The Chinese Translation of Samuel Beckett: A Critical History

2021 ◽  
Vol 51 (2) ◽  
pp. 282-295
Author(s):  
Bo Cao
Keyword(s):  
Samuel Beckett ◽  
Aesthetic Response ◽  
Chinese Translation ◽  
Critical History ◽  
Translation Practice ◽  
Third Stage ◽  
Waiting For Godot ◽  
History Of ◽  
Harsh Criticism ◽  
Second Period

In light of the relevant merits and defects of translation practice over sixty years, this article presents a critical history of the Chinese translation of the work of Samuel Beckett. The article argues that the history may be divided into two periods: the pre-1980 period and the post-1980 period, with China's reopening to the outside world in the late 1970s as the watershed. The first period is dominated by the politically propelled translation of Waiting for Godot and harsh criticism of Beckett as a ‘decadent’ author. The second period, characterized by a more complex aesthetic response, may be further divided into three stages: the first stage is marked by the pioneering Proust as a booklet on irrationalism and the debatable Collection of Samuel Beckett translated from French; the second stage by the annotated Complete Works of Samuel Beckett; the third stage by the scholastically motivated Letters of Samuel Beckett. In retrospect, the transition between the two periods is a dramatic one from political misreading to aesthetic appreciation. Or, rather, the progress of the Chinese translation since the turn of the twentieth century mirrors both the re-evaluation of Beckett as an innovative artist and the ‘inward turn’ of Chinese intellectual circles.

A Bibliography of Soviet Studies of the Ancient Cultures of Latin America

1990 ◽  
Vol 1 (1) ◽  
pp. 5-22
Author(s):  
V. A. Bashilov ◽  
V. I. Gulyaev
Keyword(s):  
Latin America ◽  
Latin American ◽  
Latin American Studies ◽  
Historical Processes ◽  
Third Stage ◽  
Archaeological Materials ◽  
Art And Culture ◽  
History Of ◽  
Two Stages ◽  
Second Period

The study in the Union of Soviet Socialist Republics of the earliest history of native Latin Americans falls into two distinct periods. The first, associated with an interest in the ancient Mexican and Peruvian civilizations, can be divided into two stages: the 1920s to the early 1940s, when Soviet scholars first acquainted themselves with antiquities from the region and used them for historical parallels; and the late 1940s and early 1950s, when Soviet historians turned to an analysis of Latin American materials. The second period went through three stages: the first, from the early 1950s to the early 1960s, mainly was dominated by Yury Knorozov, who was engaged in deciphering the language of the Maya, and Rostislav Kinzhalov, who studied their art and culture. During the second stage, the early 1960s to the mid-1970s, more scholars and research institutions undertook studies of the early cultures of Latin America. The thematic range became wider as well, covering—besides Mesoamerica and the central Andean region—the Intermediate region and the Caribbean. The third stage, which started in the late 1970s and continues to the present day, witnesses ethnographers and archaeologists pooling their efforts in studying the region. There were several conferences in which specialists engaged in various fields of Latin American studies participated. Their contacts with foreign colleagues became wider; Soviet archaeologists and ethnologists took part in fieldwork in Latin America. The primary aims today are to introduce Soviet readers to archaeological materials from a number of cultural-historical regions (such as the southern fringes of Mesoamerica, Amazonia, the southern Andes, etc.), to detail Soviet studies of cultural complexes and historical processes in ancient America, and to compare them to the processes that took place in the Old World, with the aim of establishing shared historical “laws” and patterns.

