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Leo Burnett
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Translating Myth
Ever since Odysseus heard tales of his own exploits being retold among strangers, audiences and readers have been alive to the complications and questions arising from the translation of myth. How are myths taken and carried over into new languages, new civilizations, or new media? An international group of scholars is gathered in this volume to present diverse but connected case studies which address the artistic and political implications of the changing condition of myth – this most primal and malleable of forms. ‘Translation’ is treated broadly to encompass not only literary translation, but also the transfer of myth across cultures and epochs. In an age when the spiritual world is in crisis, Translating Myth constitutes a timely exploration of myth’s endurance, and represents a consolidation of the status of myth studies as a discipline in its own right.
Aspects of Dostoevskii
Perhaps more than any other nineteenth-century Russian writer, Dostoevskii’s continuing popularity rests on his contemporary relevance. The prophetic streak in his creativity gives him the same lasting appeal as dystopian novelists such as Zamiatin and Orwell whom he influenced and whose ethical concerns he anticipated. Religious themes are prominent in his work, too, and, though he was a believer, his interest seems to lie in the tension between faith and unbelief, which was felt as keenly in the Russia of his time as in our own. The nature of Dostoevskii’s art also continues to be debated. The older tendency to disparage his literary method has given way to a recognition of the origina...
Transnational Russian Studies
Transnational Russian Studies offers an approach to understanding Russia based on the idea that language, society and culture do not neatly coincide, but should be seen as flows of meaning across ever-shifting boundaries. Our book moves beyond static conceptions of Russia as a discrete nation with a singular language, culture, and history. Instead, we understand it as a multinational society that has perpetually redefined Russianness in reaction to the wider world. We treat Russian culture as an expanding field, whose sphere of influence transcends the geopolitical boundaries of the Russian Federation, reaching as far as London, Cape Town, and Tehran. Our transnational approach to Russian St...
The Templeton Teapot: A Farce in One Act
"The Templeton Teapot: A Farce in One Act" by Grace Cooke Strong is a play with a touch of humor. Excerpt: "The Templeton Teapot SCENE.—Library in the Templeton home, a comfortable old-fashioned room, reflecting its owner's love for the antique. A door at r. leads into the hall; another door l., opens into an adjoining room. For furniture, a large desk strewn with books and papers, several easy chairs, and shelves containing books. The room is decorated with pieces of old china, dignified candlesticks, and various old-fashioned articles. In a prominent position on the mantel is a quaint silver teapot. (As the curtain rises, Mr. Horace Templeton is seated at his desk writing, surrounded by several ponderous reference books. Mrs. Templeton enters l., carrying a large basket packed with cast-off clothing.) Mrs. T. (setting basket on floor near door r.). Hilda! (Goes to l.) Hilda! Horace, have you seen——? (In despair.) Oh, it's of no use. Sue! (Enter Sue, l.) Sue, have you seen anything of Hilda? Sue. She came in here after dinner. Mrs. T. (looking out r.). She must have gone out, for her wraps are not in the hall. How unfortunate!"
