THE SECOND ENGLISIllNG OF ELEUTHERIA

1998 ◽  
Vol 7 (1) ◽  
pp. 75-80
Author(s):  
Gerry Dukes

A review of Barbara Wright's translation of Eleuthéria, Samuel Beckett's first full-length play in French, written in 1947. The posthumous publication history of Beckett's original text by Les Editions de Minuit (Paris), the first translation by Michael Brodsky into English, published by Foxrock Inc. (New York) and Wright's translation is briefly sketched. The two English translations are compared and Wright's is found not only superior but also eminently actable.

2001 ◽  
Vol 35 (3) ◽  
pp. 485-497 ◽  
Author(s):  
CRAIG MONK

By the mid-1960s, American writer Kay Boyle was in possession of a three-book contract from Doubleday publishers in New York. The cornerstone of this deal was to be a history of Germany, a manuscript she began in the late 1950s. Boyle encountered difficulties completing this work, and after lobbying successfully to write a history of German women instead, she eventually abandoned the project altogether. To help her meet her professional obligations, Boyle hoped that Doubleday would accept a new plan to republish Three Short Novels, a work that had appeared under the Beacon imprint in 1958. That publisher still had four thousand copies of the book in its warehouse, however, and Doubleday editor Ken McCormick was unable to agree to Boyle’s proposal. McCormick suggested instead that she undertake work revising Robert McAlmon’s 1938 autobiography, Being Geniuses Together. Indeed, in the years following his death in 1956, Boyle had been unsuccessful in locating an American publisher for her friend’s book, so when Doubleday brought forward an edition of the work in 1968, it contained alternate chapters written by Kay Boyle, herself. McAlmon’s original text is approximately one hundred and ten thousand words in length; Boyle’s edition is one hundred and sixty thousand words, only seventy thousand of which were written by Robert McAlmon. ‘‘This present book is his,’’ Boyle wrote of McAlmon’s achievement in her 1984 afterword (333), and while one might argue that this is the case, no one can question the fact that his book was altered substantially from its original form.


2001 ◽  
Vol 28 (3) ◽  
pp. 353-366
Author(s):  
JOE CAIN

The Columbia Biological Series (1894–1974) was produced by the Department of Biology (later Zoology) of Columbia University, New York, and spanned a wide range of topics within the biological sciences. This paper provides a bibliography for the twenty-five volumes of this series together with basic details on the launch (1894), re-launch (1937), and history of the series. The series receives attention from historians of biology principally as the source for canonical texts in the synthesis period of evolutionary studies, with publications by Dobzhansky, Mayr, Simpson, and Stebbins. This note provides additional details on the publication history of these volumes. Synthesis historians, myself included, have poorly appreciated how the production of this series fit into efforts to promote Columbia University as a major centre for innovative biological research. We also have poorly understood the relations between these books and the Jesup lecture series, an irregular event sponsored by the department at Columbia. Tracing the series' publication history speaks to both these topics.


Author(s):  
June Howard

Reading Edith Wharton’s Old New York through the genre of regionalism reveals the complexity of her cosmopolitanism, and strengthens the case for reading the volume as a unified work. The chapter discusses relevant aspects of the cultural history of the decades in which the four stories are set (such as the associations of tuberculosis in “False Dawn” and the ormolu clock in “The Old Maid”) and reviews the early publication history of each story and the collection. Close readings trace how Wharton connects and contrasts the United States and Europe (especially New York City and Italy) and puts their correspondences with historical eras into play—challenging received notions of progress and the assumption that cultivated taste correlates with integrity. The chapter argues that the way Old New York maps time onto place enables the projection of alternative values within a work that remains publishable and legible in its own moment.


Author(s):  
Jonathan Evans

This chapter focuses on Davis’s story ‘Marie Cure, So Honorable Woman’. This story challenges the boundary between translation and writing as it is constructed from overly literal translation fragments from a biography of Marie Curie that Davis had translated in a more conventional way elsewhere. Beginning with the publication history of the story, the chapter argues that it can be read as a form of parody of the original text through the selection of material presented and through the expressly unidiomatic translation style, although at the same time the source text is not as well-known as might be expected of parodies. Through its use of style, the story questions the role of representation in translation and biography. How a story is told is shown to be central to the understanding of that story.


2020 ◽  
Vol - (4) ◽  
pp. 50-59
Author(s):  
Mykyta Samsonenko

An appealing to original texts, a comparing linguistic variations in the forms of their offsprings (translations), a research of processes of branching of meanings, a reconstruction of the first-sense of texts, and especially those that were created centuries ago in ancient languages, that is enabling to improve translation or understanding of the history of the mentality of native and modern na- tive speakers — will always be relevant for any philological, linguistic and philosophical studies. This article is an attempt to analyze and show how different the form and meaning of the same text can be in different languages and what can be common between different translations. For the first time, the comparison of the original fragments of Plato’s “The Republic” in Ancient Greek with their translations into Japanese and Korean translations has been done. Also, some fragments of Lithuanian, Latin, Latin and English translations are included. For the analysis, I propose the following two fragments of the text of the seventh book, namely the replica numbered 514a-514b of the dialogue of Socrates with Glaucon and the replica numbered 517b-517c. After all, in my opinion, there is the greatest concentration of philosophical terms associated with the myth of the cave, which interests me.


2020 ◽  
Vol 22 (3) ◽  
pp. 330-343
Author(s):  
Fabio Camilletti

It is generally assumed that The Vampyre was published against John Polidori's will. This article brings evidence to support that he played, in fact, an active role in the publication of his tale, perhaps as a response to Frankenstein. In particular, by making use of the tools of textual criticism, it demonstrates how the ‘Extract of a Letter from Geneva’ accompanying The Vampyre in The New Monthly Magazine and in volume editions could not be written without having access to Polidori's Diary. Furthermore, it hypothesizes that the composition of The Vampyre, traditionally located in Geneva in the course of summer 1816, can be postdated to 1818, opening up new possibilities for reading the tale in the context of the relationship between Polidori, Byron, and the Shelleys.


2020 ◽  
Vol 73 (3) ◽  
pp. 66-78
Author(s):  
Vince Schleitwiler ◽  
Abby Sun ◽  
Rea Tajiri

This roundtable grew out of conversations between filmmaker Rea Tajiri, programmer Abby Sun, and scholar Vince Schleitwiler about a misunderstood chapter in the history of Asian American film and media: New York City in the eighties, a vibrant capital of Asian American filmmaking with a distinctively experimental edge. To tell this story, Rea Tajiri contacted her artist contemporaries Shu Lea Cheang and Roddy Bogawa as well as writer and critic Daryl Chin. Daryl had been a fixture in New York City art circles since the sixties, his presence central to Asian American film from the beginning. The scope of this discussion extends loosely from the mid-seventies through the late nineties, with Tajiri, Abby Sun, and Vince Schleitwiler initiating topics, compiling responses, and finalizing its form as a collage-style conversation.


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