{"title":"Transnational image building","authors":"Paola Gentile, F. Kovács, Marike van der Watt","doi":"10.1075/ts.00029.int","DOIUrl":"https://doi.org/10.1075/ts.00029.int","url":null,"abstract":"","PeriodicalId":142151,"journal":{"name":"Transnational Image Building","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126031314","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This study investigates how the image of Hong Kong is presented in translated news in the case of the 2014 protests, adopting an imagological approach. The corpus consists of translated news articles on the BBC Chinese website and their English-language source texts from a variety of British press articles published between 28 September and 15 December 2014. The study is a corpus-based critical discourse analysis focusing on aspects of the labelling and semantic prosodies in relation to Hong Kong. It also assesses aspects of image-building, including the selective appropriation of texts for translation, the institutional procedures, and target readership reception, that together contribute to the discursive construction of socio-political images of Hong Kong.
{"title":"Translating images of Hong Kong in news coverage on BBC Chinese","authors":"Yuan Ping","doi":"10.1075/TS.20015.PIN","DOIUrl":"https://doi.org/10.1075/TS.20015.PIN","url":null,"abstract":"\u0000This study investigates how the image of Hong Kong is presented in translated news in the case of the 2014 protests, adopting an imagological approach. The corpus consists of translated news articles on the BBC Chinese website and their English-language source texts from a variety of British press articles published between 28 September and 15 December 2014. The study is a corpus-based critical discourse analysis focusing on aspects of the labelling and semantic prosodies in relation to Hong Kong. It also assesses aspects of image-building, including the selective appropriation of texts for translation, the institutional procedures, and target readership reception, that together contribute to the discursive construction of socio-political images of Hong Kong.","PeriodicalId":142151,"journal":{"name":"Transnational Image Building","volume":"191 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121103024","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This study approaches translations as framing and representation sites that can serve to either contest or promote stereotypes. Critically looking at textual and visual images of the source culture, the discussion considers how the particular location of different participants in the translation production process contributes to the presentation of violence as a predominant image of Western Balkan nations. The analysis uncovers networks of source-based production participants focusing on images of ‘nesting’ Balkanisms and self-representations centring on love and humaneness. On the other hand, networks led by editors located in the target culture often emphasise the preconceived stereotypes of dominant violence in the Western Balkans or turn towards globalising the images of violence.
{"title":"The Western Balkans in translated children’s literature","authors":"M. Todorova","doi":"10.1075/ts.20011.tod","DOIUrl":"https://doi.org/10.1075/ts.20011.tod","url":null,"abstract":"This study approaches translations as framing and representation sites that can serve to either contest or promote stereotypes. Critically looking at textual and visual images of the source culture, the discussion considers how the particular location of different participants in the translation production process contributes to the presentation of violence as a predominant image of Western Balkan nations. The analysis uncovers networks of source-based production participants focusing on images of ‘nesting’ Balkanisms and self-representations centring on love and humaneness. On the other hand, networks led by editors located in the target culture often emphasise the preconceived stereotypes of dominant violence in the Western Balkans or turn towards globalising the images of violence.","PeriodicalId":142151,"journal":{"name":"Transnational Image Building","volume":"87 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115630863","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Sam Selvon’s The Lonely Londoners is considered a classic of West Indian literature in the style of Migrant Modernism (Brown 2013). First published in post-war London in 1956, it was not translated into Spanish until 2016, probably due to the challenging features of the novel and its language. A case of text creolisation (Buzelin 2000), the translation of the novel required an active effort to construct a language variant that could convey Selvon’s peculiar literary style and sociopolitical intent. The present work aims to investigate the images of West Indians portrayed in the original novel and, more specifically, how they are transposed into the Spanish text. The research method includes an account of the editorial process, an interview with the translator, and an analysis of the paratexts and translation excerpts. Finally, the reception of the translation in literary reviews shall also be discussed.
