Location of Repository

Appropriations of Irish drama by modern Korean nationalist theatre : a focus on the influence of Sean O’Casey in a colonial context

By Hunam Yun

Abstract

My thesis explores how a translated author on the periphery of the host culture’s\ud translated repertoire can be at once subversive and innovative on the colonial scene,\ud using as an example the case of Sean O’Casey in colonial Korea. It explores the\ud importation of Irish drama in modern Korean theatre during the colonial period and\ud examines the appropriations of O’Casey’s plays by a central Korean playwright, Yu\ud Chi-jin, in creating his own plays. Under Japanese colonial rule in the early twentieth\ud century, intellectuals perceived the supreme task for the Korean people to be the\ud recovery of national sovereignty and independence. The modern Korean theatre\ud movement which rose among Korean intellectuals and dramatists during the colonial\ud period was to play a major part in this task. The ultimate goal of this movement was\ud to establish a modern national theatre promoting Korean culture and educating the\ud people, thereby recovering national independence. As their modernised dramatic\ud polysystem was still "young", Korean intellectuals and dramatists who were\ud involved in the theatre movement had to borrow dramatic models from other\ud countries. One of the models they chose was Irish playwrights, especially those who\ud were involved in the Irish dramatic movement. They published or staged the works\ud of W.B. Yeats, Lord Dunsany [Edward John Moreton Drax Plunkett], Augusta\ud Gregory, J.M. Synge, St. J. Ervine, T.C. Murray and Sean O'Casey. Although\ud O'Casey was considered an important dramatist in the Irish dramatic movement, he\ud was a playwright on the periphery in the list of translated Irish dramatists in Korea\ud due to the colonisers’ censorship. However, he remained as a subversive and\ud innovative playwright on the colonial scene by virtue of being appropriated by Yu\ud Chi-jin who used O’Casey’s plays as models when creating his own works. In\ud discussing the subject matter of my thesis, I use Even Zohar’s polysystems theory as\ud a starting point in looking at ideological issues surrounding translation and extend\ud the discussion to offer a postcolonial perspective. While most translation in a\ud colonial context was considered as "an expression of the cultural power of the\ud colonisers," my thesis shifts the focus to translation as an expression of the cultural\ud power of the colonised. I explore how the colonised uses another colonised culture to\ud subvert the colonisers’ power

Topics: PN2000, PR
OAI identifier: oai:wrap.warwick.ac.uk:34647

Suggested articles

Preview

Citations

  1. (1975). 17-33.3 0 6 ---. “The Rising of the Moon (backgrounds and criticism)”
  2. (1984). A Critical History of Modern Irish Drama 1891-1980. Cambridge: Cambridge UP,
  3. (1984). A New History of
  4. (2005). ABourdieusian Theory of Translation, or the Coincidence of Practical Instances.”
  5. (2004). Aegukgyemongundong ui Sahoesa (Social History of the Patriotic Enlightenment Movement
  6. (1932). Aeran Hyangto Jakga
  7. (1933). Aeran Hyeondae Geukjakga Deonseiniron (An Essay on a Contemporary Irish Dramatist: Lord Dunsany).” Chosun Ilbo
  8. (1930). Aeran Munhak Gaegwan: Aeran Munye Buheung (A Brief Review of Irish Literature (2): Irish Renaissance).” Sinsaeng Feb.
  9. (1931). Aeran ui Singeuk Jakga Sean O’Casey (Sean O’Casey, an Emerging Irish Playwright, and his Plays).” Chosun Ilbo
  10. (1982). Aeran Yeongeuk Undong gwa Geukyesul Yeonguhoe: Yu Chi-jin e Michin Synge, O’Casey ui Yeonghyang eul Jungsim euro (The Irish Dramatic Movement and Geukyesul Yeonguhoe:
  11. (1990). Andosan Jeonseo (A Complete Collection of An Chang-ho) Vol.1. Seoul: Beonyangsa,
  12. (2001). AStudy of Tsukiji Little Theatre’s Influence on
  13. (1933). Banbak e daehan Jaebanbak: Min Byeong-hwi ege Jum (To Mr. Min Byeonghwi: Another Refutation of a Refutation).” Chosun Ilbo
  14. (1933). Beodeunamu seon Dongri ui Punggyeong (The Scene from the Willow Tree Village).”
