In this essay, I argue that Behan's act of transculturation reveals a great deal more reflexivity and depth than many of his critics would allow, developing an iconoclastic dialogue between British and Irish mid-century life.ĪB - As Susan Bassnett and Harish Trivedi argue, ‘translation does not happen in a vacuum, but in a continuum it is not an isolated act, it is part of an ongoing process of intercultural transfer’. Yet for all their differences, the plays also share a common desire to transcend the divisions forged by the colonial experience through critical understandings of life on either side of the Irish Sea. Comparisons between both works reveal significant changes that illuminate Behan's relationship with both nations and provide a sometimes oblique metacommentary regarding his most pressing political and personal anxieties.
In understanding Brendan Behan's most celebrated and controversial translation, of his spare Irish language play An Giall (1958) to its riotous English counterpart The Hostage (1958), understanding the problematic ‘intercultural transfer’ between British and Irish life in the 1950s is crucial. N2 - As Susan Bassnett and Harish Trivedi argue, ‘translation does not happen in a vacuum, but in a continuum it is not an isolated act, it is part of an ongoing process of intercultural transfer’. T1 - ‘A dance for all the outcasts’: Class and Postcolonialism in Brendan Behan’s An Giall and The Hostage In this essay, I argue that Behan's act of transculturation reveals a great deal more reflexivity and depth than many of his critics would allow, developing an iconoclastic dialogue between British and Irish mid-century life.",
In this essay, I argue that Behan's act of transculturation reveals a great deal more reflexivity and depth than many of his critics would allow, developing an iconoclastic dialogue between British and Irish mid-century life.Ībstract = "As Susan Bassnett and Harish Trivedi argue, between British and Irish life in the 1950s is crucial. And it becomes clear: everyone must save themselves.As Susan Bassnett and Harish Trivedi argue, ‘translation does not happen in a vacuum, but in a continuum it is not an isolated act, it is part of an ongoing process of intercultural transfer’. But it is then that the secrets from the past come to light. Erica turns off the lights in attempt to keep Gary from returning. Gary, the new neighbor, pays a visit and quickly becomes Bob’s alliance, until it is discovered that Gary is not of the same faith as Bob. The explosion of Ken and Jolene’s house has put them on a path of self-reflection and discovery. But feelings of inadequacies obstruct him from wholeheartedly embracing the role of stepfather. Matthew, the peacemaker of the family, in love with the feisty atheist Celeste, is in the process of adopting her daughter, Anna. Erica, the mother, works to continually redirect the conversation away from religion. A bible thumping stepfather, an overbearing mother, and two pagan sons, along with their families, gather to fulfill their Christmas obligation.
0 kommentar(er)
