Rafael Martins

Rafael Martins, 21 anos, natural de Lisboa, frequenta o segundo ano da Licenciatura em Estudos Artísticos, variante em Artes e Culturas Comparadas, da Faculdade de Letras da Universidade de Lisboa. É bolseiro (BII) da FCT no âmbito do grupo THELEME (CEC), no projecto CAMP (City Arts and Media Platform).

Cristina Branco de Sousa

Cristina Branco de Sousa, natural de Lisboa, 18 anos, frequenta o segundo ano do curso de Estudos Artísticos: Artes e Culturas Comparadas na Faculdade de Letras da Universidade de Lisboa.

Kristian Van Haesendonck

Kristian Van Haesendonck taught Spanish and Latin American Literature and Culture in the United States (Princeton, Villanova) and is currently researcher in comparative Latin American, Spanish and Caribbean literatures at the Centre for Comparative Studies, University of Lisbon. He graduated in Romance Languages from the Catholic University of Louvain (Belgium) and obtained his PhD in Latin American Literature from Leiden University (The Netherlands). His book ¿Encanto o espanto? Identidad y nación en la novela puertorriqueña actual, a comparative study of contemporary Puerto Rican novels, was published by Vervuert-Iberoamericana (Frankfurt-Madrid 2008).

Susana Correia

Susana dos Santos Correia frequentou o primeiro ano do curso de Arqueologia da Faculdade de Ciências Sociais e Humanas da Universidade Nova de Lisboa. Actualmente, é estudante do segundo ano do curso de Estudos Artísticos - Artes e Culturas Comparadas - na Faculdade de Letras da Universidade de Lisboa.

Seamus Heaney's Antigone, Translation and Tranposition: From The Abbey Theatre to The Globe via the Caribbean

The Irish poet Seamus Heaney has used translation in the past as a means of examining political situations from an oblique angle. His earlier translation of Philoctetes (which was performed as The Cure at Troy for the Field Day Theatre) was very clearly a comment on the political situation in the North of Ireland. One of the most memorable quotes from the play “Making hope and history rhyme” has become a catchphrase used by artists and politicians alike. Seamus Heaney and Derek Walcott have long association, dating back to their days on the faculty at Harvard in the 1980’s. This paper will examine Heaney’s translation of Antigone and determine how and why Walcott chose to transpose it to the Carribean. It will also examine the use of language in the translation and illustrate how Heaney and Walcott are together at an ironical distance from “the English tradition of English literature and of English culture. Because I’m doing English in Belfast and he’s doing English in St Lucia” as Heaney put it in an interview given before the premier of the opera in 2008.