De la Béatrice française de Berlioz à la Béatrice allemande de Richard Pohl : traductions interlinguistique et intersémiotique
Keywords:Berlioz, ironie, comique, Pohl, traduction, Béatrice, interprétation
AbstractInspired by Much Ado about Nothing of Shakespeare, the comic opera Béatrice et Bénédict of Berlioz countains a significant amount of irony. Richard Pohl, the author of the German translation, removed several strokes of irony for the performances in Weimar in 1863. This choice shows linguistic and cultural obstacles, as well as a specific aesthetic and ideological orientation. Irony, moreover, contributes to the different semiosis used in opera and circulates between text, music and theater. Music remains the same in both versions, but the new text changes the general atmosphere.
How to Cite
Copyright (c) 2021 Charlotte Loriot
This work is licensed under a Creative Commons Attribution 4.0 International License.
Authors who publish with this journal agree to the following terms:
- Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under the CC BY-NC 4.0 Deed that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal. The material cannot be used for commercial purposes.
- Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
- Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).