Albena Bakratcheva
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- Mariana Shopova-Christova
- Marta Gibinska Herberts Elusive Simplicity
Gordon Campbell Translating the Bible: the King James Version 2011 marks the 400th anniversary of the King James Bible, and the quatercentenary has occasioned a gentle ripple of new books examining the KJB from a variety of religious and secular approaches. In this talk I should like to outline the circumstances that led to the publication of this Bible, explore the instructions given to the translators, and discuss the English into which the translation was cast. The talk will conclude with an assessment of the importance of the KJB for twenty-first-century English. Irena Vassileva Academic Criticism in Linguistics The paper will touch upon the most general issues of confrontation in academic communication – a project I have been working on recently. Academic criticism and confrontation are considered to be inherent features of academic communication. Nevertheless, most of the existing studies assume that, owing to the predominantly evolutionary nature of the development of science, collaborative rhetoric is intrinsic to academic discourse and criticism is an exception rather than the rule. This is most probably the reason why there is relatively little research done on the problem. Basically, there exist two contradictory views on the role of academic confrontation, which I shall dwell on in short without siding with any of them:
The expression of criticism may take various forms and may be based on different premises – theoretical assumptions, methodological failures, relevance of data, practical application of research results, terminological problems, etc. With the development of a long-lasting conflict, however, the argumentation strategies and, respectively, the language used, tend to sharpen and to change their orientation from purely content-centred to personality-centred and to move away from truly scientific debates. The type of confrontation I am going to discuss is basically typical of the soft disciplines where, in contrast to the hard ones, argumentation is predominantly of verbal character, since experiences and phenomena are rarely strictly measurable and their analysis is thus of a much more interpretive nature. Irina Perianova I’d rather you didn’t use my Christian name (The Multi-Dimensionality of Names) As Northrop Frye notes northing exists merely as itself. Sobriquets as secondary signs are a function of the shared cultural knowledge. Quite often, they are obscure or sound funny to the out-group. From Shakespearean Shylock to the Philippine Joker, Jesus or Hitler names are not only designations of particular persons, or a class of persons bearing the same name, but a complex multi-dimensional phenomenon. Naming conventions and addresses differ spatially and temporally. While implying certain conceptual characteristics they reflect the way people see themselves, or what others might infer about them. An important feature of personal names is their potential to be used metaphorically - as characterizers and signifiers. Naming conventions vary depending on the culture, generation and existing linguistic forms. Avoiding a name as address is also culture-based, or it expresses attitude – dislike, rejection etc. Moreover, personal names are an important part of the cultural discourse thus often serving as determinants of the social identity – in terms of nation, class, generation. Names are an instrument of control and submission and a marker of memory and trust. The disparity of addressing (reciprocity or lack of reciprocity in the use of first names and surnames) means peer roles and equality, or superiority and inferiority respectively. Besides, the use of different linguistic forms or versions of names may express affect and imply shared cultural knowledge. The drift of the current changes in naming/addressing is egalitarian and characterized by greater informality. Jacek Fabiszak Stage Shakespeare goes (on) screen: cinematic framing of Grzegorz Jarzyna’s 2007: Macbeth and telegenic rendering of Krzysztof Warlikowski’s The Tempest It is a well-known phenomenon in performance studies that theatre adapts and indeed incorporates electronic media into its productions. Films appear as either an introduction, a prologue, in – for example – the Polish director Monika Pęcikiewicz’s A Midsummer Night’s Dream, or in the course of her successful rendering of Hamlet. Film and television constitute a most significant subtext in the Wooster Group’s production of Hamlet, too. However, neither Pęcikiewicz nor Elizabeth LeCompte, who directed Hamlet for the Wooster Group, specifically construct their productions within filmic or telegenic poetics whereby the spectator gets the impression that s/he is watching a film or a TV broadcast. Grzegorz Jarzyna used a special location for his rendering of Macbeth: the floor of an old decrepit factory in Warsaw, which was pulled down shortly after a series of performances in the