  15. (2009). Birthright: A Play in Two Acts. Ithaca: Cornell U Library,
  16. (1927). bon Uri Minjokundong (Our Nationalist Movement in the Theatre World).” Donggwang
  17. (1973). Century of Innovation: A History of European and American Theatre and Drama since 1870.
  18. (1925). Changjak eul Gwonhamneda (I Recommend Creative Writing)”
  19. (1970). Chinil Eolron Gangyosidae ui Japji Gaegwan (Magazines in the Period of Forced Pro-Japanese Speech).” Asiatic Research 38. Seoul: Asiatic Research Center of Korea U,
  20. (1932). Chulsin ui Geukjakga Sean O’Casey (Sean O’Casey, a Playwright from the Working Class).” Chosun Ilbo
  21. (2000). Classics.
  22. Colonial Publication Policy and the Korean Nationalist Movement.” The Japanese Colonial Empire,
  23. (1990). Colonialism and Literature. U of
  24. (1998). Constructing Cultures. Essays on Literary Translation.
  25. (1993). Contracting Colonialism: Translation and Christian Conversion in Tagalog Society under Early Spanish Rule.
  26. (1995). Culture.” The Post-colonial Studies Reader. Eds. Bill Ashcroft, Gareth Griffiths and Helen Tiffin.
  27. (1997). Daehanjegukgi ui Minjokundong (Studies on the Nationalist Movements
  28. (1929). Daejeon Ihu Gakgeukdan Baldal Gwajeong:Aeran Geukdan (The Theatre of the World after World War I: The Irish Theatre).” Dong-A Ilbo
  29. (1986). Demythologising Cathleen Ni Houlihan: Synge and His Sources.” Irish Writers and the Theatre. Ed. Masaru Sekine. Bucks: Colin Smythe,
  30. Dependencies in Culture: ARevised Outline for Polysystem Culture Research.” Canadian Review of Comparative Literature
  31. (1995). Descriptive Translation Studies and Beyond.
  32. (1934). Deurama e Daehaya (About Radio
  33. (1977). Discipline and Punish: the Birth of the Prison.
  34. (1975). Dongrang Jaseojeon (The Autobiography of Yu Chi-jin). Seoul: Seomundang,
  35. (2003). Folk Drama.” A History of Korean
  36. (1975). From War to Peace,
  37. (1935). Gaebal ui Du Gaji Gwaje (Two Tasks for the Development of Korean Dramatic Literature).” Dong-A Ilbo 8Jan.
  38. Geuk gwa Yeonghwa: Myeongil Geukjang Ilhoe Gongyeon (Theatre and Film:
  39. (1921). Geukdan ui Je Ilhoe Siyeon eul Bogo (About the
  40. (1922). Geukgye e daehan Somang (My Wishes for the Theatre World).”
  41. Geukyesul Yeonguhoe (My Geukyesul Yeonguhoe).” Yeongeuk Pyeongron (The Drama Review)
  42. (1998). Geundae Geukjang Byeoncheonsa (Modern Korean Theatres). Seoul: Taehaksa,
  43. (1925). Geundae Yeongmi Munhak ui Gaegwan (AReview of
  44. (2005). Geundaegeuk Undong gwa Eollon ui Yeokhal Gwangye Yeongu (The Modern Korean Theatre Movement and the Role of Journalism). Seoul: Yeongeuk gwa Ingan,
  45. (1976). Goals, Approaches and Problems.
  46. (1921). Gongyeon eul Bogo (To the Galdophoe Theatre Performance).”
  47. (1934). Gregori Buin gwa Aeran ui Yeongeuk Undong (Lady Gregory and the
  48. (2008). Hanguk Dongnipundongjihyeolsa (The Bloody History of the Korean Independence Movement). Trans. Kim Do-hyung. Seoul:
  49. (1996). Hanguk Geundae Yeongeuk Bipyeongsa Yeongu (A Study of the History of Modern Korean Theatre Criticism). Seoul: Taehaksa,
  50. (1999). Hanguk Geundaegeuk ui Iron gwa Yeongeukseong (The Theory and Theatricality of Modern Korean Theatre). Seoul: Taehaksa,
  51. (1998). Hanguk Huigok ui Ideologi (Ideology of Korean Plays).
