war in Ireland: being a personal narrative of events, in continuation of "A secret history of the English occupation of Egypt,"

I. Gladstone declares for home rule.--II. "Under protection of the league."--III. The general election of 1886.--IV. Vatican politics.--V. Cairo in 1887.--VI. Failure of the Wolff convention.--VII. The Persico mission.--VIII. Balfour chief secretary.--IX. My arrest at Woodford.--X. In gaol.--XI. The papal rescript.--XII. The Parnell Tragedy. A postscript.--Appendices: A. The canon of Aughrim. B. Mr. Blunt to Mr. John Morley. C. Mr. Blunt to the Marquess of Salisbury. D. Mr. Blunt to Mr. Evelyn, M. P. E. Mr. Blunt to Mr. John Morley.--Index.