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Part of
Opera in Translation: Unity and diversity
Edited by Adriana Şerban and Kelly Kar Yue Chan
[
Benjamins Translation Library
153] 2020
► pp.
365
–
369
◄
previous
Index
A
accent, accentual, accentuation
200, 223, 234, 243, 248–250, 252, 254–259, 348, 350, 354
acceptability
126, 286, 333–334
accessibility, accessible
1, 6, 9, 13–14, 20–21, 23, 35–36, 43, 61, 91, 105, 117, 141, 171, 211, 230, 252, 286
acting
26, 40–42, 76, 80, 85–86, 88–91, 93, 119–121, 267
adaptation
3, 5, 8, 14, 56–59, 63, 66, 75, 77–78, 80, 86–88, 91–93, 101, 113–114, 118, 120, 122, 126, 128, 130, 135–137, 173, 188, 190–191, 194, 212, 282–283, 286, 297, 332, 351, 356
aesthetics, aesthetic
2, 4, 7, 54, 59, 63–64, 75–76, 78, 82–84, 86, 88–90, 93, 114, 117–119, 123–124, 126–127, 129, 141, 149, 168, 178, 205, 244, 248, 254, 264, 269, 273, 293, 298, 305, 339, 340, 343, 352–354, 356
alliteration
210, 228, 243–244, 250, 252, 266
allusion
139, 141, 143, 148, 152–153, 171, 305, 307, 315–316, 321, 326–333, 335–336
archaic, archaising
227, 229, 232–233, 252, 254, 315, 324, 332–334
archetype, archetypal
56, 195–196, 214
aria
39, 43, 49, 56–57, 62–63, 67, 76, 119, 123–124, 127, 136, 140–145, 147, 150–151, 153–156, 163, 184, 186, 188–189, 202, 210, 297, 301, 303–304, 307–308, 316, 324, 327, 328n14, 344–350, 355
audience
1, 3–6, 9, 13–14, 19, 21, 30, 35–46, 49–51, 60–61, 64, 68, 78–82, 87–91, 95, 105, 107–108, 118, 120, 122, 124, 126–128, 130, 136, 139–142, 159, 167, 170, 178, 180, 195, 197, 200–201, 205–206, 209–210, 213–214, 219, 221, 223, 230–232, 235–237, 239–240, 251, 253–254, 256, 263–265, 272, 275, 278–282, 284, 286, 295, 300, 317n2, 319–320, 325, 330, 342–345, 347, 349, 351–355
B
ballet
5, 60, 70, 95, 106–108, 117, 272, 278, 280–281, 284, 348
bard
227–230
baroque
59, 118, 130
Beijing opera
75–76, 79–80, 82–84, 86
bel canto
119
C
Cantonese opera
2, 6, 9
caption
35–36, 43–44, 46, 342, 348–349, 353–354
CD-insert
2, 337, 346–350, 352–357
character
17, 23, 25–26, 37, 40–42, 45–46, 49–50, 62, 66, 78, 84–86, 88, 95, 105, 107–109, 119–121, 123–125, 127–128, 130, 137, 139–140, 143–145, 149–152, 154–155, 164, 168–170, 187–188, 195–197, 200, 202, 204–206, 210–214, 220–224, 226, 229, 237, 257–258, 263, 281, 292–293, 299, 301, 303, 305, 315, 319–320, 322–323, 328, 332, 347–350, 352, 354n6
choreographer
95, 104–105
cinema, cinematic
5, 7–8, 18, 41, 59, 64, 75–85, 87–94, 337, 357
classical Chinese opera
159, 161
comedy
42, 139, 140, 164, 171, 267, 280–281, 283
communication
14–15, 21, 23, 25, 31–32, 39, 55, 68–69, 76–77, 85, 99, 160, 239, 241, 246, 248, 251, 258, 264, 268–269, 342–343, 353
composition (musical), compositional
25, 62, 64, 221, 224, 228, 247–250, 261, 276, 280–281, 291, 296, 304, 308, 312
costume
4, 41, 46, 50, 76, 81, 83, 90, 101, 118, 121–123, 126–128, 212, 246, 272, 281
D
dance
2, 8, 25–26, 29, 32–33, 41, 76, 84, 95–96, 100–101, 104–106, 108, 114, 117–119, 121–124, 127, 144, 188, 272, 281, 292
deconstruction
97, 100, 112–113
dialect
