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The domesticated Absurd

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dc.contributor.author Lacroix, Fanny
dc.date.accessioned 2011-01-20T06:46:33Z
dc.date.available 2011-01-20T06:46:33Z
dc.date.issued 2009
dc.identifier.citation LACROIX, F. 2009. The domesticated Absurd. TD: The Journal for Transdisciplinary Research in Southern Africa, 5(1):105-122, Jul. [http://dspace.nwu.ac.za/handle/10394/3605] en
dc.identifier.issn 1817-4434
dc.identifier.uri http://hdl.handle.net/10394/3964
dc.description.abstract In this article, translation, linguistics, philosophy and cultural studies meet in order to discuss the translation of Absurdist theatre. The aim of this discussion is to determine whether the universal and philosophical message conveyed by most Absurdist plays is accurately rendered in translation. Although the Theatre of the Absurd expresses absurd thoughts through absurd language, it is not meaningless, but on the contrary seeks to make people aware of the anguished purposelessness of human existence. It is therefore essential that translations of Absurdist plays render this message in the target language in an equally absurd, yet meaningful way. Since all Absurdist plays cannot be taken into account in the scope of this article, a case study will be carried out, using Eugene Ionesco’s play La Cantatrice Chauve as focus. An evaluation of its English translation by Donald M. Allen, The Bald Soprano, is carried out in order to identify its strengths and weaknesses. Suggestions are made where relevant to enhance the translation or comment on its level of success. en
dc.language.iso en en
dc.subject Theatre of the absurd en
dc.subject Translation en
dc.subject Eugene Ionesco en
dc.title The domesticated Absurd en
dc.type Article en


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