Add to ORKGThis collected monograph from New York creatively takes stock on the wide-ranging textual criticism of the specific technical and cultural issues arising from translating texts for theatre. The volume analyses two methodologically relevant examples, which -albeit they relate to different historical contexts- both date back to a distant past and have strong international significance. The first, Renaissance humanism, had to come to terms with the ancient civilization at the dawn of modern theatre. The second, the world-wide European Enlightenment theatre, built a modern grammar of taste and sensitivity on stage. The first selected case-study is the ‘vernacularisation’ of Captivi by Plautus authored in 1530 by the Accademici Intronati o...
In eighteenth-century Italy negative responses to Shakespeare’s plays are not to be found exclusivel...
The present thesis seeks to address the neglect of Aeschylus’ reception in Italy. By putting Aeschyl...
The rollicking comedies of Plautus, who brilliantly adapted Greek plays for Roman audiences c. 205–1...
This collected monograph from New York creatively takes stock on the wide-ranging textual criticism ...
This collected monograph from New York creatively takes stock on the wide-ranging textual criticism ...
Translation for the theatre is often considered to hold a marginal status between literary translati...
Translation for the theatre is often considered to hold a marginal status between literary translati...
Translation for the theatre is often considered to hold a marginal status between literary translati...
In recent years, seventeenth-century classical drama has increasingly traversed national borders and...
In Plautus’ theatre, words were literally brought to life in a performative system of masks, music a...
PLAUTUS AND ROTROU: TRANSLATING COMIC DRAMAS IN THE 17th CENTURY. BETWEEN RESPECT AND CREATIONWhen t...
PLAUTUS AND ROTROU: TRANSLATING COMIC DRAMAS IN THE 17th CENTURY. BETWEEN RESPECT AND CREATIONWhen t...
Alors que la tradition classique, en cherchant à préserver l’intégrité des sources grecques et latin...
In eighteenth-century Italy negative responses to Shakespeare’s plays are not to be found exclusivel...
In eighteenth-century Italy negative responses to Shakespeare’s plays are not to be found exclusivel...
In eighteenth-century Italy negative responses to Shakespeare’s plays are not to be found exclusivel...
The present thesis seeks to address the neglect of Aeschylus’ reception in Italy. By putting Aeschyl...
The rollicking comedies of Plautus, who brilliantly adapted Greek plays for Roman audiences c. 205–1...
This collected monograph from New York creatively takes stock on the wide-ranging textual criticism ...
This collected monograph from New York creatively takes stock on the wide-ranging textual criticism ...
Translation for the theatre is often considered to hold a marginal status between literary translati...
Translation for the theatre is often considered to hold a marginal status between literary translati...
Translation for the theatre is often considered to hold a marginal status between literary translati...
In recent years, seventeenth-century classical drama has increasingly traversed national borders and...
In Plautus’ theatre, words were literally brought to life in a performative system of masks, music a...
PLAUTUS AND ROTROU: TRANSLATING COMIC DRAMAS IN THE 17th CENTURY. BETWEEN RESPECT AND CREATIONWhen t...
PLAUTUS AND ROTROU: TRANSLATING COMIC DRAMAS IN THE 17th CENTURY. BETWEEN RESPECT AND CREATIONWhen t...
Alors que la tradition classique, en cherchant à préserver l’intégrité des sources grecques et latin...
In eighteenth-century Italy negative responses to Shakespeare’s plays are not to be found exclusivel...
In eighteenth-century Italy negative responses to Shakespeare’s plays are not to be found exclusivel...
In eighteenth-century Italy negative responses to Shakespeare’s plays are not to be found exclusivel...
The present thesis seeks to address the neglect of Aeschylus’ reception in Italy. By putting Aeschyl...
The rollicking comedies of Plautus, who brilliantly adapted Greek plays for Roman audiences c. 205–1...