  52. (1982). Hanguk Hyeondae Huigoksa (The History of Contemporary Korean Plays). Seoul: Hongiksa,
  53. (2004). Hanguk Hyeondae Munhak Daesajeon (The Encyclopedia of Modern Korean Literature). Seoul: Seoul National U,
  54. (2006). Hanguk Naesheoneolism ui Jeongae wa Geulobeolism (Korean Nationalism and Globalism). Seoul: Baeksan Seodang,
  55. (1998). Hanguk ui Gamyeongeuk: Geu Yeoksa wa Wolli (Korean Mask Dance Drama: A History and Structural Principles). Seoul: Youl Hwa Dang Publisher,
  56. (1975). Hanguk Yeongeukron (Korean Theatre Theory). Seoul: Samilgak,
  57. (1973). Hanguk Yeongeuksa (Korean Theatre History).
  58. (1935). Huigok Jinheung eul Wihayeo (In Order to Promote Original
  59. Huigok Mugi wa Ingan (Bernard Shaw’s Play: Arms and the Man).” Dong-A Ilbo
  60. (1926). Hyeondae Geukjakga (Modern European and American Playwrights).” Sidae Ilbo
  61. (1985). Hyeondaesa (A Contemporary History of Korea). Seoul: Changjak gwa Bipyeongsa,
  62. Ibsen ui Saengae (The Life of
  63. (1994). Ideology and Translation.” Language, Discourse and Translation in the West and Middle
  64. (1989). Ideology, Myth and the Maintenance of Cultural Identity.”
  65. (2004). Ilbon gwa Seogu ui Singmin Tongchi Bigyo (A Comparison of Colonial Rule between Japan and the West). Seoul: Seonil,
  66. (1985). Ilbon Jegukjuui Singminjeongchaek ui Hyeongseong Baegyeong gwa Geu Jeongaegwajeong (The Formation
  67. (1986). Ilbon Jegukjuui ui Joseon Jibae (Joseon under the Rule of Japanese Imperialism). Seoul:
  68. (1997). Ilbonjegukjuui ui Hanguktongchi (The Rule over Korea by the Japanese Imperialism).” Hanguksa Yeongu Nonseon 37
  69. (1995). Ilje Gangjeomgi Sahoegeuk Yeongu (A Study on Korean Social Dramas under Japanese Colonial Rule). Seoul: Taehaksa,
  70. (1997). Ilje Malgi Singminji Jibae Jeongchaek Yeongu (A Study on the Japanese Colonial Policy over Korea at the End of Its Rule). Seoul: Kookhak Community Corp.,
  71. (2003). Ilje ui Joseon Jibae Ideologi: Jayujuui wa Gukgajuui (Ideologies of
  72. (1971). Iljeha ui Minjok Undongsa (A History of the Nationalist Movement under Japanese Imperialism). Seoul: Minjungseogwan,
  73. (1923). Ilnyeon ui Gaepyeong (A Review of the Korean Theatre World of
  74. (1932). Ilnyeongan Donghyang (The Theatre Companies This
  75. (1991). Imagined Communities: Reflections on the Origin and Spread of Nationalism.
  76. (1923). Inmolhayaganeun Toeo reul Bojeonkoja: Aeran ui Munyebuheung Undong (Irish Renaissance: The Movement to Save a Declining Vernacular Language).”
  77. Inmul Yeongeuksa 1 (People in the Korean Theatre World 1). Seoul: Taehaksa,
  78. (1976). Interference in Dependent Literary Polysystems”
  79. (2001). Ireland's National Theaters: Political Performance and the Origins of the Irish Dramatic Movement.
  80. (1994). Irish Identity and the Literary Revival: Synge, Yeats, Joyce and O’Casey.
