Translation and the Language of Modernism: Gender, Politics, Language (review)

to our understanding. What really fascinates Tatlow about Kunju opera versions of Shakespeare is that they translate Shakespeare’s attention to detail of character into equally subtle gestures (210–212). Tatlow hopes eventually to ‘‘connect specific gestural moments to an interpretive strategy, thus binding the particular to a theorizable intention.’’ He envisions a postmodern intercultural theater that explores and ‘‘situate[s] a cultural unconscious,’’ extending our horizons past the Western culture to which we are accustomed (31–35). The point of Tatlow’s volume is ultimately utopian and indicative rather than analytic. By showing how to paint pictures of intercultural research, Tatlow expects communication among world cultures to increase through what he calls the ‘‘dialectics of acculturation’’ (230–231). He hopes that productions in cultural and linguistic translation will reach our unconscious minds and encourage us to ‘‘relocate ourselves as readers of texts and interpreters of culture’’ (189). His fascinating vignettes point to areas for future research in which theories need to be evolved for understanding intercultural sensibility and cultural contact.