Samuel Beckett and his Immigrants

Tekstualia ◽  
2017 ◽  
Vol 4 (51) ◽  
pp. 87-94
Author(s):  
Aleksandra Wachacz
Keyword(s):  
Samuel Beckett ◽  
Recent Interest ◽  
French Culture ◽  
Waiting For Godot ◽  
History Of

The long tradition of canonical interpretations of Samuel Beckett’s plays puts in front two exceptional productions of Waiting for Godot, individual in their character. Both of them seem to realize the directors’ ideas about French culture and highlight its specifi c aspects. They are anchored in the history of France and respond to a recent interest in studying Beckett’s Irishness and its infl uence on his writing as well as are indebted to literary-historical, manuscript or archive-based studies. At the same time, they also exemplify how directors modify texts in order to present their interpretations of history.

scholarly journals Las tres etapas del radioteatro en Chile: de la época dorada al nuevo auge de las series de ficción

2019 ◽  
Vol 9 (2) ◽  
pp. 55-73
Author(s):  
Raúl Rodríguez Ortiz ◽  
Keyword(s):  
Public Space ◽  
Soap Operas ◽  
Radio Drama ◽  
Technological Breakthrough ◽  
The Public ◽  
Non Fiction ◽  
Political Struggles ◽  
Third Stage ◽  
History Of ◽  
Second Period

Following the growth, since 2016, of new fiction and non-fiction sound series in a large part of Ibero America, thanks to podcast and radio on demand, the task of analyzing the history of radio theater as a genre in Chile, from its roots and sociocultural importance to the new ways of producing and thinking about the genre in the 21st century is conducted. On the basis of documentary information, consisting of press archives, audios of radio theater scripts and the few studies on radio and radio theater, three stages can be elucidated: the golden age (1940-1970); the rebirth of radio theater (2003-2015) and the genre current boom period (2016 to present). While there are certain continuities between the first and second period, despite the temporary and technological breakthrough, in the third stage there is a new way of creating and designing these productions, with plots that respond to social and political struggles of groups that are invisible or discriminated in the public space, as well as in the way of circulating and disseminating them, without the radio being the key place par excellence for transmission as happened with the old radio soap operas. Keywords: Radio Drama; Fiction; History; Chile; Podcast.

Opportunistic Colorectal Cancer Screening using Colonoscopy. Comparative Results between two Historical Cohorts in Bucharest, Romania

2015 ◽  
Vol 24 (2) ◽  
pp. 171-176 ◽  
Author(s):  
Elena Mirela Ionescu ◽  
Tudor Nicolaie ◽  
Serban Ion Gologan ◽  
Ana Mocanu ◽  
Cristina Ditescu ◽  
...  
Keyword(s):  
Colorectal Cancer ◽  
Screening Program ◽  
Advanced Adenoma ◽  
Detection Rates ◽  
Incidence And Mortality ◽  
Organized Screening Program ◽  
History Of ◽  
Comparative Results ◽  
Asymptomatic Individuals ◽  
Second Period

Background & Aims: Even though Romania has one of the highest incidence and mortality in colorectal cancer (CRC) in Europe, there is currently no organized screening program. We aimed to assess the results of our opportunistic CRC screening using colonoscopy.Methods: A single center retrospective study to include all opportunistic screening colonoscopies performed in two 18 month periods (2007-2008 and 2012-2013) was designed. All asymptomatic individuals without a personal or family history of adenoma or CRC and with complete colonoscopy performed in these two time periods were included.Results: We included 1,807 individuals, 882 in the first period, 925 in the second period. There were 389 individuals aged below 50, 1,351 between 50 and 75 and 67 older than 75 years. There were 956 women (52.9%), with a mean age of 58.5 (median 59, range 23-97). The detection rates were 12.6% for adenomas (6.1% for advanced adenoma) and 3.4% for adenocarcinoma. Adenoma incidence (4.9% in subjects under 50, 14.7% in those aged 50 to 75, and 16.4% in those older than 75, p<0.0001) and size (6.3mm in subjects younger than 50, 9.2mm in those 50 to 75 and 10.8mm in those older than 75, p=0.015) significantly increased with age. Adenoma incidence increased in the second period (14.8% vs. 10.3%, p=0.005), while adenoma size decreased in the second period (8.4mm vs. 10mm, p=0.006). There were no procedure related complications.Conclusions: The neoplasia detection rate was 16% (12.6% adenoma, 3.4% adenocarcinoma). Adenoma incidence and size increased with age in both cohorts. In the second screening period significantly more and smaller adenomas were detected.

