Part of
Opera in Translation: Unity and diversity
Edited by Adriana Şerban and Kelly Kar Yue Chan
[Benjamins Translation Library 153] 2020
► pp. 19
References
Apter, Ronnie
1985 “A Peculiar Burden: Some Technical Problems of Translating Opera for Performance in English.” Meta 30 (4): 309–319. DOI logoGoogle Scholar
Apter, Ronnie, and Mark Herman
2016Translating for Singing. The Theory, Art and Craft of Translating Lyrics. London: Bloomsbury.Google Scholar
Auden, Wystan Hugh
1951 “Some Reflections on Opera as a Medium.” Tempo, New Series 20: 6–10. DOI logoGoogle Scholar
1968Secondary Worlds. New York: Random House.Google Scholar
Bassnett, Susan
2010 “Theatre and Opera.” In Translators’ Agency, ed. by Tuija Kinnunen, and Kaisa Koskinen, 11–46. Tampere: Tampere University Press.Google Scholar
Benjamin, Walter
[1936] 2010The Work of Art in the Age of Mechanical Reproduction. Trans. unknown. New York: Classic Books of America.Google Scholar
Burton, Jonathan
2009 “The Art and Craft of Opera Surtitling.” In Audiovisual Translation. Language Transfer on Screen, ed. by Jorge Díaz-Cintas, and Gunilla Anderman, 58–70. Basingstoke: Palgrave Macmillan. DOI logoGoogle Scholar
Citron, Marcia J.
2000Opera on Screen. New Haven: Yale University Press.Google Scholar
2010When Opera Meets Film. Cambridge: Cambridge University Press. DOI logoGoogle Scholar
Cui, Songming
2013Sit Kok-sin’s Artistic Life: Pictorial Collection. Trans. Kar Yue Chan. Hong Kong: Great Mountain Culture Publications.Google Scholar
Desblache, Lucile
2004 “Low Fidelity: Opera in Translation.” Translating Today 1: 28–30.Google Scholar
2007 “Music to My Ears, but Words to My Eyes? Text, Opera and Their Audiences.” In A Tool for Social Integration? Audiovisual Translation from Different Angles, ed. by Aline Remael, and Josélia Neves. Special issue Linguistica Antverpiensia, New Series. Themes in Translation Studies 6: 155–170.Google Scholar
2013 “Tales of the Unexpected: Opera as a New Art of Glocalization.” In Music, Text and Translation, ed. by Helen Julia Minors, 9–19. London: Bloomsbury Academic.Google Scholar
2019Music and Translation. New Mediations in the Digital Age. Basingstoke: Palgrave Macmillan. DOI logoGoogle Scholar
Gorlée, Dinda L.
1997 “Intercode Translation. Words and Music in Opera.” Target 9 (2): 235–270. DOI logoGoogle Scholar
2005Song and Significance: Virtues and Vices of Vocal Translation. Amsterdam: Rodopi.Google Scholar
2006Review of Marschall, Gottfried R. (ed.). 2004. La traduction des livrets : Aspects théoriques, historiques et pragmatiques. Paris: Presses Universitaires Paris-Sorbonne. Target 18 (1): 191–195.Google Scholar
Honolka, Kurt
1978Opernübersetzungen: zur Geschichte und Kritik der Verdeutschung musiktheatralischer Texte. Wilhelmshaven, Locarno: Heinrichshofen.Google Scholar
Hutcheon, Linda
2006A Theory of Adaptation. New York: Routledge. DOI logoGoogle Scholar
International Association for Word and Music Studies
[URL], last accessed 31 March 2020.
Kaindl, Klaus
1995Die Oper als Textgestalt: Perspektiven einer interdisziplinären Übersetzungswissenschaft [Opera as Text Type]. Tübingen: Stauffenburg.Google Scholar
Lei, Daphne P.
2006Operatic China. Staging Chinese Identity across the Pacific. Basingstoke: Palgrave Macmillan.Google Scholar
2015 “Dance Your Opera, Mime Your Words: (Mis)translate the Chinese Body on the International Stage.” In The Oxford Handbook of Dance and Theater, ed. by Nadine George-Graves. Oxford: Oxford University Press.Google Scholar
Low, Peter
2002 “Surtitles for Opera. A Specialized Translating Task.” Babel 48 (2): 97–110. DOI logoGoogle Scholar
2016Translating Song: Lyrics and Texts. London and New York: Routledge. DOI logoGoogle Scholar
Marschall, Gottfried R.
