Studies in the Elizabethan Theatre

Abstract

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org. This content downloaded from 128.235.251.160 on Sun, 22 Mar 2015 09:12:01 UTC All use subject to JSTOR Terms and Conditions BOOKS IN REVIEW 185Mr. Green comments occasionally on the intended satire, but his remarks do not include references to literary or operatic satire. He often contributes helpful definitions for confusing words and terms. His definitions, however, are far from complete and one would profit more by referring to. George E. Dunn's A Gilbert and Sullivan Dictionary.

The Translation Studies Reader

“…29 It further turns out that two of the "classics" have never been written for the "theatre" at all, but that they were written more or less directly for the series, or certainly for television: "of the thirteen plays in this book, two were written for television, one of these is an adaptation of Voltaire's prose fiction, Candide, and the other is a play about the life of the English poet John Milton." 30 It is hard to see what these plays could possibly have to do with either "classic" or "theatre," and there would certainly have been room for Brecht if one or the other of them had been left out. The conclusion must be that Brecht was still, in 1975, considered commercially and poetically too unsafe (and maybe also too expensive) for inclusion in a series on "classic theatre."…”

“…On the one hand, Montreal, which likes to see itself as multicultural, thus objectively anti-Québécois, viscerally, in its neo-composition; on the other, Quebec as a whole, which plays the politics of the ostrich, drowning in tactical optimism… Our governments are ready to sacrifice everything we hold dear, language, history, so as not to disappoint these "political refugees."] 30 Clearly, here, group membership is not fortuitous or a natural state of affairs. It is guided by nationalist interests, and by definition does not allow for inclusion of neo-Québécois.…”

“…31 The foreigner poses a problem precisely because he introduces heterogeneity, impurity into the Québécois community.…”

“…It is a productive writing called forth by the original text. 30 By arguing the interdependence of writing and translating, Derrida subverts the autonomy and privilege of the "original" text, binding it to an impossible but necessary contract with the translation and making each the debtor of the other.…”

“…Already his work has generated a collection of essays focusing on translation as a way of talking about philosophy, interpretation, and literary history. 31 These essays, while not explicitly addressing questions of gender, build on his ideas about the doubleness of translation without either idealizing or subordinating translation to conventionally privileged terms. Derrida's own work, however, does not attend closely to the historical or cultural circumstances of specific texts, circumstances that cannot be ignored in investigating the problematics of translation.…”