{"title":"The translation of images and West Indian creole into Spanish in Sam Selvon’s The Lonely\u0000 Londoners","authors":"Pilar Castillo Bernal","doi":"10.1075/TS.20020.CAS","DOIUrl":"https://doi.org/10.1075/TS.20020.CAS","url":null,"abstract":"\u0000 Sam Selvon’s The Lonely Londoners is considered a classic of West Indian literature in the style\u0000 of Migrant Modernism (Brown 2013). First published in post-war London in 1956, it was\u0000 not translated into Spanish until 2016, probably due to the challenging features of the novel and its language. A case of text\u0000 creolisation (Buzelin 2000), the translation of the novel required an active effort to\u0000 construct a language variant that could convey Selvon’s peculiar literary style and sociopolitical intent. The present work aims\u0000 to investigate the images of West Indians portrayed in the original novel and, more specifically, how they are transposed into the\u0000 Spanish text. The research method includes an account of the editorial process, an interview with the translator, and an analysis\u0000 of the paratexts and translation excerpts. Finally, the reception of the translation in literary reviews shall also be\u0000 discussed.","PeriodicalId":142151,"journal":{"name":"Transnational Image Building","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122309981","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
As demonstrated extensively by translation studies, national images and their reception undergo significant changes in the transfer process to another culture. From this perspective, La pena máxima by Roncagliolo is an interesting case: not only is the plot tied in with the theme of football, which is widely believed to embody national identity, but it has also been commented on in different target cultures. The reception study displays how the images of Argentina and Peru, which the novel deconstructs by using the 1978 World Cup as a pretext to expose the atrocities perpetrated by their respective totalitarian regimes, are perceived in the Hispanic context and in the French and Dutch literary systems into which they have been translated. While the Argentinian and the French reviews skate over the gruesome reality, the Peruvian, the Spanish and the Dutch ones assume the negative images by emphasizing their socio-political relevance.
{"title":"National images and their reception through football literature","authors":"E. Snauwaert","doi":"10.1075/TS.20007.SNA","DOIUrl":"https://doi.org/10.1075/TS.20007.SNA","url":null,"abstract":"\u0000As demonstrated extensively by translation studies, national images and their reception undergo significant changes in the transfer process to another culture. From this perspective, La pena máxima by Roncagliolo is an interesting case: not only is the plot tied in with the theme of football, which is widely believed to embody national identity, but it has also been commented on in different target cultures. The reception study displays how the images of Argentina and Peru, which the novel deconstructs by using the 1978 World Cup as a pretext to expose the atrocities perpetrated by their respective totalitarian regimes, are perceived in the Hispanic context and in the French and Dutch literary systems into which they have been translated. While the Argentinian and the French reviews skate over the gruesome reality, the Peruvian, the Spanish and the Dutch ones assume the negative images by emphasizing their socio-political relevance.","PeriodicalId":142151,"journal":{"name":"Transnational Image Building","volume":"65 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115624555","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Within imagological approaches, paratexts can provide insights into how the Other of translated literature is presented to a new target audience. So, within a transnational context, such as Germany and Britain’s shared experience of the Second World War, can the source and target-culture paratexts invoke the same images? Through a case study of Er ist wieder da, a novel that satirises Germany’s relationship with its National Socialist past, and the British publication of the English translation Look Who’s Back, this article finds that while the novel’s humour is reframed by the British publisher, the novel’s controversial position within Germany’s Vergangenheitsbewältigung discourse remains intrinsic to the paratexts published in the British press. As such, this article demonstrates the transnational relevance of individual national characteristics to the paratextual framing of translated literature, the value of paratexts as objects of imagological study, and the methodological benefits of distinguishing between production- and reception-side paratexts.
在意象学方法中，准文本可以提供关于翻译文学的他者如何呈现给新的目标受众的见解。那么，在跨国背景下，比如德国和英国在第二次世界大战中的共同经历，源文化和目标文化的准文本能唤起相同的形象吗?本文通过对讽刺德国与其国家社会主义历史的关系的小说《Er ist wieder da》及其英译本《Look Who’s Back》在英国出版的个案研究发现，尽管这部小说的幽默被英国出版商重新塑造，但这部小说在德国Vergangenheitsbewältigung话语中的争议地位仍然是英国出版社出版的文本中固有的。因此，本文论证了个体民族特征与翻译文学的意译文本框架的跨国相关性，意译文本作为意象研究对象的价值，以及区分生产方和接受方意译文本的方法论益处。
{"title":"“Germany asks: is it OK to laugh at Hitler?”","authors":"P. Freeth","doi":"10.1075/TS.20003.FRE","DOIUrl":"https://doi.org/10.1075/TS.20003.FRE","url":null,"abstract":"\u0000Within imagological approaches, paratexts can provide insights into how the Other of translated literature is presented to a new target audience. So, within a transnational context, such as Germany and Britain’s shared experience of the Second World War, can the source and target-culture paratexts invoke the same images? Through a case study of Er ist wieder da, a novel that satirises Germany’s relationship with its National Socialist past, and the British publication of the English translation Look Who’s Back, this article finds that while the novel’s humour is reframed by the British publisher, the novel’s controversial position within Germany’s Vergangenheitsbewältigung discourse remains intrinsic to the paratexts published in the British press. As such, this article demonstrates the transnational relevance of individual national characteristics to the paratextual framing of translated literature, the value of paratexts as objects of imagological study, and the methodological benefits of distinguishing between production- and reception-side paratexts.","PeriodicalId":142151,"journal":{"name":"Transnational Image Building","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128051904","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：