This thesis examines the cultural Broadway phenomenon; Hamilton: An American Musical. Lin-Manuel Miranda's musical is lauded and critiqued for rewriting the history upon which it is based, creating...Show moreThis thesis examines the cultural Broadway phenomenon; Hamilton: An American Musical. Lin-Manuel Miranda's musical is lauded and critiqued for rewriting the history upon which it is based, creating a new foundation myth that is "America then, told by America now". Through a thorough examination of the source material that the musical is based upon, and its songs, this thesis aims to examine how the show defies the tradition of Founders Chic mythology and yet is a Founders Chic product at the same time.Show less
Despite the fact that in our day and age in which downloading movies, streaming Netflix, and playing online games have become a mainstream source of entertainment for many, a vast audience still...Show moreDespite the fact that in our day and age in which downloading movies, streaming Netflix, and playing online games have become a mainstream source of entertainment for many, a vast audience still knows how to make their way to the theater. In addition to the grand Broadway showstoppers, there are a number of musicals that bring an additional set of features to the stage and provide the audience with an insight into the cultural, historical, political or societal background against which these stories are set. England-based Billy Elliot incorporates ‘songs in community centres, village halls, and pubs, [set] during the 1970s and early 1980s with the aim of exposing the inequalities of British Society from a Marxist perspective’ (Gordon, 2016, p. 426). Through the use of Venuti’s dichotomous notions of foreignization and domestication, this thesis attempted to find whether these cultural-historical musicals allow for translatability and what role his notions play in the process. Set within the framework of a target text-oriented DTS-based comparative analysis, the areas of culture, class, and dialect are examined which play a significant role in Billy Elliot and many other cultural-historical musicals. While other studies on foreignization and domestication have primarily found a preference for domestication (McKelvey, 2001; Xu & Tian, 2013; Yılmaz-Gümüş, 2012), this three-fold study rather found an overall compensating strategy in which culture and class received a more domesticating approach while the dialect was approached through foreignization – a compromise in order to chiefly retain the musical’s source culture and simultaneously educate and entertain the target culture’s audience.Show less
Song translation is a relatively under-researched field in Translation Studies (Susam-Sarajeva, 2008, p. 187). Most studies that do exist revolve around singability (Low, 2003; Stopar 2016),...Show moreSong translation is a relatively under-researched field in Translation Studies (Susam-Sarajeva, 2008, p. 187). Most studies that do exist revolve around singability (Low, 2003; Stopar 2016), singability and rhyme (Low, 2008), or fidelity to the source text (Franzon 2005). The combination of song translation theory and metaphor theory, however, is a virtually unresearched combination of fields. Low (2017) states: “[s]ong lyrics are often rich in metaphor” and he recommends that song translators, more than 'regular' translators, should “attempt to maintain the richness of metaphor” (p. 34). This thesis analyses three songs from musicals that have been translated from English to Dutch. These musicals are of different genres and for different audiences, to include the influence that these factors might have had on the choices of the translators. The musicals used in this study are drama musical Les Misérables (E: 1985; D: 1991), animated film musical Anastasia (1997) and romantic comedy musical Hairspray (E: 1988; D: 2003). Using the MIPVU (Metaphor Identification Procedure VU University Amsterdam [Steen et al., 2010]), this thesis analyses the metaphors in the three songs, in both the English source text and the Dutch target text. Subsequently, it attempts to establish how the translators dealt with the metaphors, and, ultimately, to see whether the fact that the target texts are singable translations of a song had any influence on the choices of the translator. This is endeavoured by answering two questions. Firstly, can the translations of the metaphors in songs be analysed by means of Newmark's (1981) and Schäffner's (2004) categorizations of procedures used in metaphor translation? Secondly, can singularities be explained through Low's pentathlon principle (2005) for song translation?Show less
Song translation is one of the most difficult forms of translation (Susam-Sarajeva, 2008). In addition to the semantic code, translators have to take account of prosodic, poetic, rhythmic, and...Show moreSong translation is one of the most difficult forms of translation (Susam-Sarajeva, 2008). In addition to the semantic code, translators have to take account of prosodic, poetic, rhythmic, and audial codes, to name but a few. Di Giovanni (2008) and Chaume (2012) add to this list the visual code, which is not only prevalent in film or musical, but also in popular music (Kaindl, 2005) and other live performance music genres (Low, 2005). The combination of all these factors contribute to establish some exceedingly severe limitations for song translators. Despite that, however, it is a surprisingly well-established fact that audiovisual translation in general, and song translation in particular, are relatively new and usually ignored areas of research (Franzon, 2008; Mateo, 2008; Susam-Sarajeva, 2008; Siitonen, 2014). Susam-Sarajeva, in the introduction to her 2008 special issue of The Translator, explains that one of the reasons of this is the relative difficulty and craftsmanship that song translation requires, as song translators should not only be near-fluent in both languages, but also have an extensive knowledge of music or drama theory. Another reason is that the field is somewhat outside the borders of traditional translation studies. A third objection may be that in song translation, the borders between translation, adaptation, and rewriting are not as clear-cut as in most other forms of translation. Whatever the exact reasons, however, to date only three major collections seem to have been published on the subject: Songs and Significance, a book of collected articles edited by Gorlée (2005); the aforementioned special issue of The Translator dedicated to music (Susam-Sarajeva, 2008); and Music, Text and Translation, a text book edited by Minors (2013) with chapters by different translation scholars active in the field. This is not to say that there are no other sources, or that the field was only established in 2005 (indeed, articles on the subject have been appearing since the early 20th century [Gorlée, 2005; Kaindl, 2005]), but research has traditionally been quite sparse.Show less