summer (sic!) of 2005, and St. Ann’s Warehouse by the Brooklyn Bridge in New York in 2008. The acting area occupies a few floors or levels/planes on which several stages are constructed. These stages can be easily lit and darkened so that the action can swiftly move from one locale to another. Thus, the director on the one hand ‘flattens’ the stage by making it seemingly two-dimensional and, on the other, resorts to a montage technique, so typical of filmic grammar. In turn, Warlikowski locates his The Tempest on the stage of a regular theatre whose space, however, he significantly modifies. The space becomes amorphous thanks to the employment of two acting areas and economical lighting which fishes out the actors’ faces. Playing in close-up is typical of the poetics of Polish television theatre; furthermore, it helps emphasise the verbal plane, what with the two-dimensional blocking of figures renders the production television-like. The paper is an attempt to analyse to what degree the two productions are affected by both cinema and television, on the one hand, and how the cinematic/telegenic are exploited in video recordings of the productions. Jay Halio Innovative Productions at the Gdansk Shakespeare Festival My paper reviews a number of innovative productions at the Gdansk (Poland), including two productions of King Lear (one Russian, one Finnish), a take off on The Tempest (essentially a new play inspired by Shakespeare's), and two different versions of Macbeth. The paper is designed to encourage discussion about the "authenticity" of such innovative productions. Julia Staykova Meditation in the Early Modern Devotional Culture and Hamlet This paper examines Hamlet’s meditations on death in the light of early modern devotional meditations in the Protestant and Catholic tradition. I argue that Hamlet is purposefully exercising his mind in the Christian arts of dying by recreating contemptus mundi devices, religious arguments in favour of death and their traditional objections, as well as affective techniques of mental conditioning. When Hamlet deviates from the Christian meditative framework in contemplating suicide or refusing to conclude his exercises with a declaration of faith in God’s grace, these are gestures performed in dialogue with devotional literature. On the evidence of the “To be or not to be” soliloquy in the First Quarto (1603), I hope to demonstrate that Shakespeare’s contemporaries were likely to relate Hamlet’s reflections on death to devotional exercise and quite possibly recognized them as deliberate deviations. My goal is ultimately to suggest that meditations on death in the play attempt to construct a theological platform that enables it to transcend the doctrinal conflict between Protestantism and Catholicism and minister to a fellowship of men united in their experience of death. Julia Stefanova Blake, Swedenborg and The Marriage of Heaven and Hell The paper discusses Blake’s interest in Emanuel Swedenborg, his mystical writings and religious activities, and the way it (d)evolved into sharp criticism in The Marriage of Heaven and Hell. The text of The Marriage is analyzed with reference to the Plates and in the larger context of Blake’s (pre-)Romanticism and especially the poet’s radical views on religion, art and their relationship, reason and the poetic genius, imitation and originality. Kalina Bratanova Towards a typology of inferences in newspaper headlines This paper is an attempt to apply relevance theory to the study of The Economist’s techniques of persuasion based on articles on Bulgaria, which fall under seven headings and which have been published in the last 4 years. The paper makes the claim that relevance optimization (effective persuasion in terms of maximum contextual effects at the lowest possible processing effort on the part of the audience) in The Economist is achieved by a complex the interplay of headline, lead-in, and pictures. The latter trigger in the reader’s mind certain types of inferences so as to achieve the desired effect of persuasion. The study of the types of inferences (conventional and non-conventional implicatures, presupposition and entailment) regularly employed in The Economist’s headlines and grading them along the implicit /explicit scale of meta-discourse markers not only exposes the hidden mechanisms of the newspaper’s persuasive discourse, but also provides useful insights into other aspects of the wider social and cultural significance, such as prevailing attitudes among the target audience toward Bulgaria and the newspaper’s stance on relevant issues of geo-strategic importance. The attempted typology of inferences also throws light upon the tension in political discourse generated by a general shift towards entertainment and commercialization. Kirilka Stavreva Un-Painting the Veneto Villa: Domestic Virtù and the Limits of Civic Subjectivity in Shakespeare’s Merchant of Venice In The Merchant of Venice Shakespeare genders Venice, the "fair" city of the goddess of love, masculine, and sets