Abstract
Exploring translation from the perspective of performance studies, this essay investigates the work of the German romantic literary translator Dorothea Tieck (1799-1841). It focuses on her unexplored translations of Shakespeare's sonnets and develops a theoretical framework through which the reader can effectively recognize translation as a (re)enactment of language. In confluence with a historical-feminist approach, this study adopts Mikhail Bakhtin's theory of double voicing to create an impetus for thinking about Tieck's sonnet translations as moments of verbal performance that engage the Shakespearean texts in a dialogue about expression, desire, and gender ambiguity. The study's methodology guides the reader into a careful exploration of selected sonnets, where a closer textual analysis of Tieck's translations yields an assertion of her creative authorship as an important translator.
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