  81. Irish Influences on Korean Theatre during the 1920s and 1930s.
  82. (1980). Irish Nationalism: A History of its Roots and Ideology.
  83. (1991). Irish Theatre”
  84. (1916). Isipsegi Chodu Guju Jedaemunhakga reul Chueokham (Remembering Great
  85. (1926). Iyagi (The Story of Le Théâtre-Libre).” Gaebyeok
  86. (1987). Japanese Imperialism 1984-1945.
  87. (1933). Je Samhoe Geukyeon Gongyeon eul Bogo (After the Third Production of the GeukYeon’s Performances).” Chosun Ilbo
  88. (1933). Je Samhoe Gongyeon
  89. Jechang ui Bonjiljeok Uiui (The Essential Meaning of
  90. (1977). Jegukjuui wa Minjokjuui (Imperialism and Nationalism).” Danje Sin Chae-ho Jeonjip (The Complete Works of Sin Chae-ho). Revised ed. Seoul: Sin Chae-ho Seonsaeng Ginyeom Saeophoe,
  91. (1995). Jeohang gwa Suneung ui Gwejeok (The Trace of Resistance andAdaptation).” Hanguk Hyeondae Geukjakgaron: Yu Chi-jin (Korean Contemporary Dramatists: Yu Chi-jin). Seoul: Taehaksa,
  92. (1996). jeok Sam gwa Yeongeuk (Contemporary Life and Theatre). Seoul: Yeoleumsa,
  93. (1933). Jeonmang – Beonyeokgeuk gwa Changjakgeuk (AView of the Korean Theatre World: Translated Drama and Original Drama).” Dong-A Ilbo.
  94. (1930). John Millington Synge ui Geuk Yeongu (AStudy on
  95. (1931). Joseon e isseoseoui Geukyesul Undong ui Hyeondangye (The Present
  96. (1933). Joseon Geukdan e Je-eon (Some Suggestions to the Korean Theatrical World).”
  97. (1932). Joseon Geundaegeuk Baldal Gwajeong (The Evolvement of the Modern Korean Theatre).” Yeongeuk Undong
  98. (1934). Joseon Haksaenggeuk Undong ui Baljeon eul Wihaya (For the Development of the Student Theatre Movement in
  99. (1988). Joseon Huigok ui Hyeonsang gwa Geumhu Banghyang (The State of Korean Drama and its Future).” Geonseolgi ui Joseon Munhak (Korean Literature in the Period of Construction). Seoul: Onnuri,
  100. (1938). Joseoneo wa Joseon Munhak: Geukmunhak i Yoguhaneun Eoneo ui Jiwi (Korean Language and Korean Literature:
  101. (1922). Joseonmal eopneun Joseon Mundan e Ileon (A Word to the Korean Literary World Where There is No Genuine Korean Language)”
  102. (1985). Korea under Colonialism: The March First Movement and AngloJapanese Relations. Seoul: RoyalAsiatic Society,
  103. (1995). Korea: the Search for Sovereignty.
  104. (1920). Korea’s Fight for Freedom.
  105. (2004). Korean Drama under Japanese Occupation. Plays by Ch’i-jin Yu and Man-sik Ch’ae.
  106. (1997). Literature in a Cultural Context and a Comparative Perspective. Seoul: Jipmoondang,
  107. (1995). Lord Dunsany: Master of the Anglo-Irish Imagination. Westport:
  108. (1983). MacMillan Modern Dramatists: Sean O’Casey.
  109. (1921). Maeterlinck wa Yeats ui Sinbisasang (The Mysticism of Maeterlinck and
  110. (1997). Making of a Culture Repertoire and the
  111. (1922). Minjok Gaejoron.”
  112. (1929). Minjok gwa Geukyesul – Geukyesul Undong gwa Munhwajeok Samyeong (The Nation and Theatre Arts: the Theatre Arts Movement and Cultural Mission).” Dong-A Ilbo
  113. (1935). Minjokgeuk ui Surip: Abbeyjwa reul Jungsimeuro haya (The Establishment of Irish National Theatre: theAbbey Theatre).”
