Adapting Shakespeare for Star Trek and Star Trek for Shakespeare ...

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54 Karolina Kazimierczak 26 The Klingon Hamlet. “Appendix I,” 210. 27 Nicholas, “Introduction,” xiii. 28 See Emily Apter, “Translation with No Original: Scandals of Textual Reproduction,” in Nation, Language, and the Ethics of Translation, ed. Sandra Bermann and Michael Wood (Princeton, Oxford: Princeton University Press, 2005). 29 The Klingon Hamlet. “Appendix II: Notes of the Scansion of Khamlet,” 215. 30 Lawrence M. Schoen, “Preface,” in Much Ado About Nothing. paghmo’ tIn mIS, ed. David Trimboli (Flourtown: Klingon Language Institute, 2001), vii. 31 See Bick, “Boys in Space”; Kreitzer, “The Cultural Veneer of Star Trek.” Editor's note: Rhonda V. Wilcox counters this view in “The Aesthetics of Cult Television,” The Cult TV Book, ed. Stacey Abbott (London: I. B. Tauris, 2010), 36. 32 Interestingly, the Klingon version of Much Ado About Nothing seems to be an exception from this rule, as it doesn’t bear any reference to Paramount Pictures, apart from a typical disclaimer of Klingon and Star Trek being registered trademarks. 33 ‘The text is therefore a productivity [...] it is a permutation of texts, an intertextuality: in the space of a given text, several utterances, taken from other texts, intersect and neutralize one another. [...] One of the problems for semiotics is to replace the former, rhetorical division of genres with a typology of texts; that is, to defined the specificity of different textual arrangements by placing them within the general text (culture) of which they are part and which is in turn, part of them.’ (See Julia Kristeva, Desire in Language, 36.) 34 Ekstrom, “Foreword,” xi. 35 Schoen, “Preface,” ix. 36 Catherine Silverstone, “Speaking Maori Shakespeare: The Maori Merchant of Venice and the Legacy of Colonisation,” in Screening Shakespeare in the Twenty- First Century, ed. Mark Thornton Burnet and Ramona Wray (Edinburgh: Edinburgh University Press, 2006). 37 Cited in ibid., 131. 38 Ibid., 132. 39 Ibid., 140. 40 For an interesting interpretation of the Star Trek’s ‘holodeck episodes’ as a re-enactment of early modern textual practices represented in a genre of masques see Jean E. Graham, “Holodeck Masquing: Early Modern Genre Meets Star Trek,” Journal of Popular Culture 34, no. 2 (2000). For other accounts of the play-withinthe-play device in the Star Trek franchise see Sarah Hardy and Rebecca Kukla, “A Paramount Narrative: Exploring Space on the Starship Enterprise,” The Journal of Aesthetics and Art Criticism 57, no. 2 (1999), and Rhonda V. Wilcox, “Unreal TV,” in Thinking Outside the Box: A Contemporary Television Genre Reader, ed. Gary R. Studies in Popular Culture
The Klingon Hamlet and the Spaces of Translation 55 Edgerton and Brian G. Rose (Lexington: University Press of Kentucky, 2005), 211- 212. Editor's note: See also Wilcox, “Shifting Roles and Synthetic Women in Star Trek: The Next Generation,” Studies in Popular Culture 13, no. 2 (1991). 41 Maurice Blanchot, “Translating,” 59. 42 Ibid., 60. 43 Gayatari Chakravorty Spivak, “Translating into English,” in Nation, Language, and the Ethics of Translation, ed. Sandra Bermann and Michael Wood (Princeton, Oxford: Princeton University Press, 2005), 105. 44 Robert Eaglestone, “Levinas, Translation, and Ethics,” and Henry Staten, “Tracking the 'Native Informant': Cultural Translation as the Horizon of Literary Translation,” in Nation, Language, and the Ethics of Translation, ed. Sandra Bermann and Michael Wood (Princeton, Oxford: Princeton University Press, 2005), 136. 45 Ibid., 137. 46 Ibid., 135. 47 Without recalling any dubious similarities between the fictitious Klingon culture and the post-colonial context of indigenous cultures, it is interesting to note how the Klingon translators seem to make use – perhaps unconsciously – of certain colonial representations of familiarity and alien-ness. These representations may have their source both in Shakespeare’s work, representing the worldview of the age of great discoveries and search for the “New World,” and in the Star Trek narrative, recalling the notion of discovery and first encounter with the stranger in its imaginary of space, the final frontier. 48 Cited in Eaglestone, “Levinas, Translation, and Ethics.” 49 Schoen, “Preface,” ix. 50 Spivak, “Translating into English,” 94. 32.2 Spring 2010
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