#Translate liberas legendas movie

When the translation is superseded, immediately the movie becomes old and without meaning (the video content and timings all change), even if we still have the translation patch on this site, available for download.Īlso, translation is a very big work, and translators take great pride in their work. The rule exists to avoid version conflicts, because translators occassionally improve their work and it's not nice if we have here a movie for a three years old translation version. She also taught German-language courses at the Eastman School of Music 2008–2017 and has been teaching German in the Department of Modern Languages at the University of Rochester since 2010.Samurai goroh wrote: Well, it has to be on the original, otherwise it couldn't be submitted hereAnd that's why I asked, if someone could think of a good enough excuse that allows making an exception of the rule. She taught for several years in the Berlin school system.

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She received her master’s in Education and American Studies at the Free University and Humboldt University Berlin. Kristina Becker Malett is Assistant Professor of Instruction at the University of Rochester. Her scholarship has focused on non-traditional representations of love and families including same-sex relationships, adoptive families, and all families coming together through love and not determined by social mandates. Her research interests include eighteenth- and nineteenth-century German literature, women’s studies, gender studies, and translation. Fuchs Professor of German Studies at the University of Rochester. Kristina Becker (Editor and translator) Susan Gustafson (Editor and translator) Indeed, during the time that Goethe’s Stella was performed polygamy was largely considered to offend “every principle of modern, enlightened ethics.” 2 Polygamy was a contested family form ← 1 | 2 → throughout Europe and England, and Goethe’s Stella play was vehemently rejected in both Germany and England for its portrayal of a polygamous relationship. Liberals argued that it was natural and perhaps beneficial to society, but there was also a growing reaction against such unconventional, non-monogamous relationships. 1 Of course polygamy was widely discussed during the eighteenth century. As Dye notes, Stella: A Play for Lovers supplants “conventional with unconventional social relationships” by replacing monogamous marriage with a ménage à trois. Historically, audiences, translators, and scholars have focused on the “disturbing” polygamous relationship that forms at the end of the play as the two women, Stella and Cecilia, come together with Fernando. German audiences were appalled by the ménage à trois that forms at the end of the play. When it was first produced, Goethe’s Stella: A Play for Lovers caused so much turmoil that in Germany, Goethe was forced to retract it from the stage after ten performances in Weimar and Hamburg. In spite of his high renown, however, Goethe’s play, Stella: A Play for Lovers (1776), is relatively unknown to both scholars and the general public, and is not usually listed as one of his most influential works. Goethe is also considered a major contributor to several transforming literary movements in Germany and Europe including the Storm and Stress period, Classicism, and Romanticism. Indeed, his Faust drama inspired a number of musical works by Schumann, Berlioz, Gounod, Boito, Busoni, Liszt, Wagner, and Mahler. Both within Germany and abroad Goethe is best known for his drama, Faust, and his novel, The Sorrows of Young Werther.

Johann Wolfgang von Goethe (1749–1832) is one of Germany’s most famous and revered authors. A useful resource for students, teachers, and scholars alike, this translation sheds new light on Goethe’s classic play. The introduction also outlines the major questions the play highlights: Why do the two women, Stella and Cecilia, ultimately accept the ménage à trois? Can they trust Fernando, who flirts with every woman he meets? Do women and men conceive of marriage and loving commitments differently? Do the women agree to the ménage à trois because it is the only way they can be together as friends or as lovers? In addition, this translation has an appendix that outlines all of the changes (over 100) that Goethe made in 1806 in order to get the play back on stage. This new translation provides an introduction exploring the reception of the play in Germany and England, scholarly interpretations of the play, and the portions that were left out in earlier translations. In England, it was portrayed as evidence of lesser German values because of its portrayal of a ménage à trois. Goethe’s play Stella (1776) caused so much turmoil in Germany that it was retracted from the stage.