scholarly journals Problemy przekładu terminologii z zakresu prawa na podstawie wybranych polskich tłumaczeń sztuk Williama Szekspira

2020 ◽  
pp. 260-284
Author(s):  
Katarzyna Jaworska-Biskup
Keyword(s):  
King Lear ◽  
Legal Language ◽  
Merchant Of Venice ◽  
Source Text ◽  
The Merchant Of Venice ◽  
Mock Trial ◽  
Measure For Measure ◽  
The Common ◽  
Basic Concepts ◽  
English Law

Problems of Translating Legal Language Based on William Shakespeare’s Selected Plays The paper discusses major problems and issues of translating law and legal language into Polish as illustrated by selected examples from William Shakespeare’s three plays: King Lear, The Merchant of Venice and Measure for Measure. The common feature of the plays is the context of the court and the trial. In King Lear, Shakespeare depicts a mock-trial of the main character’s two daughters, Regan and Goneril. The crux of The Merchant of Venice is the proceedings instigated by Shylock against his debtor, Antonio. Measure for Measure features a summary trial of two local rogues, Froth and Pompey, who are brought to justice by the constable Elbow. A comparison of the English original law-embedded scenes with their Polish counterparts shows that Polish translators approached Shakespeare’s legal lexicon differently. They frequently neutralised legal language or offered the equivalents that do not overlap with the source text. The different treatment of legal language by the translators results in various readings and interpretations of the original. The paper also provides a commentary on the basic concepts and institutions of English law in Shakespeare’s analysed plays.

Triangulation as a Problem in the Plays and Sonnets

2018 ◽  
Vol 51 (2) ◽  
pp. 59-66
Author(s):  
Richard H. Weisberg
Keyword(s):  
King Lear ◽  
Third Party ◽  
Merchant Of Venice ◽  
Public Power ◽  
The Public ◽  
The Merchant Of Venice ◽  
The Tempest ◽  
Measure For Measure

Abstract As to the risks of what I call the ‘triangulation’ of both public power and private emotion, I extend my earlier treatment of ‘mediation’ in The Merchant of Venice to Measure for Measure, King Lear, Hamlet, and The Tempest, linking to them Shakespeare’s Sonnet 134. For Shakespeare, whether poet or playwright, a private triangulation of direct romantic obligation is as nettlesome as the public official’s similar behaviour – as when the Duke ‘outsources’ Viennese power to Angelo – and the results are quite as disastrous. The complex and highly legalistic sonnet concerns the triangulation of passion from the speaker to a friend. The beloved winds up ensnaring both through ‘the statute of [her] beauty’. The word ‘surety’ – used centrally in the poem and twice in Merchant – pinpoints, through the delegation to a third party of obligations otherwise charged directly to two committed parties, the underlying Shakespearean problematic

Triangulation as a Problem in the Plays and Sonnets

2018 ◽  
Vol 51 (2) ◽  
pp. 59-66
Author(s):  
Richard H. Weisberg
Keyword(s):  
King Lear ◽  
Third Party ◽  
Merchant Of Venice ◽  
Public Power ◽  
The Public ◽  
The Merchant Of Venice ◽  
The Tempest ◽  
Measure For Measure

As to the risks of what I call the ‘triangulation’ of both public power and private emotion, I extend my earlier treatment of ‘mediation’ in The Merchant of Venice to Measure for Measure, King Lear, Hamlet, and The Tempest, linking to them Shakespeare’s Sonnet 134. For Shakespeare, whether poet or playwright, a private triangulation of direct romantic obligation is as nettlesome as the public official’s similar behaviour – as when the Duke ‘outsources’ Viennese power to Angelo – and the results are quite as disastrous. The complex and highly legalistic sonnet concerns the triangulation of passion from the speaker to a friend. The beloved winds up ensnaring both through ‘the statute of [her] beauty’. The word ‘surety’ – used centrally in the poem and twice in Merchant – pinpoints, through the delegation to a third party of obligations otherwise charged directly to two committed parties, the underlying Shakespearean problematic.

scholarly journals How Marston Read His Merchant: Ruled Women and Structures of Circulation in The Dutch Courtesan

Early Theatre ◽  
2020 ◽  
Vol 23 (1) ◽  
Author(s):  
Meghan Andrews
Keyword(s):  
Male Sexuality ◽  
Merchant Of Venice ◽  
Source Text ◽  
The Merchant Of Venice

This essay argues that The Merchant of Venice was highly influential on John Marston’s The Dutch Courtesan, guiding the changes Marston made to his source text. Marston extends Merchant’s critiques of nascent capitalism and is especially critical of the commodifying male sexuality embodied by Freevill and influenced by the characterizations of Portia and Bassanio. Recognizing Courtesan’s debts to Merchant also enables a better understanding of how Marston’s move to the Children of the Queen’s Revels affected his dramaturgy. By showing how Freevill self-consciously and inauthentically performs the role of a romance hero, Marston participates in the company’s characteristic ironizing of romance.

scholarly journals Identity in Shakespeare

2012 ◽  
pp. 33
Author(s):  
Jay L. Halio
Keyword(s):  
King Lear ◽  
Merchant Of Venice ◽  
Romeo And Juliet ◽  
Twelfth Night ◽  
Her Family ◽  
The Merchant Of Venice ◽  
As You Like It ◽  
Course Of Action ◽  
Self Knowledge ◽  
Antic Disposition

This paper surveys the problems of identity in a number of Shakespeare’s plays, such as The Taming of the Shrew, The Comedy of Errors, As You Like It, Twelfth Night, The Merchant of Venice, Romeo and Juliet, Hamlet, and Othello. In these plays as in many others, Shakespeare explores the complexity of identity, not only through the use of disguise, as in the major comedies, but also through the problems of self-knowledge. The latter issue is prominent and explicit in King Lear when, for example, Lear asks “Who is it that can tell me who I am?” The opening words of Hamlet, “Who’s there?” introduce the problem from the outset, and much of the play is given over to characters trying to discover who the others in the play really are. Is the Ghost an honest ghost, or “a goblin damned?” Is Hamlet really mad or just putting on an “antic disposition” as he struggles to discover his proper course of action as his father’s avenger? Is Kate really a shrew, or just made to act like one by her family and others?

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