76, 101, 127, 202, 222, 350
dialogue
17, 21–23, 29–30, 49–50, 58, 61, 65–66, 83, 87, 113, 119, 142, 150, 163, 166, 171, 201–202, 251, 253, 281–284, 287, 319, 321, 323–325, 327n13, 332, 355
diction
62, 150, 168, 252–254, 333
directions (stage, musical)
17, 38, 64, 123, 128, 163, 202, 209, 279, 301, 320, 326
dissonance, dissonant
55, 223–224, 239, 247–248, 259–261, 263
Divan
literature
278
domestication, domesticating
136n1, 155, 324n8
drama
2, 9, 19, 42, 47, 65–66, 70, 76, 79, 83–84, 86, 93–94, 96, 104, 117–120, 122–125, 127–128, 130–131, 156–157, 162, 171–172, 244, 251, 261, 267, 269, 279, 282, 293, 307, 313, 338–340, 345, 348, 352–353, 355
E
effect
83, 86–86n4, 88–89, 91, 118, 121, 127, 129, 139, 152–153, 163, 165–166, 169–171, 196–198, 201–202, 208, 210, 213, 231, 236, 246, 248, 262, 279–280, 285, 292, 319, 330, 332, 338–340, 343, 345, 347–350, 353–354
elite
59, 166, 170, 271, 277–278, 286
epistemology
96–105, 108, 110
equivalence
64, 100, 110, 139, 279–280, 326
exoticism, exotic
104, 108, 195–196, 200, 206, 213–215
F
facial expressions
40–41, 79, 90, 101, 121, 127
fairy tale
120, 230–231, 291, 293, 300, 304, 311–313
figurative
75, 78, 84–87, 92, 212, 321
film
7, 14, 40, 61, 68, 75–94, 96, 102, 106, 172, 316, 344, 346, 348n3, 356–357
folk, folklore, folkish
24, 26, 45, 59, 102, 153, 187, 220–223, 227–229, 231, 236, 239–240, 272, 278, 291–293, 298–299, 303, 305–306
foreignisation, foreignising
126, 136n1, 323, 324n8
function
2, 4, 31, 54, 77–78, 103, 163, 212, 229, 244–248, 250, 254, 276–277, 304, 306, 309, 311, 322, 334, 337, 339–340, 343, 345, 347, 349–350, 352–354, 357
G
gender
95–96, 100, 102, 104, 107–109, 112–114, 165, 173, 240
genre
2–4, 13–16, 19, 30, 32, 59–61, 64, 67, 73, 75–76, 78–79, 82, 92–93, 95–96, 101, 104, 106, 108–110, 128, 195, 199, 219–220, 239, 271–274, 277–278, 280, 286, 316, 319, 321, 323, 331–332, 337–338, 341–342, 344, 346–347, 349, 355
Gestalt
243, 246, 248, 265, 269
H
habitus
175, 177, 186–187, 194
heteroglossia
55, 337, 342–355
hybridity, hybrid
2, 4, 21, 31, 56, 64, 75–78, 87, 91–92, 98, 108, 199, 296, 324, 338–339, 342, 353, 355–356
I
identity, identities (cultural, gender, linguistic, national, political, sexual)
2, 8, 75–76, 78–80, 93, 95, 98, 105, 108–109, 113, 122, 136, 159, 173, 269, 277, 281, 302, 318, 338, 350
ideology, ideological
6, 95, 99, 103, 105, 159–160, 162, 180–181, 185, 188, 190, 198, 213, 271–272, 316n1
impersonator
80, 119
intercultural
4, 13–25, 29–33, 76, 86, 94, 101, 336, 338, 341
interlinguistic
121, 341–343, 350–351
intermediality, intermedial
7, 18, 75, 77–78, 92–93
intersemiosis
243–245, 247, 254, 256, 264–265, 267
intersemiotic (translation, rewriting, transposition)
5, 14, 20, 22, 30, 75, 77–78, 91–92, 95–96, 100–101, 106n2, 108, 117, 121, 127–129, 196, 239, 245, 269
intertextuality
5, 19, 67, 78, 97, 99, 106, 111, 114, 142, 148, 177n4, 192, 315–316, 319, 321–336, 342–343, 345, 349, 354
interval (music)
69, 223–224, 243, 250, 254, 256, 258–261, 263
intonation
127, 222–224, 261
intralingual (translation)