Same Address, Different Doors: Post-Heritage Deconstruction of the Heritage Household in Upstairs Downstairs in the 1970s and 2010s

2020 ◽  
Author(s):  
William Abbiss
Keyword(s):  
Final Section ◽  
Social Structures ◽  
The Third ◽  
The Past ◽  
War Narrative ◽  
Critical History ◽  
The Social ◽  
Fourth Series ◽  
History Of ◽  
Multiple Episodes

This article offers a ‘post-heritage’ reading of both iterations of Upstairs Downstairs: the LondonWeekend Television (LWT) series (1971–5) and its shortlived BBC revival (2010–12). Identifying elements of subversion and subjectivity allows scholarship on the LWT series to be reassessed, recognising occasions where it challenges rather than supports the social structures of the depicted Edwardian past. The BBC series also incorporates the post-heritage element of self-consciousness, acknowledging the parallel between its narrative and the production’s attempts to recreate the success of its 1970s predecessor. The article’s first section assesses the critical history of the LWT series, identifying areas that are open to further study or revised readings. The second section analyses the serialised war narrative of the fourth series of LWT’s Upstairs, Downstairs (1974), revealing its exploration of female identity across multiple episodes and challenging the notion that the series became more male and upstairs dominated as it progressed. The third section considers the BBC series’ revised concept, identifying the shifts in its main characters’ positions in society that allow the series’ narrative to question the past it evokes. This will be briefly contrasted with the heritage stability of Downton Abbey (ITV, 2010–15). The final section considers the household of 165 Eaton Place’s function as a studio space, which the BBC series self-consciously adopts in order to evoke the aesthetics of prior period dramas. The article concludes by suggesting that the barriers to recreating the past established in the BBC series’ narrative also contributed to its failure to match the success of its earlier iteration.

Same Address, Different Doors: Post-Heritage Deconstruction of the Heritage Household in Upstairs Downstairs in the 1970s and 2010s

2020 ◽  
Author(s):  
William Abbiss
Keyword(s):  
Final Section ◽  
Social Structures ◽  
The Third ◽  
The Past ◽  
War Narrative ◽  
Critical History ◽  
The Social ◽  
Fourth Series ◽  
History Of ◽  
Multiple Episodes

This article offers a ‘post-heritage’ reading of both iterations of Upstairs Downstairs: the LondonWeekend Television (LWT) series (1971–5) and its shortlived BBC revival (2010–12). Identifying elements of subversion and subjectivity allows scholarship on the LWT series to be reassessed, recognising occasions where it challenges rather than supports the social structures of the depicted Edwardian past. The BBC series also incorporates the post-heritage element of self-consciousness, acknowledging the parallel between its narrative and the production’s attempts to recreate the success of its 1970s predecessor. The article’s first section assesses the critical history of the LWT series, identifying areas that are open to further study or revised readings. The second section analyses the serialised war narrative of the fourth series of LWT’s Upstairs, Downstairs (1974), revealing its exploration of female identity across multiple episodes and challenging the notion that the series became more male and upstairs dominated as it progressed. The third section considers the BBC series’ revised concept, identifying the shifts in its main characters’ positions in society that allow the series’ narrative to question the past it evokes. This will be briefly contrasted with the heritage stability of Downton Abbey (ITV, 2010–15). The final section considers the household of 165 Eaton Place’s function as a studio space, which the BBC series self-consciously adopts in order to evoke the aesthetics of prior period dramas. The article concludes by suggesting that the barriers to recreating the past established in the BBC series’ narrative also contributed to its failure to match the success of its earlier iteration.

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