it at a clear geographic and symbolic remove from feminine Belmont. In an attempt to account for this symbolic geography, I suggest that Belmont, this haven of public domesticity, is literally and metaphorically "a city upon a hill." Lacking the “painted face,” which English poets in the 1590s attributed to decadent and idolatrous Venice, Portia's villa in Belmont – no frescoes here, but rather, “sweet music” and high-stakes exercises in symbolic exegesis – functions very much like an idealized country-house estate in Shakespeare’s England. It attracts and fascinates not only assorted Venetians, but also nobles from the across the Mediterranean world, as it offers what Venice’s world of war, politics, and commerce lacks – an opportunity for social advancement and an orderly process of crisis management. Furthermore, Belmont's female citizens not only present to leading Venetians a model of participatory governance, they also manage to involve the latter in the practice of a reformed oeconomics. But Belmont is by no means a utopia open for all. Shakespeare’s “problem play” sets out clear restrictions as to who may belong to this model household. The dramatization of Belmont's public domesticity clearly maps the borders of "proper" civic subjectivity. As a judge in the judicial sense, as well as in the wider sense of "rule" or "govern," Portia's role in the larger Venetian world resembles that of the Biblical Deborah in the Ephraimite hill country. Like Deborah's, Portia's home is a public domestic realm, providing nourishment and spiritual succor, but also shaping the justice system, determining the content of good citizenship, and monitoring access to it. Kornelia Slavova Cultural Translation: A Streetcar Named Desire on the Bulgarian Stage The paper explores the disruptive presence of Tennessee Williams on the Bulgarian stage, tracing various ways of appropriating his art by different political regimes between 1960s and 2010. Drawing upon theatre critics’ reviews, program notes, media discourses as well as several translated versions/ productions of A Streetcar Named Desire over the years, it is argued that the critical reception of Williams on the Bulgarian stage has been marked by three different “turns”: ideological, aesthetic, and post-ideological. The early 1960s’ productions functioned as an instrument of communist propaganda, emphasizing social problems in order to criticize the “moral and spiritual degradation” of American capitalism. The aesthetic shift in the late 1970s and 1980s signals a new interest in artistic quality beyond the ideological clichés and representational taboos. The post-communist/ postmodern turn brings to the surface sexuality issues, the body and its eroticization, as well as strategies of exoticizing. The theoretical framework draws upon ideas and concepts from cultural translation and performance studies.
(Re-)Gaining Prophetic Authority through the “Poetic Genius”: William Blake and Eighteenth-Century Discourses of Enthusiasm This paper explores the links between the spiritual/mental creative entity William Blake calls “Poetic Genius” and the discursive contexts of religious enthusiasm in the eighteenth century. A number of scholars have demonstrated that Blake’s creative habits were conditioned by the popular culture of religious enthusiasm which was typical of “the socially mobile world of eighteenth-century London artisans and tradesmen” (Jon Mee). Moreover, Blake was repeatedly identified as an enthusiast throughout his lifetime. To clarify the significance of such identifications, I examine David Hume’s essay “Of Superstition and Enthusiasm” (1741), which could be said to both epitomize existing views on enthusiasm at the time of its composition and mould later conceptions of it. In the essay Hume stresses the disruptive character of religious enthusiasm but also describes it as a phase of youthful revolt against “the common rules of reason, morality, and prudence” which can in due course be replaced by mature respect for them. To avoid the stigma of irrationality and madness, usually attached to enthusiasm, Dissenters such as the natural philosopher and intellectual historian Joseph Priestley (1733 – 1804) made a point of “represent[ing] their opinions as the products of rational inquiry” (Jon Mee), thus asserting the primacy of reason and confirming Hume’s scenario of the evolution of enthusiasm. Blake was familiar with the rationalist approach of Priestley and other radical Dissenters and he effectively appropriated some of their strategies for his own purposes. In his early tracts All Religions Are One and There Is No Natural Religion [a, b] (1788) and his remarkable “anatomy” The Marriage of Heaven and Hell (1790-92/3), on which I dwell in this paper, he uses the formal strategies of rational argumentation to devalue reason and justify the primacy of the Poetic Genius, an entity akin to the divine spark of the Gnostics and the Inner Light of the Antinomian sectarians whose heirs eighteenth-century radical Dissenters