FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W1572097710> ?p ?o ?g. }

• W1572097710 endingPage "51" @default.
• W1572097710 startingPage "36" @default.
• W1572097710 abstract "Thou Art Translated! The Pull of Flesh and Meaning Karmen MacKendrick In A Midsummer Night’s Dream, William Shakespeare offers us a particularly comic instance of translation. In the first scene of the third act, the mischievous fairy Puck has set into motion all manner of havoc, including the substitution of a donkey’s head for the ordinary head of poor Nick Bottom, a weaver who had been innocently engaged in rehearsing a play that he and other “rustics” intended to perform for visiting royalty. Bottom is, understandably, a little cranky and confused about this buffoonish substitution—he had offered to play the far nobler part of a lion (Shakespeare 2004, Act 1, scene 2, 68–70)—and he does not react happily to the responses that it generates among other members of his company. The first to see him is the tinker Tom Snout, who declares, “O Bottom, thou art changed! what do I see on thee?” (Act 3, scene 1, 114). And Snout is followed by Peter Quince, a carpenter and the author of the ill-fated play that had been in rehearsals, who will give us our relevant line, as he exclaims in surprise, “Bless thee, Bottom! bless thee! thou art translated” (Act 3, scene 1, 118). Indeed he is. Bottom, when he declares the events a dream, proposes that Quince shall write a ballad of this transformation (Act 4, scene 1, 224–26).1 This ballad might be seen as a further translation, of the sort Umberto Eco calls “intersemiotic”—a translation across forms, rather like that of interpretive dance, which is sort of famous for translating badly. What is not quite clear, though, is how layered this translation may already be just in Nick Bottom’s appearance. The use of “ass” for buttocks—that is, for the bottom—is first attested only in 1860,2 more than two and a half centuries after A Midsummer [End Page 36] Night’s Dream was written (sometime in the 1590s). But there is some speculation that the pun may already have been current, even if cutting-edge, when Shakespeare translated Bottom to ass, and certainly such a pun would not have been out of character for the author—after all, we also find a snout among the would-be actors, and Shakespearean brilliance is hardly incompatible with crude punning. The translation of the flesh is in this instance also a translation of the word, not just in parallel but somehow of one another, and the visible head of the indignant ass betrays the indignity of the rustic weaver sporting the name of Bottom. We don’t so often think of bodies being translated, but before turning to more abstract considerations here, let me offer one further instance, one a little closer to the main current of my own research. The translation of relics (that is, of pieces or close possessions of saints) is their movement from one location—specifically, from one church congregation—to another. This sounds markedly unexciting, I grant, but that’s only if you don’t know that throughout the Middle Ages the relics were sometimes said to have translated themselves, moved of their own volition. This was held to demonstrate the desire of the relevant saints for the newly privileged location—which means their desire to patronize and to bless the new church or congregation. This happened especially often when those of us with less devotion would more likely say that the relics had been stolen by members of their new communities. In the translation of relics, an original—a whole, unified original in the form of an intact body—is the very source of meaning. The relic matters because it belonged to the body of a saint, and each fragment is held to contain, somehow, the wholeness of saintly power and sancitity (for more detail on this very complex subject, see MacKendrick 2008, 102–31). But as a rule, that original is impossible to find; the meaningful pieces are only ever fragments. (In fact, studies of older relics often show that they are not even fragments of humans.) Now the relic means what it is translated to mean: the saint’s blessing upon..." @default.
• W1572097710 created "2016-06-24" @default.
• W1572097710 creator A5012378916 @default.
• W1572097710 date "2013-12-01" @default.
• W1572097710 modified "2023-09-23" @default.
• W1572097710 title "Thou Art Translated! The Pull of Flesh and Meaning" @default.
• W1572097710 cites W1526005831 @default.
• W1572097710 cites W1533477466 @default.
• W1572097710 cites W1552968875 @default.
• W1572097710 cites W1553794035 @default.
• W1572097710 cites W1931505978 @default.
• W1572097710 cites W1999707003 @default.
• W1572097710 cites W2061276609 @default.
• W1572097710 cites W2070220514 @default.
• W1572097710 cites W2496066982 @default.
• W1572097710 cites W2566129194 @default.
• W1572097710 cites W2797685146 @default.
• W1572097710 cites W3138522112 @default.
• W1572097710 cites W637539227 @default.
• W1572097710 doi "https://doi.org/10.1353/phi.2013.a516149" @default.
• W1572097710 hasPublicationYear "2013" @default.
• W1572097710 type Work @default.
• W1572097710 sameAs 1572097710 @default.
• W1572097710 citedByCount "0" @default.
• W1572097710 crossrefType "journal-article" @default.
• W1572097710 hasAuthorship W1572097710A5012378916 @default.
• W1572097710 hasConcept C111472728 @default.
• W1572097710 hasConcept C124952713 @default.
• W1572097710 hasConcept C138885662 @default.
• W1572097710 hasConcept C142362112 @default.
• W1572097710 hasConcept C27206212 @default.
• W1572097710 hasConcept C2779937246 @default.
• W1572097710 hasConcept C2780876879 @default.
• W1572097710 hasConcept C36082774 @default.
• W1572097710 hasConcept C52119013 @default.
• W1572097710 hasConceptScore W1572097710C111472728 @default.
• W1572097710 hasConceptScore W1572097710C124952713 @default.
• W1572097710 hasConceptScore W1572097710C138885662 @default.
• W1572097710 hasConceptScore W1572097710C142362112 @default.
• W1572097710 hasConceptScore W1572097710C27206212 @default.
• W1572097710 hasConceptScore W1572097710C2779937246 @default.
• W1572097710 hasConceptScore W1572097710C2780876879 @default.
• W1572097710 hasConceptScore W1572097710C36082774 @default.
• W1572097710 hasConceptScore W1572097710C52119013 @default.
• W1572097710 hasIssue "1" @default.
• W1572097710 hasLocation W15720977101 @default.
• W1572097710 hasOpenAccess W1572097710 @default.
• W1572097710 hasPrimaryLocation W15720977101 @default.
• W1572097710 hasRelatedWork W1507778603 @default.
• W1572097710 hasRelatedWork W2046472441 @default.
• W1572097710 hasRelatedWork W2357777125 @default.
• W1572097710 hasRelatedWork W2559258894 @default.
• W1572097710 hasRelatedWork W2748952813 @default.
• W1572097710 hasRelatedWork W2795616899 @default.
• W1572097710 hasRelatedWork W2899084033 @default.
• W1572097710 hasRelatedWork W629058575 @default.
• W1572097710 hasRelatedWork W640983279 @default.
• W1572097710 hasRelatedWork W3005314530 @default.
• W1572097710 hasVolume "3" @default.
• W1572097710 isParatext "false" @default.
• W1572097710 isRetracted "false" @default.
• W1572097710 magId "1572097710" @default.
• W1572097710 workType "article" @default.