  114. Minjokji Apsugisa Moeum II (The Collection of Confiscated Articles in3 0 8 Nationalist Newspapers during the Japanese Colonial Rule
  115. (1991). Modern Irish Drama.
  116. (2000). Modern Korean History
  117. (1991). Modernism's Last Post.” Past the Last Post. Eds. Ian Adam and Helen Tiffin. Harvester Wheatsheaf: Hemel Hempstead,
  118. (1934). Moskeuba Yesuljwa ui Georeoon Gil
  119. (1932). Mudae Gongyeon Geukbon Okmun e Daehayeo (The Gaol Gate
  120. Mundan Bangmungi 1 (AVisit to the Irish Literary World 1).”
  121. Mundan Bangmungi 2 (AVisit to the Irish Literary World 2).”
  122. (1935). Munhak ui Yungwak (An Outline of Irish Literature).” Samcheolli.
  123. (1956). Munye Buheung (The Irish Literary
  124. (1994). National Liberation and Culture.” Colonial Discourse and Postcolonial Theory: A
  125. (1920). Nationalism in Colonial
  126. (1991). Nationalism in Ireland.
  127. (1933). nyeon Geukgye Jeonmang (The Prospects for the Theatre World
  128. (1932). nyeon Mundan Jeonmang (The Prospects for the Literary World
  129. (1930). Nyeondae Jaeil Joseonin Yeongeuk gwa Haksaeng Yesuljwa (ADramatic Movement by Koreans in Japan throughout the 1930s and Students’Arts Troup).”
  130. (1985). O'Casey: The Dublin Trilogy: The Shadow of a Gunman, Juno and the Paycock, The Plough and the Stars.
  131. (1929). O’Casey’s Photographic Realism”
  132. (1933). Oegukgeuk ui Iip maneuro Joseon ui Geukmunhwa neun Surip doel geosinga? – Gim Gwang-seop ege Munham (To Mr. Gim Gwang-seop: Would it be Possible to Establish a Modern Theatrical Culture in Korea only by the Transplantation of Foreign Drama?).”
  133. (1988). Oh-kon.Traditional Korean Theatre.
  134. (1990). Old and New: A History. Seoul: Ilchokak Publishers,
  135. (1929). On Literary Evolution”
  136. (1977). Outline of a Theory of Practice, trans. Richard Nice. Cambridge: Cambridge UP,
  137. (2005). Papers in Culture Research
  138. (1979). Pathways to Elfland: The Writings of Lord Dunsany.
  139. (1976). Paycocks and Others: Sean O’Casey’s World.
  140. (1987). Pirandello’s Debut as Director: the Opening of the Teatro d’Arte.”
  141. (1999). Planning and Translation”
  142. (1985). Plays by Sean O'Casey: Selected with an Introduction and Notes by Ronald Ayling.
  143. (1914). Plays: The Gods Of The Mountain, The Golden Doom, King Argimenes and The Unknown Warrior, The Glittering Gate, The Lost Silk Hat.
  144. (2001). Polysystem Theory: Its ProspectAs a Framework for
  145. (2004). Postcolonial Theory in Irish Drama from 1800-2000.
  146. (1998). Postcolonial Theory: a Critical Introduction.
  147. (1997). Postcolonial Theory: Contexts, Practices,
  148. (1933). Radio wa Radio Deurama ui Punggyeong (The Landscape of Radio and Radio Drama).”
  149. (1992). Rendering Words, Traversing Cultures: On theArt and Politics of Translating Modern Japanese Fiction.”
  150. (1992). Rethinking Translation: Discourse, Subjectivity,
  151. (1930). Riders to the Sea.
  152. (1991). Rising of the Moon.”
  153. (1925). Sahoe ui Ulgyeol gwa Yeongeuk ui Samyeong (Society and the Role of the Theatre).”
  154. (1932). Sanbo (APromenade through the Theatre World).”
  155. Sangyeon e daehan Sago (An Opinion about the Performance of Translated Drama).” Chosun Ilbo
  156. (1923). Sasang Undong gwa Yeongeuk (An Ideological Movement and Theatre).”