(ed.) 2004La traduction des livrets : Aspects théoriques, historiques et pragmatiques. Paris: Presses Universitaires Paris-Sorbonne.Google Scholar
Mateo, Marta
2007 “Surtitling Today: New Uses, Attitudes and Developments.” In A Tool for Social Integration? Audiovisual Translation from Different Angles, ed. by Aline Remael, and Josélia Neves. Special issue Linguistica Antverpiensia, New Series. Themes in Translation Studies 6: 135–154.Google Scholar
2014 “Multilingualism in Opera Production, Reception and Translation.” In Multilingualism at the Cinema and on Stage: A Translation Perspective, ed. by Adriana Şerban, and Reine Meylaerts. Special issue Linguistica Antverpiensia, New Series. Themes in Translation Studies 13: 326–354.Google Scholar
Mirrer, Kristine
2012 “Haiku and Kabuki: How Global Art Informed the Science of Pioneer Filmmaker Sergei Eisenstein.” The International Journal of Science in Society 3 (2): 171–178. DOI logoGoogle Scholar
O’Sullivan, Carol
2007 “Multilingualism at the Multiplex. A New Audience for Screen Translation?” In A Tool for Social Integration? Audiovisual Translation from Different Angles, ed. by Aline Remael, and Josélia Neves. Special issue Linguistica Antverpiensia, New Series. Themes in Translation Studies 6: 81–95.Google Scholar
Orero, Pilar
2007 “Audiosubtitling: A Possible Solution for Opera Accessibility in Catalonia.” TradTerm: 135–149. DOI logoGoogle Scholar
Orero, Pilar, and Anna Matamala
2007 “Accessible Opera: Overcoming Linguistic and Sensorial Barriers.” Perspectives. Studies in Translatology 15 (4): 262–277. DOI logoGoogle Scholar
Rosmarin, Léonard
1999When Literature Becomes Opera: Study of a Transformational Process. Amsterdam: Rodopi.Google Scholar
Scruton, Roger
2004Death-devoted Heart. Sex and the Sacred in Wagner’s Tristan and Isolde. Oxford: Oxford University Press. DOI logoGoogle Scholar
2016The Ring of Truth. The Wisdom of Wagner’s Ring of the Nibelung. London: Allen Lane.Google Scholar
Snell-Hornby, Mary
2007 “Theatre and Opera Translation.” In A Companion to Translation Studies, ed. by Piotr Kuhiwczak, and Karin Littau, 106–119. Clevedon: Multilingual Matters. DOI logoGoogle Scholar
Staiger, Emil
1959Musik und Dichtung. Zurich: Atlantis.Google Scholar
Tian, Min
2012Mei Lanfang and the Twentieth-century International Stage. New York: Palgrave Macmillan. DOI logoGoogle Scholar
Vinay, Jean-Paul, and Jean Darbelnet
1958Stylistique comparée du français et de l’anglais [Comparative Stylistics of French and English]. Paris: Didier.Google Scholar
Virkkunen, Riitta
2004 “The Source Text of Opera Surtitles.” Meta 49 (1): 89–97. DOI logoGoogle Scholar
Weaver, Sarah
2010 “Opening Doors to Opera. The Strategies, Challenges and General Role of the Translator.” inTralinea 12, [URL], last accessed 30 March 2020.
Wong, Wai-yi Dorothy
2000 “Xiju fanyi: Makebaisi yan Guangdong daxi” [“Translation of Drama: Macbeth Plays Cantonese Opera”]. In Fanyi Zaisi: Ke yi yu bu ke yi zhi jian [Afterthought on Translation: Translatability and Untranslatability], ed. by Fan Wenmei, 217–236. Taipei: Shulin.Google Scholar
Wu, Kaiying
2012Mei Lanfang yishi xinkao [The Art of Mei Lanfang: A New Research]. Beijing: Zhongguo xiju chibanshe.Google Scholar
Yeung, Jessica W. Y.
2009 “Subtitling for Xiqu (Chinese Opera) in the Theatre.” In Dubbing and Subtitling in a World Context, ed. by Gilbert C. F. Fong, and Kenneth K. L. Au, 221–230. Hong Kong: Chinese University Press.Google Scholar