14, 22, 55, 127, 196, 348, 350–351
invisibility, invisible
37, 44, 57, 64, 71, 100, 115, 120, 159–160, 173, 292, 351
J
Jew, Jewish
6, 175, 177, 180–184, 186–189, 193–194
K
Kabuki
2, 4, 8, 117–121, 123, 127–128, 130
kata
120–121, 127, 129
kinesics
126–128, 353
Kyōgen
118–123, 129–130
L
leitmotif
40, 224, 248, 250, 319
libretto, libretti
1–2, 4–6, 14, 17, 35–40, 50, 53–71, 119, 137, 141, 143, 152–153, 156–157, 175, 181–182, 195–198, 201–203, 206–214, 219–222, 224, 226–228, 233, 236–238, 243–244, 249–250, 252, 254, 266–267, 275–276, 279–287, 289, 291–293, 295–299, 301, 311–313, 315–322, 324, 328, 333, 335–354
literal (translation)
3, 127, 137–138, 153, 167–168, 179, 229–231, 233–238, 294, 317n2, 323–327, 332
lyric poetry
162, 168, 312
lyricism
108, 124, 127, 152, 349
lyrics
2, 4, 7–8, 37, 69, 71, 102, 147, 151, 157, 178, 189, 267–268, 279, 286–287, 335, 357
M
make-up
4, 41, 46, 101, 246
mask
90, 120, 122–123, 127–128
May Fourth
75, 86
meaning
2, 13–16, 21, 23–26, 30–31, 55, 57, 64, 69, 77, 97–101, 106, 109–110, 125, 127, 144–145, 165–166, 168–169, 171, 178, 195, 213, 219, 222, 226, 228, 230, 235, 237–238, 243–251, 254–262, 264–265, 269, 278–279, 283, 285, 295–296, 304, 311, 319–323, 325–327, 337–340, 342, 353
media
2–3, 5–6, 13, 15–16, 18, 21, 23, 30–31, 56, 59, 68, 73, 77–81, 83–84, 90–92, 100–101, 181, 268–269, 296
medium
7, 15, 18, 23, 75, 77–79, 82–83, 85–86, 91–92, 121, 171, 272, 340, 342, 347, 353–354
metre, metric
29, 66, 138, 215, 224, 226, 249–250, 254, 278, 317
Ming opera
163
mode
4, 13–16, 20–21, 25, 30–31, 55, 76, 92–93, 124, 243–248, 251, 254, 268–269, 275–276, 321, 337–338, 341–343, 346–347, 350, 353–356
modernise
16, 76, 81–83, 86, 91, 272–273, 277, 315, 324, 332–333
monomane
120
motif
120, 127, 223–226, 228, 239, 262, 293
multilingualism, multilingual
4, 6, 8–9, 111, 337–357
multimodality, multimodal
5, 13–15, 18–21, 30–33, 60, 66, 68, 243–248, 254, 265–270, 341
musicology
3–4, 13, 15–16, 18, 20–22, 29–32, 96, 101–104, 109–110, 112, 114, 187
myth, mythology
5, 18, 21, 24, 60, 66, 69, 112, 162, 220, 240, 253–254, 261, 266, 291–292, 298–302, 304–305, 307–309, 312–313, 351, 356
N
national opera
42, 76, 135, 153, 198, 252, 279, 294, 350
National Socialism, National Socialist
177, 180–182, 184–185, 187, 189–190
natural speech
221, 223, 250
naturalisation, naturalising
165, 170, 315, 323–326, 332–333
naturalness
233, 245, 252, 284, 286
Nazism, Nazi
103, 175, 177, 180–190, 192–194
Noh
2, 4, 117–120, 123–130
O
opera film
5, 75–83, 85, 87, 90–94
operetta
4, 6–7, 271–273, 275–276, 279–282, 286–287
originality
77, 99, 106n2, 114
otherness
135–136, 195–196, 206, 345
Ottoman Empire
272, 274, 277–278
P
Pansori
4
paralanguage
127
paratext, paratextual
159, 161, 164–165, 170–171, 198, 329
parlando-rubato
223, 227
parody
17, 55–56, 275
pastiche
15, 19–20, 22–24, 53, 55
pattern
85, 120, 124, 127, 208, 221, 223–224, 233, 255–256, 258–259, 296–297, 322
Peking opera
1, 6, 93
Pentathlon Principle
271, 281–283, 286
performability, performable
