Karl Marx's Youngest Daughter and "A Doll's House"

Dukore, Bernard F.

doi:10.2307/3208077

Cited by 4 publications

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“…It is important to make this clear because in this article, for the sake of clarity and brevity, the Spanish version will be compared mainly with Sharp's English text, and also to two popular French and Spanish existing translations that help contextualize the feminist translator choices. This 1910 translation appeared within the popular Everyman library collection in a volume that included two other Ibsen translations by prominent feminist and socialist Eleanor Marx (1855-1898), who had participated in the first public reading of A Doll's House in England, and had written her own version in 1891, A Doll's House repaired (Dukore 1990). In my view, it would not be farfetched to speculate that Marx had left some partial translation of the play at her untimely death, with which Sharp , a librarian at the British Museum, may have worked -or at least, that Lejárraga became interested in that version by making the same assumption.…”

Section: Feminist Translation Strategiesmentioning

confidence: 99%

Womanhandling Ibsen’s A Doll’s House: Feminist Translation Strategies in a Spanish Translation from 1917

Muñiz

2018

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This article analyzes a 1917 indirect translation of Ibsen’s A Doll’s House (1879) by María Lejárraga (1874-1974) as an example of early feminist translation. Relying on the existing theoretical outcomes at the intersection of gender and translation studies, it proposes a way of analyzing diverse translation strategies as a means for womanhandling the literary text, and thus making the most of the prevailing feminist interpretation of its international reception while reinforcing the budding feminist debate in Silver Age Spain and facilitating a specific understanding of the play. The importance of this case study as an example of early feminist translation is based on several factors: (a) this theatre text had a symbolic value in first wave feminism; (b) this Spanish translation was widespread due to Ibsen’s international fame and the national fame of the (overt) mediator Gregorio Martinez Sierra; (c) the feminist activism of the (covert) translator that made her select the text to spread a “thesis” she deemed necessary in Spain at that time for the developing of feminism; and (d) the numerous interventions at different levels (textual, contextual and paratextual) traceable in the translation.

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Section: Feminist Translation Strategiesmentioning

confidence: 99%

Womanhandling Ibsen’s A Doll’s House: Feminist Translation Strategies in a Spanish Translation from 1917

Muñiz

2018

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Doll and Director: Ibsen’s Old and New Drama

Christian

2020

Marriage and Late-Victorian Dramatists

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Performing Marriage: A Doll's House and Its Reconstructions in Fin-de-Siècle London

Christian¹

2015

Theat Surv

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Actress Elizabeth Robins, encountering Ibsen's Doll's House for the first time in a Novelty Theatre performance in June 1889, was thrilled by both the boldness of the play's ideology and the emotional power of the characters and the acting. The one element with which she found fault in the production, however, was Nora's tarantella, which she described nearly forty years later as “a piece of theatricalism, Ibsen's one concession to the effect-hunting that he had come to deliver us from.” William Archer and Harley Granville-Barker concurred with Robins's assessment, criticizing Nora's dance as the play's “flawed streak,” as “a theatrical effect, of an obvious, unmistakable kind” and “Ibsen's last concession to … the theatrical orthodoxy of his earlier years.” The tarantella, they agreed, was an embarrassing irrelevance, a crowd-pleasing distraction from the play's serious brainwork, simply an opportunity for the lead actress to display her agility and her well-shaped legs.

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Karl Marx's Youngest Daughter and "A Doll's House"

Cited by 4 publications

References 0 publications

Womanhandling Ibsen’s A Doll’s House: Feminist Translation Strategies in a Spanish Translation from 1917

Womanhandling Ibsen’s A Doll’s House: Feminist Translation Strategies in a Spanish Translation from 1917

Doll and Director: Ibsen’s Old and New Drama

Performing Marriage: A Doll's House and Its Reconstructions in Fin-de-Siècle London

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