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Doelstelling: De veranderingen beschrijven en becommentariëren die de roman Show Boat van Edna Ferber heeft ondergaan om als musical opgevoerd te kunnen worden voor een Vlaams publiek. Middelen of methode: Het onderzoek van deze thesis bestaat uit 3 fasen.De eerste fase is de verandering van roman naar musical. In deze fase wordt de roman grondig vergeleken met de musical en worden gelijkenissen en verschillen besproken.De tweede fase in dit onderzoek is een vertaalstudie waarbij de Engelstalige musical wordt vergeleken met de Nederlandstalige vertaling door Jan C. Buijs. Dit vertaalonderzoek is gebaseerd op de vertaaltheorieën van Vinay & Darbelnet (1958), Langeveld (1986), Newmark (1988) en Baker (1992).De derde en laatste fase werpt een blik op de Vlaamse bewerking van de musical Show Boat door Christiane Locufier. Op basis van een interview worden de veranderingen die het stuk heeft ondergaan, toegelicht. Resultaten: De musical behoudt de grote verhaallijn van de roman, hoewel er toch zeer veel verschillen te vinden zijn. Grote delen verhalende tekst werden vervangen door dialogen en liederen. Een andere bevinding is dat de musical slechts een deel van de roman vertelt. Sommige personages krijgen zelfs een heel ander levensverhaal.Uiteraard zijn er bij de vertaling van het Amerikaanse script naar het Nederlandstalig script vele vertaalprocedures toegepast. De theorieën van Langeveld en Newmark waren voor mijn onderzoek de meest bruikbare om deze procedures te herkennen en te benoemen. De meest gebruikte technieken door de vertaler zijn lexicale veranderingen (lexical alterations, modulations), weglatingen (omissions, reduction) en toevoegingen (additions, expansion).Tenslotte is er een bewerking gemaakt van de vertaling en dat is vooral gebeurd om ook het Vlaamstalige publiek te kunnen boeien. Het stuk is daarom aanzienlijk ingekort en de spreektekst is meer Vlaams geworden.

Adaptation. --- Edna Ferber. --- Hammerstein II. --- Musical. --- Novel. --- Show Boat. --- Translation study. --- Vertaalonderzoek - gemengd mondeling/schriftelijk.

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"Citizenship on Catfish Row focuses on three seminal works in the history of American culture: the first full-length narrative film, D. W. Griffith's The Birth of a Nation; the first integrated musical, Oscar Hammerstein and Jerome Kern's Showboat; and the first great American opera, George Gershwin's Porgy and Bess. Each of these works sought to make a statement about American identity in the form of a narrative, and each included in that narrative a prominent role for Black people.Each work included jarring or discordant elements that pointed to a deeper tension between the kind of stories Americans wish to tell about themselves and the historical and social reality of race. Although all three have been widely criticized, their efforts to connect the concepts of nation and race are not only instructive about the history of the American imagination but also provide unexpected resources for contemporary reflection"-- "Citizenship on Catfish Row: Race and Nation in American Popular Culture retrieves three "iconic" works, each of which launched an entire genre-the serious narrative film (The Birth of a Nation), the "integrated musical" (Show Boat), and American opera (Porgy and Bess), to interpret popular entertainment in the Jim Crow era. Despite their manifold differences, these radically innovative works shared two striking features: each attempted to represent the character or spirit of America in narrative form, and each included in that story a central role for the issue of race. As popular entertainment designed to appeal to audiences, these works both endorsed and helped to shape a contemporary social consensus on race that we now find grievously flawed, and each has been sharply and appropriately criticized on that account. But when read with attention to the many ways in which they seem to question, and even contradict themselves, these works appear in a very different light, not as monuments to a dishonorable past but as expressions of a conflicted and uncertain culture burdened by history but groping its way-not always with a purposeful stride, not always with clear sight, and not always in good faith-toward a present moment confident enough of its position to criticize them. By identifying the common ambition in these foundational works, Citizenship on Catfish Row enables us to see them as moments in an evolving popular understanding of American national identity. And by focusing on points of incoherence or dissonance in their telling of the national story, it suggests the impediment to national unity represented by race. Drawing attention to the ways in which popular entertainment confronted, sometimes through evasion and sometimes with a brutal honesty, the issue of race, Harpham proposes that analysis of these works can benefit our polarized and vitriolic conversation about our nation's most important problem"--

Noirs americains dans la culture populaire. --- Race au cinema. --- Race à l'opera. --- African Americans in popular culture. --- Race in motion pictures. --- Race in opera. --- African Americans in musical theater. --- Gershwin, George, --- Kern, Jerome, --- Show boat (Kern, Jerome) --- Porgy and Bess (Gershwin, George) --- Birth of a nation (Motion picture : 1915)