2–3, 126, 128, 163, 172, 234, 239, 245, 254, 281–283, 286
performance
1–7, 14–15, 17–19, 22, 29, 31, 35–40, 42–43, 50–51, 58–59, 61, 64, 68, 71, 76, 78–95, 101, 117–118, 120, 122–124, 126–130, 137–138, 144, 157, 163, 175, 177–178, 183, 188–189, 194, 215–216, 233, 239–240, 252, 254, 266, 274–275, 279–282, 293, 295–296, 311–312, 317, 319, 323, 325, 340, 342–344, 347, 349–354, 359–360
pitch
127, 224, 240, 250, 257–259
play
2, 5, 9, 16–18, 21–26, 29, 57, 62, 76–77, 80, 82–85, 87–91, 95, 117–118, 120, 122–127, 129, 131, 140, 162–166, 168, 171–172, 182n11, 195, 199–206, 214, 239, 266, 275, 279, 316, 318–320, 327–328, 351
plot
2, 14, 17, 19, 24–25, 30–31, 36–38, 41, 43, 49–50, 87, 102, 178, 182n11, 220, 223, 227, 233, 252, 262–263, 273, 276, 282, 305, 315, 321, 340–341, 346, 352–354
plurilingualism, plurilingual
337–338, 342–343, 345, 355
poetic
4, 39, 56, 62–63, 67, 88, 113, 125, 162, 166, 168, 170–171, 203, 211, 220, 222, 229, 243–245, 248, 253–254, 256, 258, 264, 268, 278, 284, 293, 296, 300, 302, 304, 311, 322, 333, 336, 356
poetics
32, 53, 92–94, 152, 268
poetry
54, 56–57, 62, 149, 156, 158, 162, 168, 221, 246–247, 250, 254, 265–266, 268–269, 278, 281–282, 291, 312, 315, 319, 336
post-structuralism
99, 113
post-translation
95–96, 106–108, 110, 113
prose
29, 76, 163, 166, 171, 179, 227, 229, 278, 284, 291, 295–296, 298, 311, 335
prosody
137–138, 221, 243–245, 279, 283
proxemics
127–128, 246
R
realism, realistic
75–76, 78, 84–86, 88–92, 108, 124, 142, 319, 323, 345
reception
6, 8, 29, 59, 77, 83, 110, 136, 157, 232, 265, 291, 295, 311–312, 333, 336–337, 341, 347, 357
recitative
37, 44, 49, 119, 127, 141, 143, 152, 154, 156, 189, 222, 324n9, 328n14, 344–345, 347, 355
regös
228–229, 232
repertoire
4, 6, 55, 58, 60–61, 63, 68, 102, 176n2, 194, 273, 297, 338, 347, 349–350
repetition
57, 106, 145, 150, 205, 220, 222, 224, 231–232, 235–237, 247, 258, 284, 298–299, 304–305, 308–309, 311
retranslation
2, 186
rewriting
5, 53, 60, 62–64, 66, 69, 71, 95–96, 100, 104, 107–108, 110, 113, 135, 152, 279
rhetoric, rhetorical
20, 66, 138, 158–159, 162, 172–173, 248–250, 254, 323, 324n9, 327, 328n15, 332–333
rhyme
29, 139, 153–154, 166–167, 171, 221, 229–230, 232–233, 244–262, 264, 268, 278, 285, 287, 296–298, 300–301, 303, 305, 309, 311–312
rhythm
26, 28–29, 69, 119, 124, 127, 138, 166, 215, 221–223, 225–226, 228–229, 233, 235–236, 239, 241, 244, 246–247, 251, 283, 285, 297, 345
S
sashi
119, 127
satire
53, 55–56, 64, 66, 69, 71
screen adaptation
75, 77, 83, 86, 92
Second World War
54–55, 59–60, 64, 176, 252, 333
semantics, semantic
22, 26, 55, 66, 138, 145, 152–153, 208, 212, 222, 241, 244–245, 248–254, 256, 260–261, 263–264, 285, 291, 294–296, 298–301, 309, 311, 326, 330, 336–341, 343, 353–354
semiotic, semiotics
4, 15, 31–32, 35, 37, 40, 50–51, 94, 101, 113, 244–247, 267–269, 335–336, 339, 347, 349, 357
setting (drama, music)
17, 24–26, 28–29, 41, 56, 84–85, 88, 90, 118, 121, 127, 234, 256, 259, 272, 299–300, 304
sexuality, sexual
5, 54, 79, 102, 105, 107, 112, 114, 135, 137, 139, 141, 145, 148, 154–155, 164–166, 196
