Political Villainy on the Modern Stage: Arabic Translations and Adaptations of William Shakespeare's Richard III LA POLITIQUE DE VILLAINY SUR LA SCENE MODERNE: LES TRADUCTIONS EN ARABE ET DE L'ADAPTIONS DU RICHARD III DE WILLIAM SHAKESPEARE
Bibliographic record
Abstract
Abstract The following paper explores rhetorical use of anaphora in William Shakespeare's Richard III and its impact on translation of western conceptions of political villains to an Arabic audience. The analysis examines use of anaphora in Richard's soliloquies and public speeches that show Richard's skills in rhetoric aimed primarily at political deception. The Arabic translations and adaptations of play for contemporary audiences, on other hand, were received poorly because Arab world perceives political villains differently. The study proposes that a new translation or an adaptation should be based on an awareness of historical background and linguistic differences particular to Shakespearean play so as to approximate English model of political villainy for modern Arabic audiences. Key words: Richard III; Shakespearean play; William Shakespeare; Arabic; English play Resume Le document qui suit explore l'utilisation rhetorique de l'anaphore dans William Shakespeare, Le Richard III et son impact sur la traduction de conceptions occidentales de mechants politiques a un public arabe. L'analyse porte sur l'utilisation de l'anaphore dans soliloques de Richard et de discours publics qui montrent les competences de Richard dans la rhetorique vise principalement a la tromperie politique. Les traductions en arabe et des adaptations de la piece pour un public contemporain, d'autre part, ont ete recues mal parce que le monde arabe percoit mechants politiques differemment. L'etude propose que une nouvelle traduction ou une adaptation devrait etre basee sur une prise de conscience du contexte historique et les differences linguistiques notamment pour la piece de Shakespeare de facon a approcher le modele anglais de la vilenie politique moderne publics arabes. Mots Cles: Richard III; Piece de Shakespeare; William Shakespeare; Arabe; Piece en anglais John Marston in Scourges of Villainy (1598) makes a reference to Shakespeare's Richard III (1594) in seventh satire where he parodies Richard's horse, a horse, a kingdom for a (5.4.7): man, a man, a kingdom for a man (p.394). The anaphoric statement in Shakespearean play is a demonstration of Richard's abilities to use language to manipulate others on battle field and ultimately shows a political villain's skill failing as he is unhorsed. The rhetorical statement creates a melodious discourse that attempts to stir audience to Richard's predicament. At same time, assertion uttered at height of battle emphasizes energy of Richard's political motivations and shows that people will eventually acquire immunity from being affected by speeches. Thereby, Richard sketches a model of villainous leader driven by his own rhetoric to postulate a positive response from his followers and construes an ending which shows his ultimate alienation. In a literal translation of play as manifested in Al-Qid's (1993) version repetition of horse (p.244) would stimulate an Arabic spectator to link word to cultural importance of animal in Arabic literature and history. Therefore, for a translator, gap between two cultures is immense and rendering Richard III to an Arabic audience is from onset a complicated endeavour. The most difficult task, however, is mainly portraying western perceptions of political villains to Arab world who have come to see dictators as lacking in rhetorical abilities. A reader of modern politics in Arab world realizes that politics are intensely territorial and translation or adaptation of Shakespeare's Richard HI reveals difficulty of approximating western political themes to an Arabic audience. The intricacy is demonstrated in a review of Al-Bassam's adaptation of Richard IH on English stage for an Arabic audience. Margaret Litvin (2007) considered half-empty room and reaction of audience along with the theme of mutual ArabWest ignorance and misappropriation [which] continued to resonate throughout would hardly account for a successful play (p. …
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How this classification was reachedexpand
Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.003 | 0.002 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.001 |
| Science and technology studies | 0.004 | 0.005 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.001 | 0.000 |
| Research integrity | 0.000 | 0.001 |
| Insufficient payload (model declined to judge) | 0.000 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; both teacher heads agree on what is shown here.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".