The Intersemiotic Study of Translation from Page to Stage: The Farsi Translation of Macbeth for Stage Adaptation from the Perspective of Peirceʼs Model
محورهای موضوعی : نشریه زبان و ترجمه
Razieh Eslamieh
1
(Assistant Professor of English Language and Literature, Department of English Language,
Faculty of Humanities, Islamic Azad University Parand-Robat Karim Branch, Parand, Iran)
Zahra Bahrami
2
(MA in Translation, Department of English Language, Faculty of Humanities, Islamic Azad University Shahr-e-Ghods Branch, Shahr-e-Ghods, Iran)
کلید واژه: Intersemiotic translation, Iconical signs, Indexical signs, Peirceʼs model, Symbolic signs,
چکیده مقاله :
Intersemiotic translation, which can happen in the process of the translation of drama for theatre, can turn more complicated when the verbal sign system of drama has already undergone interlingual translation. The purpose of this study is to find the intersemiotic changes of translation from page to stage and to show the changes of indexical, iconic, and symbolic signs in the process of intersemiotic translation of the already interlingually translated verbal signs. In this regard, Shakespeareʼs Macbeth (1606) and its theatrical performance directed by Reza Servati (2010) were selected as the corpus and Peirceʼs model was chosen as the theoretical framework. The findings of this research demonstrate that all levels of iconical, indexical, and symbolic signs are applicable to the semiotic analysis of the performance. However, there should be a cautious generalization regarding the transfer of iconic signs. The theoretical model of this study can be used to study verbal sign variations of other literary works and other literary genres once they are intersemiotically translated to and adapted for other sign systems such as audio (like music), visual (like painting), and audio-visual (like film).
Aaltonen, S. (2000). Time-sharing on Stage: Drama Translation in Theatre and Society: Multilingual Matters.
Aguiar, D., & Queiroz, J. J. A. S. (2010). Modeling intersemiotic translation: Notes toward a Peircean approach. 9(24), 68-81.
Ashouri, D. (2010). translator. Macbeth. Agah Publication House Tehran.
Baker, M., & Malmkjær, K. (1998). Routledge Encyclopedia of Translation Studies: Routledge.
Barthes, R., & Howard, R. (1972). Critical Essays: Northwestern University Press.
Bassnet-McGuire, S. J. T. Q.-t. X. (1980). An Introduction to Theatre Semiotics. 47-54.
Bassnett-McGuire, S. (1978). 'Translating Spatial Poetry. An Examination of theatre texts in performance', in Literature and translation: New perspectives in literary studies, with a basic bibliography of books on translation studies. 161-176.
Bassnett, S. J. C. c. E. o. l. t. (1998). Still trapped in the labyrinth: Further reflections on translation and theatre. 90-108.
Bassnett, S. J. T. t., terminologie, rédaction. (1991). Translating for the Theatre: The Case Against Performability. 4(1), 99-111. doi:https://doi.org/10.7202/037084ar
Bigliazzi, S., Kofler, P., & Ambrosi, P. (2013). Theatre Translation in Performance: Routledge.
Culler, J. D. (1986). Ferdinand de Saussure: Cornell University Press.
De Tienne, A. J. S. J. S., Evolution, Energy,, & Development. (2003). Learning qua semiosis. 3, 37-53.
El-Hani, C. N., Queiroz, J., & Emmeche, C. (2009). Genes, Information, and Semiosis: Tartu University Press.
Elam, K. (1980). The Semiotics of Theatre and Drama: Taylor & Francis.
Espasa, E. (2000). Performability in translation: Speakability? Playability? Or just saleability?
Fernandes, A. (2012). Travelling plays, travelling audiences: From Carr's Irish Midlands to somewhere lost and found in Brazil (Vol. 0).
Gorlée, D. L. (1994). Semiotics and the problem of translation: With special reference to the semiotics of Charles S. Peirce (Vol. 12): Rodopi.
Gorlée, D. L. J. S., Virtues, s., & translation, v. o. v. (2005). Singing on the breath of God: Preface to life and growth of translated hymnody. (25), 17.
Hawkes, T. (1977). Structuralism & Semiotics: University of California Press.
Hillis, K., Paasonen, S., & Petit, M. (2015). Networked Affect: MIT Press.
Jakobson, R. J. O. t. (1959). On linguistic aspects of translation. 3, 30-39.
Kowzan, T. (1975). Littérature et spectacle: Mouton.
Kowzan, T. J. D. (1968). The Sign in the Theater: An Introduction to the Semiology of the Art of the Spectacle. 16(61), 52-80.
Lefevere, A. (1992). Translation, Rewriting, and the Manipulation of Literary Fame: Routledge.
Pavis, P. (2003). Theatre at the Crossroads of Culture: Routledge.
Peirce, C. S. (1992). The essential Peirce: selected philosophical writings (Vol. 2): Indiana University Press.
Petrilli, S. (2003). Translation, translation: Rodopi.
Plaza, J. (2010). Tradução intersemiótica: Ed. Perspectiva.
Queiroz,J., & Aguiar, D. (2015). C. S. Peirce and intersemiotic translation. In P. Trifonas (ed.), International Handbook of Semiotics. Berlin: Springer. pp. 201-215 (2015)
Queiroz, J., & Merrell, F. (2006). Semiosis and pragmatism: Toward a dynamic concept of meaning.
Queiroz, J., & Merrell, F. (2008). On Peirce’s Pragmatic Notion of Semiosis—A Contribution for the Design of Meaning Machines (Vol. 19).
Riera, J. J. E. I. d. l. U. C. (2007). The non-verbal in drama translation: Spanish classical theatre in English. 15, 119-137.
Robin, R. S. (1967). Annotated catalogue of the papers of Charles S. Peirce: University of Massachusetts Press.
Robinson, D. (2017). What kind of literature is a literary translation? (Vol. 29).
Servati, R. (Director). (2010, Summer). Macbeth by William Shakespeare, [Theatre], City Theatre. Tehran.
Shin, S. J., & Peirce, C. S. (2002). The Iconic Logic of Peirce's Graphs: BRADFORD BOOK.
Zuber-Skerritt, O. (1984). Page to Stage: Theatre as Translation: Rodopi.
