Pub Date : 2021-01-01DOI: 10.15290/cr.2021.35.4.02
Shirin Akter Popy
In her Autobiographical Voices: Race, Gender, Self-Portraiture (1989), Françoise Lionnet identifies the life writing of women of color as the reflection of their heterogeneous differences and theorizes female autobiographical narratives as métissage. Métissage, nearly untranslatable, meaning “braiding,” views autobiography as an engagement of the author with history, myth, and cultures, and defines it as a braid of multiple voices and disparate forms. In The Woman Warrior: Memoirs of a Girlhood Among Ghosts (1976), Maxine Hong Kingston combines numerous voices into the (auto)biographical “I” as well as various forms in the narrative to express her identity as comprising manifold, different elements. In her life writing, she neither follows the unique self-representation propagated by male writers nor validates the inner personal tradition of women. Instead, breaking the fixities of thought and expression, she juxtaposes the historical with the mythical, the biographical with the autobiographical to form a language of resistance and solidarity. The present paper argues that by articulating her identity as a braid of differences, constructing self as a braid of multiple voices, and making her narrative a braid of multiple genres and traditions Kingston enacts her life writing as a politics of métissage.
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Pub Date : 2021-01-01DOI: 10.15290/cr.2021.35.4.03
Dominika Romaniuk-Cholewska
This article introduces a machine translation post-editing (MTPE) course intended for universities educating translation trainees. The aim of the course is to accelerate the adaptation of translation education to the current requirements of the European Master’s in Translation (EMT) Competence Framework 2017 and the needs of translation students. The course is firmly grounded in existing research on MTPE and studies of translation didactics. The author assumes that MTPE as a process should include most of the contemporary translation tools such as CAT computer-assisted tools, TM terminology management, ML machine learning, MT machine translation and its variations, AI artificial intelligence, TQM translation quality management. The course is divided into 15 meetings of 1.5 hours each, with the syllabus structured in such a way that the trainees systematically learn and improve the MTPE process and develop an understanding of MT tools. Therefore, it can be treated as a means to achieve the goal set by EMT.
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Pub Date : 2021-01-01DOI: 10.15290/cr.2021.34.3.03
A. Kliś
The paper offers an analysis of An Embarrassing Position, the only extant and not very well-known theatre play by Kate Chopin. Even though it is only one-act-long, the play does not only contribute to the greatness of the artistry of the author, but it also subtly and wittily raises the question of societal imbalance and women’s right to self-deciding. Hence, the aim of this paper is both to expose the theatricality of women’s voice embedded in the play validating women’s stance and foretelling women’s emancipation, and to bring the play to the broader attention of academics as a unique, still underexamined, work of Chopin. In order to establish this light comedy play within a serious domain of women’s rights struggle, as well as to inscribe this short piece of work into the long list of Chopin’s writings which are pro feminist in their overtone, the paper uses hermeneutic analysis with elements of Derrida’s deconstructionist theory of différance, and employs Carl Jung’s idea of synchronicity. Derrida’s deconstruction serves to uncover the inner inconsistencies residing within the humorous lines of the play, whereas synchronicity provides the scaffold for the play’s events that bonds the analysis elements into one meaningful whole.
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Pub Date : 2021-01-01DOI: 10.15290/cr.2021.34.3.05
A. Czajkowska
The primary objective of this article is the analysis of trauma in Kurt Vonnegut’s Slaughterhouse-Five and Martin Amis’s Time’s Arrow. It is argued that through the deployment of experimental literary techniques (particularly destabilized and non-linear narratives) these two novels offer valuable insights into the mechanisms of a traumatized mind and help to understand the uncertain sense of the self experienced by those who suffer from traumatic memories.