  157. (1935). Sasukhaneun Naeoe Jakga: Sean O’Casey wa Na (Sean O'Casey and I: The Playwright Who Guided My Way).” Dong-A Ilbo
  158. (1998). Sean O’Casey wa Yu Chi-jin Bigyo Yeongu (AComparative
  159. (1975). Sean O’Casey: A Collection of Critical Essays.
  160. (1975). Sean O’Casey. The Man and His Work. Enlarged ed.
  161. (2002). Sean O’Casey.” The Continuum Companion to Twentieth Century Theatre. Ed. Colin Chambers. London: Continuum,
  162. (1939). Segye Munhak gwa Joseon ui Beonyeok Undong (World Literature and the Translation Movement
  163. (1982). Seoul: Changjak gwa Bipyeongsa,
  164. (1982). Seoul: Godae Minjokmunhwa Yeonguso,
  165. (1998). Seoul: LG Sangnam Eollon Jaedan,
  166. (1915). Seven Short Plays by Lady Gregory.
  167. (1927). Shaw Geuk ui Jakpum gwa Sasang (Shaw’s Drama and
  168. (1932). Silheom Mudae 2hoe Siyeon Sangyeon Geukbon e Daehayeo (1) (2) (Regarding the Scripts for the
  169. (1932). Silheom Mudae Je Il hoe Siyeon ‘Geomjegung’ eul bogo (After Watching the First Production of the Silheom Mudae,
  170. (1933). Simgeum ui Hyeon eul Ulrin Jakpum: Roman Rolland's Le Théâtre du Peuple (Roman Rolland’s Le Théâtre du Peuple,
  171. (1934). Singeuk gwa Heunghaenggeuk (Modern Theatre and
  172. (1981). Singeuksa Yeongu (A Study of the History of Modern Korean Theatre) Seoul: Seoul National UP,
  173. (1994). Singuek gwa Seoyang Yeonguek (Korean New Drama and Western Drama). Seoul: Saemunsa,
  174. (1934). Sinjin Huigeuk Jakga George Shiels (ANew Irish Comedy Writer:
  175. (1937). Sinpageuk ui Hoego
  176. (1992). Siting Translation: History, Post-structuralism, and the Colonial Context. Berkeley: U of California Press,
  177. (2008). Speech on the Fourteen Points.
  178. (1916). Staging the Easter Rising:
  179. (1955). Sueop Samsipnyeon (Thirty-year Study for a Dramatist).”
  180. (1936). Surip gwa Gwanjung Bonwi Munje (Establishing Modern Theatre and anAudience-oriented
  181. (1934). Surip ui Jeonmang (The Prospects for the Establishment of a Modern Theatre).”
  182. (1979). Synge and the Irish Language.
  183. (1933). Syngejak: ‘Seobu ui Chonga’Yeongu (AStudy on The Playboy of the Western World).” Joseon JungAng Ilbo
  184. (1930). Tammijuui Sado Oscar Wilde (Oscar Wilde -ADisciple of Aestheticism).” Jung-Oe Ilbo 8Aug.
  185. (1978). Tel Aviv U Publishing Projects,
  186. (1958). The Abbey Theatre: Cradle of Genius.
  187. (1979). The Abbey: Ireland’s National Theatre 1904-1978.
  188. (1967). The Big Occasions.” The Story of the Abbey Theatre. Ed. Sean McCann. London:AFour Square Book,
  189. (1960). The Complete Plays of
  190. (1990). The Concept of Canonicity
  191. (1987). The Dynamics of Cultural Nationalism: The Gaelic Revival and3 0 7
  192. (1966). The Early Background.” The World of Sean O’Casey. Ed. Sean McCann. London: Four Square,
  193. (1985). The Economy of ManicheanAllegory: The Function of Radical Difference
  194. (1989). The Empire Writes Back: Theory and Practice in Post-Colonial Literatures.
  195. (2006). The Francophone African Text: Translation and the Postcolonial Experience.
  196. (1923). The Glittering Gate. Trans. Gim U-jin.
  197. (1978). The Irish Drama of Europe from Yeats to
  198. (1929). The Irish Drama.
  199. (1954). The Irish Dramatic Movement.
  200. (1994). The Location of Culture.
