Rev12 wagner
Rev12b buschinger
Rev12c piontek
Rev12d gier
Rev12e abels
Rev12f tschorner
Rev12g stollberg
Rev12h pachl
Rev12i leblanc
Rev12j pappel
Rev12k nystrom
Rev12a preface
Acc1 responsables
Acc2a tatin
Acc1 responsables
Cont1 secrétariat
Cont1 secrétariat
Cont1 achats 3
Rev20 Comedy
Rev20 Comedy
Rev19 Chabanon
Rev18 Mal
Rev17 Querelles
Rev16 Oratorio
Rev15 Theatralite
Rev14 haendel
Rev13 hennin
Rev12 wagner
Rev11 debussy
Rev10 noverre
Rev9 gluck
Rev8 prokofiev
Rev7 haydn
Rev6 chabanon
Rev5 livret
Rev4 texte
Rev3 representations
Rev2 interpretation
Rev1 melanges
M1 Communications
M1 Communications
M1 Communications
M1 Communications

This essay examines translation strategies in six versions of Die Meistersinger von Nürnberg, respectively in Dutch, Danish and Swedish. The first part deals with the translations of Beckmesser’s version of Walther’s “Preislied”. The understanding of this passage in the source text is very much dependent on its phonological parallels with the original “Preislied”. Four of the target texts also treat their own translation of Walther’s “Preislied” as the starting point and let Beckmesser render a distorted version of it. The other two, however, translate Beckmesser’s song semantically. These differences may partly be explained by the different purposes and functionalities of the target texts. The second part of the essay discusses related problems: the different functionalities of the possible source texts of Die Meistersinger, especially the differences between authorized reading texts and texts in musical scores, and the question of which source text should have been used for a certain translation in the light of the individual target text’s intended functionality.


N° 12k

Richard Wagner, Die Meistersinger von Nürnberg

Esbjörn Nyström

Stockholms Universitet

Zieltext als Dichtung? Bemerkungen zu einigen Meistersinger-Übersetzungen


Danielle Buschinger
Danielle Buschinger - Der historische Meistersang

Frank Piontek
Frank Piontek - Zur verhinderten Nürnberger Uraufführungder

Albert Gier
Albert Gier - Komëdie als ideendrama

Norbert Abels
Norbert Abels - Hohn und Lohn

Sylvia Tschörner
Sylvia Tschörner - „Bliebst du im Paradies, / da gab es keinen Kies“

Arne Stollberg
Arne Stollberg - die „protestantische“ Musik der Meistersinger

Peter P. Pachl
Peter P. Pachl - Frühe Meistersinger-Rezeption

Cécile Leblanc
Cécile Leblanc - L'Ardoise de Beckmesser

Kristel Pappel
Kristel Pappel - Netzwerk in den Ostseeprovinzen Russlands

Esbjörn Nyström
Esbjörn Nyström - Zieltext als Dichtung?