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Pub Date : 2021-01-01DOI: 10.15290/cr.2021.35.4.05
G. Moroz
The 1940s: A Decade of Modern British Fiction, published by Bloomsbury Academic, is the seventh book in the ‘The Decades Series,’ which was inaugurated by The 1970s: A Decade of Contemporary British Fiction in 2014. The 1940s is edited by Philip Dew and Glynn White, who open it with their “Critical Introduction: Reappraising the 1940s.” The first three parts of this Introduction (“Socio-historical contexts,” “Dunkirk and other propaganda,” “Reappraising the 1940s”) highlight the most characteristic features of the decade from the historical, social as well as literary perspectives, pointing out its uniqueness and watershed character, as well as factors influencing the literary output of this decade, such as the overtly propagandist use of literature, paper rationing and censorship. The next three parts of the Introduction are (perhaps a bit surprisingly) mini critical essays aimed at three groups of novels and novelists. The first of them, “Not the usual suspects,” presents two novels by writers better known as poets: Philip Larkin and Stevie Smith. The second is “Waugh time” (a pun which Evelyn Waugh probably would not have liked, as he did not like Waugh in Abyssinia), which focuses on two Waugh’s wartime novels: Put Out More Flags (1942) and Brideshead Revisited (1945), and concludes with the statement “that Waugh and others [...] were necessarily raised in the pre-war world with all the experiences that entailed” (19). “From the ranks,” the third mini-essay, is a survey of shorter fiction and novels written by Gerald Kersh and Julian Maclaren-Ross. The ten chapters of The 1940s can be roughly divided into two parts. The opening part, consisting of the first three chapters, contains three surveys of the literature of the decade in question (but also, to a considerable extent, of the 1930s), while of the remaining seven chapters/essays, six are more like case studies of narrower groups of texts/writers. The three opening chapters have different focal points and perspectives. The opening chapter of the book, written by Ashley Maher and entitled “The Finest Hour? A Literary History of the 1940s,” examines the decade’s “divisions and continuities from three angles: historically, through the blurring of war and peacetime, self and state; geographically, through migration and the dissolution of empire, amid the changing formation of British identity and literature; and literary historically, through the co-existence of late modernism, realism and incipient postmodernism” (38). Maher’s survey focuses on both the shorter and longer fiction of George Orwell, Christopher
《20世纪40年代:现代英国小说的十年》由布卢姆斯伯里学术出版社出版，是“十年系列”的第七本书，该系列于2014年由《20世纪70年代:当代英国小说的十年》开始。《1940年代》由菲利普·杜和格林·怀特编辑，他们以“批判性导言:重新评价1940年代”作为开篇。本导论的前三部分(“社会历史语境”、“敦刻尔克与其他宣传”、“重新评价1940年代”)从历史、社会和文学的角度突出了这十年最具特色的特征，指出了它的独特性和分水岭性，以及影响这十年文学产出的因素，如文学的公开宣传使用、纸张配给和审查制度。接下来的三个部分是(也许有点令人惊讶的)针对三组小说和小说家的迷你评论文章。其中第一个主题是“不寻常的嫌疑人”，介绍了菲利普·拉金(Philip Larkin)和史蒂夫·史密斯(Stevie Smith)这两位诗人的两部小说。第二个是“沃时间”(这个双关语是伊夫林·沃可能不喜欢的，因为他不喜欢在阿比西尼亚的沃)，主要讲述了沃的两部战时小说:《举起更多的旗帜》(1942)和《故园故园》(1945)，并以“沃和其他人……都是在战前的世界里长大的，经历了所有相关的事情”。第三篇短文《来自基层》(From the ranks)对杰拉德·克什(Gerald Kersh)和朱利安·麦克拉伦-罗斯(Julian Maclaren-Ross)的短篇小说和长篇小说进行了调查。《四十年代》共十章，大致可分为两部分。开头部分由前三章组成，包含了对所讨论的十年(但在相当大的程度上，也包括20世纪30年代)的三篇文学综述，而在剩下的七章/文章中，有六章更像是对狭隘文本/作家群体的案例研究。开篇的三章有不同的焦点和视角。这本书的第一章由阿什利·马赫(Ashley Maher)撰写，标题为“最辉煌的时刻?《20世纪40年代文学史》从三个角度审视了这十年的分裂和连续性:历史上，通过战争与和平时期、自我与国家的模糊;在地理上，通过移民和帝国的解体，在英国身份和文学形成的变化中;在文学历史上，通过晚期现代主义、现实主义和早期后现代主义的共存”(38)。马赫的调查集中在乔治·奥威尔的短篇小说和长篇小说《克里斯托弗》上
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Pub Date : 2021-01-01DOI: 10.15290/cr.2021.34.3.04
Agnieszka Stawecka-Kotuła
The unfolding hybridisation of cultures calls for a culture-oriented approach to translation that could respond to the needs and expectations of contemporary readership. The present paper is devoted to the concept of the cultural turn in translation studies and its practical implications on actual translations of contemporary literary works. To illustrate the complexities of translating cultural elements, the Polish translation of Fury reflecting the usual Rushdian blend of voices, plots, multi-cultural hybrid and culture references is used. The paper seeks to exemplify and discuss choices made by the translator striving to acquaint the target text reader with the complex universe of the novel to the similar extent as experienced by the source text reader. The principal strategy adopted by the Polish translator might be labelled as domesticated exoticism.
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