to a great extent were. Blake’s assertion of the primacy of the Poetic Genius may further be linked to another aspect of the artist’s cultural situation: the apparent anxiety of mid- and late eighteenth-century littérateurs over the destiny of poetry in a rapidly changing world and the assumed inability of poets writing at the time to live up to the achievements of their predecessors. I argue that by stressing the role of the Poetic Genius as the motive force of all human creativity Blake effectively shows the futility of all fears over the supposed extinction of poetry and seriously problematizes the emergent practice of the compartmentalization of different areas of creativity and culture which was related to such fears. Maria Dimitrova Private Treaties: William Empson and the Case for the Self-annotating Poet Echoing T. S. Eliot’s claim that modern poetry must be difficult, William Empson declared, circa 1930, that “[a]ll the recent good poetry is obscure, and more recent poetry is more obscure, and becoming more so”. This necessary obscurity was the result of a change in the conditions of knowledge in the first half of the 20th century; and it was coupled with a new, distinctively modern, desire to understand rather than simply accept. With respect to poetry this meant, in effect, an important change in the communication situation in which poetry took place – a change that necessitated greater flexibility on the part of both poet and reader, if the communication were to be successful. One important aspect of this necessary mutual adjustment were, in Empson’s view, the notes which he claimed it was advisable for poets to attach to their own poetry and for readers to accept as a legitimate feature of poetry in general. Those authorial notes, Empson believed, would amount to a sort of “private treaty between writer and reader”, enhancing understanding without diminishing poetry. Although Empson was generally sanguine about the future of authorial notes in poetry, he was also fully aware of the objections that could be raised against them – and confronted these head-on. His discussion of the arguments for and against poetic self-annotation, coupled with his own persistent annotation of his poetry, crucially touches on larger questions about the nature of poetry and of the reading process. It will be the aim of this paper to highlight some of those questions and examine some of the broader implications of Empson’s argument for poetic self-annotation, as revealed in his unfinished essay on “Obscurity and Annotation” and in his prefatory Notes to the notes in Poems and The Gathering Storm. Maria Pipeva Translating for the 21st-century Child The paper discusses some recent trends in translating English children’s literature into Bulgarian, triggered off by the socio-political and cultural changes of the 1990s. Approaching the topic from the premises of Descriptive Translation Studies (and some of their recent offshoots and critiques), the paper tries to discern patterns of translational-norm shifts and revisits Gideon Toury’s concepts of “adequacy” and “acceptability”, suggesting possible ways of accommodating them to the empirical data. Mariana Shopova-Christova Поезията на Емили Дикинсън в български превод: начини за предаване на деканонизираната рима Предаването на римните съзвучия, в еднаква степен обвързани с метричната, фонологичната и семантичната организация на стихотворния текст, е едно от сериозните предизвикателства пред поетическия превод. Предмет на изследването е разколебаването на традиционната точна рима (или „деканонизиране”, ако се използва формулировката на руските формалисти за обозначаване на сходни явления в римуването в европейската поезия от края на 19 – началото на 20 век) в стихотворните творби на Емили Дикинсън, допринасящо, наред с другите характеристики на „неравния” й стил, за особеното качество на стиха й. Това разколебаване се изразява предимно в експерименталната употреба на дисонанси (half-rhymes, slant rhymes, pararhymes) от типа на soul – all, peer – pare, God – sad, отначало будещи недоумения сред съвременниците й, но впоследствие признати като изключително продуктивен път за обновяване на римуването в англоезичния стих, още повече че подобна техника се подкрепя от особеностите на самия език и от цялостната поетика на англоезичната рима, силно чувствителна към съгласните звукове. Преводът на стихове с такъв тип съзвучия на езици като българския, където подобна система на римуване е почти неразработена, представлява сериозен проблем не толкова от техническа, колкото от функционална и прагматична гледна точка. Анализирайки българските преводи на стиховете на Е. Дикинсън, осъществени от Ат. Далчев, Цв. Стоянов, Г. Мицков и М. Николчина („Крехки небеса”, С., Народна култура, 1988), изтъкваме разнообразните начини за неточно римуване (въвеждане на дисонанси, на клаузулно нееднородни, отсечени, приблизителни и др. рими), които в по-голяма или по-малка степен изпълняват ролята на функционален еквивалент на дисонансните рими на оригиналите.