shift (in translation)
291, 295–296, 298–299, 301, 305, 311
singability, singable
3, 145, 186n15, 219, 230, 233, 238–239, 243, 253–254, 265, 268, 271, 281–282, 285–286, 291, 296, 311, 332
skopos
281, 283, 298, 311
Stabreim
244–245, 248–250, 254
stage
2, 4, 8–9, 15–18, 20, 22, 28, 31, 35–39, 41–45, 47, 49, 51, 55, 57, 60–61, 63–64, 68, 75–86, 88–94, 108, 118–120, 122–128, 130, 135, 139, 152, 156–157, 163–164, 176, 178–181, 183–184, 189–193, 197, 201–202, 208–209, 213, 219, 222, 237, 239, 243, 246, 266, 272, 274–275, 279, 281–282, 295–296, 301, 307, 316–317, 320, 337, 343, 357
stanza
62, 221, 227, 229–232, 321, 344, 346
stereotype
196, 200, 205, 214, 332, 342, 345
strategy (translation)
6, 9, 33, 60–63, 65, 69, 107, 135, 144, 155, 159–162, 165, 169–171, 175, 265, 268, 286, 295, 299–300, 315, 323, 326–327, 332, 337, 342–343, 345–357
style, stylistic
1, 13, 15–17, 29, 32, 39, 42, 50, 54–55, 63, 66–67, 70–71, 76, 81–83, 86–88, 91–92, 112, 119, 123–124, 126, 141, 150, 153, 158–160, 162, 171–172, 182, 188, 197, 220, 222–223, 227, 229, 232–233, 241, 244–246, 248–249, 252–253, 255, 257, 264–265, 273–274, 278, 291–293, 295–300, 302, 304–306, 308–309, 311, 313, 315–316, 319–320, 322–324, 327, 330, 332–333, 340, 349
subtitle, subtitling
2, 6, 9, 36, 51, 41, 102, 121–122, 139, 337, 346–355
supernatural
164, 166–168, 220, 292, 313
surtitle, surtitling
1–2, 5–9, 13–14, 17, 19, 35–41, 43–51, 60, 68, 198, 227, 231–232, 236–240, 282, 295, 313, 340, 342–343, 346, 357
syllable
62, 221, 224, 226, 228–229, 233–236, 248–249, 254–256, 261, 285, 298, 304–305
symbol
14, 16–17, 19–22, 120, 181, 225, 248, 256
symbolism
4–5, 75, 78, 220, 223, 225, 254
syntax
141, 201, 204, 222–223, 250, 254, 264, 297, 305, 323, 330
T
theatre
2–5, 7–9, 32, 35–36, 38, 41–42, 53, 57–58, 68–69, 71, 75–94, 96, 104, 113, 117–124, 126–130, 138, 141, 149, 157–158, 172–173, 176–178, 180, 182–185, 190, 192, 200, 215, 240, 245, 269, 271–272, 274–276, 278, 280, 286, 293, 295, 311, 313, 346, 352n4, 356
theme (in opera)
4, 19, 40, 102, 122, 143, 152, 164, 198, 204, 224–225, 261, 276, 293, 299, 331, 349
Third Reich
6, 175–177, 180, 187–189, 192–193
tone, tonal
28–29, 67, 152, 159, 180, 182, 204, 222–223, 225–226, 229, 244–245, 252, 254, 261, 264–265, 268
tonality
124, 243–244, 250–251, 261–264, 269
tradition
3, 5, 7, 18, 53–56, 60–61, 64–66, 69, 75–79, 82–83, 85–86, 92–94, 104, 167, 176, 186–187, 219–220, 229, 233, 266, 272, 274, 278–279, 287, 316, 319–320, 332, 357
transfer
3, 5, 7, 16, 30, 67, 77, 92, 94, 136–137, 283, 300
translation studies
3, 5, 9, 13, 15, 18, 32, 77, 96, 99, 109–111, 113, 130, 173, 268–269, 286, 313
transposition
3, 5, 76, 78, 106–107, 121, 136, 195, 224, 244
V
vernacular
46, 343–344
verse
58, 76, 163, 166, 171, 221, 228, 243–245, 247–254, 260, 264–266, 291, 293, 299, 303, 308, 311, 317n2, 327
Versmelodie
4, 243–244, 248–251
vocal score
2, 61, 65, 139, 156, 252, 265–266, 295, 298–299, 311, 313, 346, 349
W
Westernisation
4, 271, 273, 275–277, 279, 286
Y
Yuan opera
163