  201. (1932). The Magnanimous Lover.
  202. (2002). The Making of Modern Korea.
  203. (1936). The Only Jealousy of Emer.
  204. (1996). The Oxford Companion to Irish Literature.
  205. (2005). The Oxford Dictionary of Plays.
  206. (1998). The Pivotal Status of the
  207. (1992). The Playwright as Thinker. London: Methuen, 1946.3 0 1
  208. (1997). The Poetics of Imperialism: Translation and Colonization from the Tempest to Tarzan. Expanded ed. Philadelphia: U of Pennsylvania Press,
  209. (1963). The Politics of Korean Nationalism. Berkeley and LosAngeles: U of California Press,
  210. (1973). The Relations between Primary and Secondary Systems in the Literary Polysystem”
  211. (1931). The Rising of the Moon.
  212. (1998). The Scandals of Translation: Towards an Ethics of Difference.
  213. (1971). The Shack.” Trans. Kim Jinhee. Kim Jinhee, Korean Drama under Japanese Occupation 27-59.
  214. (1931). The Shadow of a Gunman. Trans. Jang Gi-je. Chosun Ilbo
  215. (1967). The Story of the Abbey Theatre. London: AFour Square Book,
  216. (1932). The Tents of the Arabs.
  217. (1983). The Transformation of Ireland 1900-2000. London: Profile Books Ltd, 2005.3 0 5 Fitz-Simon, Christopher. The Irish Theatre. London: Thames and Hudson,
  218. (1939). The Words upon the Window Pane.
  219. (1932). The Workhouse Ward.
  220. (1966). The Wretched of the Earth. Trans. Constance Farrington.
  221. (2004). Theatre History Explained. Foreword by Kenneth Branagh.
  222. (1974). Theatre in Ireland.
  223. (2008). Theory” (revised version 1997a). Home page 6
  224. (1992). Thinking Translation. A Course
  225. (1998). Three Dublin Plays Introduction. Sean O’Casey. Three Dublin Plays: The Shadow of a Gunman, Juno and the Paycock, The Plough and the Stars. By Sean O’Casey. London: Faber and Faber,
  226. (1998). Three Dublin Plays: The Shadow of a Gunman, Juno and the2 9 5
  227. (1964). Toward a Science of Translating.
  228. (1963). Towolhoe Iyagi (The Story of the Towolhoe).” Sasanggye
  229. (1929). Towonhoe e Ileonham (A Suggestion to the Towolhoe Theatre Company).” Chosun Ilbo 6Nov.
  230. (1994). Traducción y Literature: Los Estudios Literarios ante las Obras Traducidas (Translation and Literature: The Literary Studies Regarding the Translated Works).
  231. (1934). Trans.An Yong-sun.
  232. (1997). Translating as a Purposeful Activity: Functionalist Approaches Explained.
  233. (1999). Translation in a Postcolonial Context.
  234. (1999). Translation in Systems.
  235. (1992). Translation, Rewriting, and the Manipulation of Literary Fame.
  236. (1999). Translation: Theory and Practice.
  237. (1996). U-jin ui Munye Bipyeonron (Literary Criticisms by Gim U-jin).”
  238. (1998). U-jin: Geu ui Sam gwa Munhak (Gim U-jin: His Life and Literature). Seoul: Taehaksa,
  239. (1939). ui Choehu Sinbi – Sa reul Yegamhan Geu ui Si (Yeats’s Last Mystery
  240. (1925). ui Geukgye (The Theatre World of
  241. (1921). ui Geupseonmu ro Minjunggeuk eul Jechanghanora (IAdvocate2 9 3 a Korean People’s Theatre as the Most Urgent Cultural Project).” Gaebyeok,
  242. (1930). ui Hyeonsang (The Present State of British Literary World).”2
  243. (1935). ui Minjok Munhak: Abbeyjwa ui Seongrip gwa geu Minjokjeok Giyeo e daehaya (The Establishment of the Abbey Theatre and its Contribution to the Nation).” Dong-A Ilbo 8-9
  244. (1918). ui Taeseo Mundan (The Recent Western Literary World).”
