KarolinaStehlikovadissertation.doc

KarolinaStehlikovadissertation.doc - Masarykova univerzita...

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Masarykova univerzita Filozofická fakulta Ústav pro studium divadla a interaktivních médií Karolína Stehlíková Language Used in Drama at the End of the Twentieth Century (A Textual Analysis of Works by Jon Fosse and their Place in the Scandinavian Context) disertační práce Školitel: Prof. PhDr. Jiří Munzar, CSc. BRNO 2006 1
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Prohlašuji, že jsem předloženou práci vypracovala samostatně a použila jen uvedených pramenů a literatury. I hereby declare that I have written the submittted work independently, on my own, and have used only the literature I refer to. Karolína Stehlíková, Brno, 21. 9. 2006. 2
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0. Acknowledgements ........................................................................ 5 1. Introduction .................................................................................... 7 1.1 The crisis of European drama throughout the twentieth century ........................................................................................................ 9 1.2 In-yer-face drama .................................................................... 13 1.3 Other significant styles ............................................................ 17 1.4 Conclusion ............................................................................... 23 2. The 1990s – the boom in New Scandinavian Drama .................... 24 2.1 The Situation in Scandinavia ................................................... 24 2.2. A brief look back ..................................................................... 25 2.3. The foundations of the Scandinavian boom ........................... 27 2.4. The typology .......................................................................... 42 2.4.1 Themes .............................................................................. 42 2.4.1.1 Family as an illness ...................................................... 42 2.4.1.2 Disintegration of the society ........................................ 44 2.4.1.3 Disintegration of identity ............................................. 46 2.4.2. "-isms” .............................................................................. 48 2.5. Conclusion .............................................................................. 61 3. Jon Fosse and the specifics of his work ........................................ 64 3.1. Who is Jon Fosse today? ......................................................... 64 3.2. Fosse’s literary, theatrical and philosophical background ...... 67 3.3. Characteristics of Fosse’s dramatic style ............................... 72 3.3.1 Analysis of the play The Name .......................................... 75 3.4. Fosse’s position in a Norwegian cultural context ................... 83 3.5. Fosse’s position in a World theatre context ............................ 88 4. Shifts in the dramatic structure ................................................... 93 4.1 Space and time ....................................................................... 93 4.2. The character ....................................................................... 112 4.2.1 The character and its relation to reality, time and space 112 4.2.2 The character and its relation to other characters .......... 121 4.2.3 The character and the discourse ..................................... 126 4.3 The dramatic situation .......................................................... 135 4.4 Conclusion ............................................................................. 139 5. The theoretical problems of translating contemporary drama. .141 5.1 Translating drama ................................................................. 141 5.1.1. General tasks of the translator ....................................... 141 5.1.2. Other considerations ...................................................... 145 5.1.2.1. Intertextuality ........................................................... 145 5.1.2.2. The stylistic model .................................................... 148 5.1.2.3. Swearing ................................................................... 149 5.1.2.4. Untranslatable facts .................................................. 155 5.2 Translating Fosse ................................................................... 156 5.2.1 How to treat Nynorsk? ..................................................... 156 5.2.2. Translating free verse ..................................................... 157 5.2.3. Poetic figures present in Fosse’s texts ............................ 162 3
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5.2.4. The projection of the expressional line of the original in the translated text .......................................................................... 168 5.2.5. Graphic equivalence ....................................................... 170 6. To put it bluntly ........................................................................... 174 7. Appendix .................................................................................... 178 7.1. The list of plays by Jon Fosse and a selection of his other works ........................................................................................... 178 7.2. Jon Fosse: Winter. Translated into English by Ann Henning Jocelyn ......................................................................................... 180 7.3. Jon Fosse: Zima. Translated into Czech by Karolína Stehlíková .................................................................................................... 215 8. Summary ................................................................................... 248 8.1 English summary ................................................................... 248 8.2 České resumé ........................................................................ 249 Bibliography ................................................................................... 252 Quoted texts (originals) ................................................................. 258 Quoted texts (translations) ............................................................ 259 4
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0. Acknowledgements I should like to take this opportunity to thank the many people who have supported me in various ways during the process of writing this work. First of all, I should like to thank those who read my dissertation at various stages of the writing process and gave me their comments. They are Prof. PhDr. Július Gajdoš, Ph.D., the former supervisor of my work, from the Department for Theatre and Audiovisual Media at Masaryk University in Brno; Prof. PhDr. Jiří Munzar, CSc., my present supervisor, from the Department of
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