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Four-Character Idioms and the Rhetoric of Japanese Shakespeare Translation

dc.contributor.authorGallimore, Daniel
dc.date.accessioned2021-10-19T08:11:58Z
dc.date.available2021-10-19T08:11:58Z
dc.date.issued2021-06-30
dc.identifier.issn2083-8530
dc.identifier.urihttp://hdl.handle.net/11089/39434
dc.description.abstractYoji jukugo are idioms comprised of four characters (kanji) that can be used to enhance the textuality of a Japanese Shakespeare translation, whether in response to Shakespeare’s rhetoric or as compensation for the tendency of translation to be carried out at a lower textual register than the source. This article examines their use in two translations each of Julius Caesar by Matsuoka Kazuko (2014) and Fukuda Tsuneari (1960) and of The Merry Wives of Windsor by Matsuoka (2001) and Odashima Yūshi (1983); in both cases Matsuoka uses significantly more yoji jukugo than her predecessors. In the Julius Caesar translations their usage is noticeable in the set speeches by Antony and Brutus in 3.2, and commonly denote baseness or barbarity. In the Merry Wives translations they commonly denote dissolute behaviour, often for comic effect, and can even be used malapropistically in the target language.en
dc.language.isoen
dc.publisherWydawnictwo Uniwersytetu Łódzkiegopl
dc.relation.ispartofseriesMulticultural Shakespeare: Translation, Appropriation and Performance;38en
dc.rights.urihttps://creativecommons.org/licenses/by-nc-nd/4.0
dc.subjectJapanese writing systemen
dc.subjectyoji jukugoen
dc.subjectMatsuoka Kazukoen
dc.subjectidiomatic expressionen
dc.subjectvisualizationen
dc.subjectclassical rhetoricen
dc.subjectmalapropismen
dc.titleFour-Character Idioms and the Rhetoric of Japanese Shakespeare Translationen
dc.typeArticle
dc.page.number13-41
dc.contributor.authorAffiliationKwansei Gakuin University, Japanen
dc.identifier.eissn2300-7605
dc.referencesAkishima Yuriko. Ninagawa Yukio to Sheikusupia (Ninagawa’s Shakespeare). Tokyo: Kadokawa Shoten, 2015.en
dc.referencesBetsuyaku Minoru. Sami umi yoji jukugo (Four-character idioms everywhere one looks). Tokyo: Taishūkan Shoten, 2005.en
dc.referencesFukuda Tsuneari, trans. Juriasu Shīzā (Julius Caesar). Tokyo: Shinchōsha, 1968. 1st ed. 1960.en
dc.referencesMatsuoka Kazuko, trans. Juriasu Shīzā (Julius Caesar). Tokyo: Chikuma Shobō, 2014.en
dc.referencesMatsuoka Kazuko, trans. Uinzā no yōkina nyōbōtachi (The Merry Wives of Windsor). Tokyo: Chikuma Shobō, 2001.en
dc.referencesOdashima Yūshi, trans. Uinzā no yōkina nyōbōtachi (The Merry Wives of Windsor). Tokyo: Hakusui Books, 1983.en
dc.referencesPalfrey, Simon. Doing Shakespeare. London: Methuen Drama, 2011.en
dc.referencesShakespeare, William. Julius Caesar. Ed. David Daniell. London: Thomson Learning, 1998.en
dc.referencesShakespeare, William. The Merry Wives of Windsor. Ed. Giorgio Melchiori. London: Thomson Learning, 2000.en
dc.referencesSuematsu Michiko. ‘Verbal and visual representations in modern Japanese Shakespeare productions’. In The Oxford Handbook of Shakespeare and Performance. Ed. James C. Bulman, Oxford: Oxford University Press, 2017. 585-97.en
dc.referencesTakashima Toshio. Chotto hen da zo yoji jukugo okotoba desu ga … (Four-character idioms are a bit strange but they are real words). Tokyo: Bungei Shunjū, 2009.en
dc.referencesTomasi, Massimiliano. Rhetoric in Modern Japan: Western Influences on the Development of Narrative and Oratorical Style. Honolulu, HI: University of Hawai‘i Press, 2004.en
dc.referencesToury, Gideon. Descriptive Translation Studies—and Beyond. Amsterdam: John Benjamins, 2012. 1st ed. 1995.en
dc.contributor.authorEmailgallimore@kwansei.ac.jp
dc.identifier.doi10.18778/2083-8530.23.02
dc.relation.volume23


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