  245. Undong ui Jeoncho GeukYeonghwain ui Gamseong: Geukgye ui Jeonmang gwa Je-eon (The Sensibility of Theatrical Film Makers, the Forerunners of the Cultural Movement: The Prospects of and Suggestions to the Theatre World).” Chosun Ilbo 1April 1933f.
  246. (1997). Unequal Developments: Current Trends in
  247. (1975). Universals of Literary Contacts”
  248. (1931). Uri Singeukundong ui Cheotgil (The First Step toward the Modern Korean Theatre Movement).” Chosun Ilbo
  249. (2000). Uri Yeongeuk 100 nyeon (Korean Theatre, The History of One Hundred Years). Seoul: Hyeonamsa,
  250. (1990). Words: Essays Towards a Reflexive Sociology. Trans. Matthew Adamson. Standford: Standford UP,
  251. (2006). Writing and Translating.” The Translator as Writer. Eds. Susan Bassnett and Peter Bush. London: Continuum,
  252. Yeats -
  253. (1976). Yeats and the Idea of a Theatre: The Early Abbey Theatre in Theory and Practice.
  254. (1939). Yeats ui Saengae wa
  255. (1939). Yeats wa Aeran ui Yeongeuk Undong (W.
  256. (1935). Yeonchulga Sulrye (A Pilgrimage to Noted Directors).”
  257. (1900). Yeongeuk (British Theatre).” Shin Jeong-ok, et al. Western Theatre
  258. (1934). Yeongeuk Geunhwang: Yeongguk pyeon (The Recent State of English and American Theatre:
  259. Yeongeuk gwa Oin ui Gwangye (The Relationship between the Theatre and
  260. (1960). Yeongeuk gwa Sahoe (Theatre and Society).” Dong-A Ilbo 4-16 May 1920.2 9 9 Secondary Sources Armstrong, WilliamA. “History,Autobiography and The Shadow of a Gunman”
  261. (1962). Yeongeuk Osipnyeon eul Malhanda (AFifty-year
  262. Yeongeuk Undong Sogwan: Abbeyjwa reul Jungsimsama (A Brief Introduction to the Modern Irish Dramatic Movement: The Abbey Theatre).” Samcheolli.
  263. (1931). Yeongeuk Yeonghwajeon eul Gaechoe hamyeonseo (Holding a Theatre and Film Exhibition).” Dong-A Ilbo
  264. (1985). Yeongeuksa (Korean Theatre History). Seoul: Hakyeonsa,
  265. Yeongmundan e daehan
  266. Yeonguhoe je 4 hoe Gongyeon eul Bogo (About the Fourth Theatre Production of the Geukyesul Yeonguhoe).” Dong-A Ilbo 3July 1933b.
  267. Yeoryu Geukjangin Sulrye: Aeran ui Eomeoni Gregori Buin (An Introduction to Female Figures in the World Theatre: Lady Gregory,
  268. (1976). Yu Chi-jin ege Michin Aerangeuk ui Yeonghyang: Hanguk Geundaegeuk e Michin Gumigeuk ui Yeonghyang e gwanhan
  269. (1974). Yu Chi-jin gwaAeran Yeongeuk (Yu Chi-jin and Irish Theatre).”
  270. (1993). Yu Chi-jin Jeonjip 6 (The Complete Works of Yu Chi-jin 6). Seoul: Seoul Yedae Chulpanbu,
  271. (1993). Yu Chi-jin Jeonjip 7 (The Complete Works of Yu Chi-jin 7). Seoul: Seoul Yedae Chulpanbu,
  272. (1993). Yu Chi-jin Jeonjip 9 (The Complete Works of Yu Chi-jin 9). Seoul: Seoul Yedae Chulpanbu,
  273. (1997). Yu Chi-jin Yeongeukron ui Sajeok Jeongae (The Historical Development of Yu Chi-jin’s View on the Theatre). Seoul: Taehaksa,
  274. (1997). Yu Chi-jin Yeongu (A Study of Yu Chi-jin). Seoul: Taehaksa,

To submit an update or takedown request for this paper, please submit an Update/Correction/Removal Request.