Romea, Giulietto and The South: Redefining Cultural Boundaries in Roberta Torre’s Sud Side Stori The story of Shakespeare’s star-crossed lovers has often been rewritten in Italy to highlight the contrast between the rich, industrial North and the poor, rural South. With her Sud Side Stori (2000), Roberta Torre, a Milanese film director who has chosen to work in Sicily, acknowledges the need for a reassessment of the old, well-established cultural boundaries in the light of a sizeable presence of African immigrants in Southern Italy. Through a series of grotesque situations, her musical presents the doomed love story between Romea Wacoubo, a Nigerian prostitute who lives in Palermo with her friends Mercuzia and Baldassarra, and Toni Giulietto, a spoilt Sicilian youth who dreams of becoming a rock star and of escaping the marriage with a local girl arranged by his doting aunts. The paper explores the uses the director makes of Shakespeare’s tragedy and of West Side Story for her critique of the inability of the Palermo underclass to come to terms with the new Southerners in their midst. It also examines the effect of gender reversal in her adaptation of Romeo and Juliet. Marta Gibinska Herbert's Elusive Simplicity Zbigniew Herbert, one of the most important poetic voices in XX century Poland, if not in Europe, has been translated into English and become part of the poetic culture of the contemporary Anglo-Saxon intellectuals. A recent translation of the bulk of his poetry by Alissa Valles has provoked fierce attacks and little praise. I intend to defend her (and others') translations by first, pointing to specific traits of Herbert's poetic art, and second, by demonstrating the ways translators have dealt with particular, unique, and therefore by definition untranslatable lines. I shall concentrate on those poems which stem from and are immersed in the common cultural heritage of the Europeans. Michael Hattaway ‘A Private Man in Athens’: Shakespeare's Timon and the Play's Afterlife Timon of Athens marks a turning point in Shakespeare's career. It is almost certainly the earlier of the two plays he prepared for the Blackfriars playhouse (the other being The Tempest). His collaboration with Middleton gave a distinctive steer to his anatomisation of social problems: here a fierce indignation is directed against a hero who may be figure of a nouveau riche, anathema to the 'gentle' clientele who frequented the Blackfriars, in whose vicinity many of them lived. I submit new evidence, derived from the musical stage directions and the masque of Amazons, that links the text with features of plays performed by boys at both the Blackfriars and Whitefriars (where a performance of Timon just might have been planned), although I conjecture that the play was probably 'pulled' because aspects of its satire may have proved as offensive to King James as that in Chapman's Byron. The play demands to be performed in a small playing space, and it is significant that a recent production at Shakespeare's Globe in London by Lucy Bailey constructed an enclosed space and diminished stage within that large amphitheatre. Aspects of the production have led me out to appropriate writings by Marx and Freud. It is illustrated with slides. Каталог: english english -> Часове Цели Забележки english -> Човешкото тяло english -> Present continuous tense english -> Basic english for physicists english -> Example: New York is more exciting than Seattle. Use the superlative form when speaking about three or more objects to show which object is 'the most' of something. Example english -> 1. How to make the Past Continuous Tense? english -> Application for opening of an irrevocable documentary letter of credit english -> Present perfect finished or unfinished time present perfect tense english -> English Language Test 3 Изтегляне 210.88 Kb. Сподели с приятели:
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