From St. Jerome to Hypertext is an ambitious attempt to chart the terrain of literary translation - its history, theory and practice. It examines translation from linguistic, extralinguistic and philosophical perspectives and poses a range of important questions, including: the extent to which a linguistically creative original text should be reduced to fit existing norms in translation; whether translators should render the author's voice or the author's vision; how a translator might bridge the gender gap, generation gap, cultural gap, geographical distance, and distance in time; the way in which one translates texts which are themselves multilingual; whether the Bible is a technical book, a primary source, a drama or a revelation; the impact that processes of internationalization, multimedia communication and technological innovations might have on literature in translation. Individual chapters offer detailed treatmemnt of topis such as the relationship between author and translator, wordplay and language games, syntax, cultural biotes, understanding and meaning, and the process of translation.

Kiebuzinska, who teaches modern drama, comparative literature, and film at Virginia Tech, considers intertextuality in modern drama. In nine essays, she examines the connections between the works of modern playwrights such as Kundera, Jelinek, and Hampton and the texts of earlier writers such as Did

Text and Performance in Contemporary British Theatre interrogates the paradoxical nature of theatre texts, which have been understood both as separate literary objects in their own right and as material for performance. Drawing on analysis of contemporary practitioners who are working creatively with text, the book re-examines the relationship between text and performance within the specific context of British theatre. The chapters discuss a wide range of theatre-makers creating work in the UK from the 1990s onwards, from playwrights like Tim Crouch and Jasmine Lee-Jones to companies including Action Hero and RashDash. In doing so, the book addresses issues such as theatrical authorship, artistic intention, and the apparent incompleteness of plays as both written and performed phenomena. Text and Performance in Contemporary British Theatre also explores the implications of changing technologies of page and stage, analysing the impact of recent developments in theatre-making, editing, and publishing on the status of the theatre text. Written for scholars, students, and practitioners alike, Text and Performance in Contemporary British Theatre provides an original perspective on one of the most enduring problems to occupy theatre practice and scholarship.

This collection of essays from world-renowned scholar Hans Walter Gabler contains writings from a decade and a half of retirement spent exploring textual criticism, genetic criticism, and literary criticism. In these sixteen stimulating contributions, he develops theories of textual criticism and editing that are inflected by our advance into the digital era; structurally analyses arts of composition in literature and music; and traces the cultural implications discernible in book design, and in the canonisation of works of literature and their authors. Distinctive and ambitious, these essays move beyond the concerns of the community of critics and scholars. Gabler responds innovatively to the issues involved and often endeavours to re-think their urgencies by bringing together the orthodox tenets of different schools of textual criticism. He moves between a variety of topics, ranging from fresh genetic approaches to the work of James Joyce and Virginia Woolf, to significant contributions to the theorisation of scholarly editing in the digital age. Written in Gabler’s fluent style, these rich and elegant compositions are essential reading for literary and textual critics, scholarly editors, readers of James Joyce, New Modernism specialists, and all those interested in textual scholarship and digital editing under the umbrella of Digital Humanities.

“The majority is never right...Who are the people that make up the biggest proportion of the population -- the intelligent ones or the fools?” – Henrik Ibsen Widely regarded as one of the foremost dramatists of the nineteenth century, Norwegian playwright Henrik Ibsen (1828–1906), created realistic plays bringing the social problems of his day to center stage. His dramas portrayed psychological conflict that emphasized character over devious plots, and over critical objection, he deemed the individual more important than the group. In this powerful work, Ibsen does just that, as his main character, Dr. Thomas Stockman, is an enlightened and persecuted minority of one confronting an ignorant, powerful majority. When Dr. Stockman learns that the financially successful baths in his hometown are contaminated, he insists that this popular complex be shut down for expensive repairs. At first, he is thanked, but the next morning, even his brother, who is the town’s mayor, and his closest friends, tell him to retract his statement because the baths are crucial to the town’s economy. When he refuses, Stockman’s home is vandalized, he and his daughter are fired, and he is ridiculed, persecuted, and declared an “enemy of the people” by the townspeople. The doctor stands up to it all, believing that the strongest man is the man who stands alone. In response to the public outcry against him and his play, Ghosts, which openly discussed adultery and syphilis, Ibsen faced accusations of being "scandalous," "degenerate," and "immoral."

The European Avant-Garde: Text and Image is an interdisciplinary collection of thirteen essays relating to the study of European Avant-Garde movements between 1900 and 1940. The essays cover both literary and artistic subjects, across geographical, linguistic and disciplinary boundaries. Various aspects of the English, Irish, German, French, Italian, Spanish, and Polish avant-gardes are explored, examining both diverse literary genres such as prose, poetry and drama, and specific avant-garde movements such as Futurism and Surrealism. The volume includes a lengthy introductory essay by Prof. John J. White, Emeritus Professor of German and Comparative Literature at King’s College London. Avant-garde studies can be enhanced and developed through dialogue with other disciplines, such as translation, gender, exile and comparative studies. Thus, the volume is divided into four sections: Representations of the Body; Translating the Avant-Garde, Identity and Exile; and Comparative Perspectives and the Legacy of the Avant-Garde.

Presenting web sites from around the world covering much of the world's literature, this book provides creative and interesting thinking activities to enhance student understanding of literature and culture and to promote critical thinking. This book will be very useful to teachers of world history and literature at the senior high school and undergraduate level. Part of a well reviewed series of titles Using Internet Primary Sources to Promote Critical Thinking, carries on the tradition of excellence in instructional tools. Grades 9-12.

This book analyses how Shakespeare is recreated in historical performance.

Introducing Comparative Literature is a comprehensive guide to the field offering clear, concise information alongside useful analysis and examples. It frames the introduction within recent theoretical debates and shifts in the discipline whilst also addressing the history of the field and its practical application. Looking at Comparative Literature within the context of globalization, cosmopolitanism and post or transnationalism, the book also offers engagement and comparison with other visual media such as cinema and e-literature. The first four chapters address the broad theoretical issues within the field such as ‘interliterary theory’, decoloniality, and world literature, while the next four are more applied, looking at themes, translation, literary history and comparison with other arts. This engaging guide also contains a glossary of terms and concepts as well as a detailed guide to further reading.