Pub Date : 2022-09-01DOI: 10.46623/tt/2022.16.2.br4
Komal Mhaske
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Pub Date : 2022-05-01DOI: 10.46623/tt/2022.16.1.tr1
{"title":"Spark Tankho by Himanshi Shelat in Gujarati","authors":"","doi":"10.46623/tt/2022.16.1.tr1","DOIUrl":"https://doi.org/10.46623/tt/2022.16.1.tr1","url":null,"abstract":"","PeriodicalId":410199,"journal":{"name":"Translation Today","volume":"744 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122984554","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}
Pub Date : 2022-05-01DOI: 10.46623/tt/2022.16.1.ar4
Glenis Maria Mendonça
William Shakespeare’s drama has been the staple for many Indian filmmakers who have ‘transcreated’ his plays to suit the Indian regional context and still managed to retain the plot frame, essence and themes of this brilliant Bard. This article will begin with understanding and defining the term ‘transcreation’, a popular term used in inter-semiotic translation studies and then argue to show how the varied adaptations of Shakespeare’s Romeo and Juliet in Hindi celluloid are not mere adaptions but rather transcreations by creative minds. The article will offer a case study of a few transcreations of William Shakespeare’s Romeo and Juliet in Hindi cinema. Bobby (1973), Ek Duuje Ke Liye (1981), Sanam Teri Kasam (1982), Qayamat se Qayamat Tak (1988), Saudagar (1991), Ishaqzaade (2010), and the most recent Sanjay Leela Bansali’s Goliyon Ki Rasleela’ Ram-Leela (2013). These films will be re-looked from the lens of ‘transcreation’ to assess their adaptability to the Indian region-specific milieu. These Hindi films made over the last five decades will be seen as creative renditions which harmoniously blend music, characters, tragic elements, camera techniques, local metaphors, and rustic locales and culturally amalgamate these myriad elements while still managing to balance the essence of Shakespeare’s source play to appeal to the target audience. The paper will present a literature review of various articles previously published on the topic. It will further discuss how the play allows itself to be transcreated in the regional target space it occupies. The transition from stage to screen will be critiqued to see if justice has been done to the original text. The paper will appreciate the efforts and creativity of filmmakers who ‘transcreate’ to make the sixteenth-century tragedy of ‘star-crossed lovers’, relevant and loved by Hindi film audiences, from the seventies till present times.
威廉·莎士比亚的戏剧一直是许多印度电影人的主要作品，他们将莎士比亚的戏剧“改编”成适合印度地区背景的作品，同时仍设法保留了这位杰出诗人的情节框架、精髓和主题。本文将从理解和定义“译创”一词开始，这是一个在跨符号学翻译研究中常用的术语，然后论证莎士比亚的《罗密欧与朱丽叶》在印度电影中的各种改编如何不仅仅是改编，而是创造性思维的译创。这篇文章将提供一个案例研究威廉·莎士比亚的《罗密欧与朱丽叶》在印度电影中的几个跨界创作。Bobby (1973)， Ek Duuje Ke Liye (1981)， Sanam Teri Kasam (1982)， Qayamat se Qayamat Tak (1988)， Saudagar (1991)， Ishaqzaade(2010)，以及最近的Sanjay Leela Bansali的Goliyon Ki Rasleela ' Ram-Leela(2013)。这些电影将从“创作”的角度重新审视，以评估它们对印度特定地区环境的适应性。这些在过去五十年里制作的印度电影将被视为创造性的演绎，它们和谐地融合了音乐、人物、悲剧元素、摄影技术、当地隐喻和乡村环境，并在文化上融合了这些无数的元素，同时仍然设法平衡莎士比亚原剧的精髓，以吸引目标观众。这篇论文将对以前发表的关于这个主题的各种文章进行文献综述。本文将进一步讨论戏剧如何在它所占据的区域目标空间中被改写。从舞台到银幕的过渡将被批评，看看是否公正地对待了原文。本文将感谢电影制作人的努力和创造力，他们“跨创作”了16世纪“不幸的恋人”的悲剧，从70年代到现在都受到印度电影观众的喜爱。
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Pub Date : 2022-05-01DOI: 10.46623/tt/2022.16.1.ar3
Umesh Kumar
For the last two and a half decades, translation research has witnessed a boom. Beginning with the ‘cultural turn’ in the 1990s, translation research is now characterized by an informed cultural and political awareness supplemented by a host of deconstructionist methodologies. As a result, quite a sizeable quantity of insightful and controversial studies on translation is being published regularly. Riding on the back of conceptual advancements in the structure and function of language; aided by theoretical insights such as poststructuralist, feminist, and system theory approaches and so on, translation research today has created a niche for itself in (re)interpreting and (re)directing the prevailing value systems across disciplines. Following this trail, again from the early 1990s onwards, a few scholars began to create a specialized field of inquiry within translation research called translating children’s literature. This article focuses on this evolving field. However, most of the research on translating children’s literature is being undertaken in the west. Translation scholars in South Asia and more particularly in India have not paid the required attention to this growing field. The neglect is startling for the region continues to produce a significantly high quantity of children’s books across different languages. Therefore, the primary aim of this article is to encourage research on translating children’s literature in the Indian context. The article exemplifies and substantiates its call by providing a theoretical account of translating Marathi children’s literature into Hindi. For its material and discussion, the article draws from Kisson Ki Duniya: Marathi Baal Kahaniyon Ka Pratinidhi Sankalan (2019) (The Landscape of Tales: Selections from Marathi Children's Stories), which this author has co-translated and edited.
在过去的25年里，翻译研究经历了一个繁荣的时期。从20世纪90年代的“文化转向”开始，翻译研究现在的特点是一种知情的文化和政治意识，辅以大量的解构主义方法。因此，大量有见地、有争议的翻译研究成果不断涌现。借助语言结构和功能的概念进步;在后结构主义、女权主义和系统理论等理论见解的帮助下，今天的翻译研究在(重新)解释和(重新)指导跨学科的主流价值体系方面为自己创造了一个利基。沿着这条道路，从20世纪90年代初开始，一些学者开始在翻译研究中创建一个专门的研究领域，称为翻译儿童文学。本文主要关注这个不断发展的领域。然而，大多数关于儿童文学翻译的研究都是在西方进行的。南亚，尤其是印度的翻译学者对这一不断发展的领域没有给予应有的重视。这种忽视令人吃惊，因为该地区仍在生产大量不同语言的儿童书籍。因此，本文的主要目的是鼓励在印度语境下翻译儿童文学的研究。这篇文章通过提供将马拉地儿童文学翻译成印地语的理论说明，例证并证实了它的呼吁。本文的材料和讨论摘自Kisson Ki Duniya: Marathi Baal Kahaniyon Ka Pratinidhi Sankalan(2019)(故事的景观:马拉地儿童故事选集)，作者参与翻译和编辑。
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Pub Date : 2022-05-01DOI: 10.46623/tt/2022.16.1.ar2
Amrutha Mk
By outlining two features of language termed ‘lexical drift’ and ‘linguistic clogging’ and employing certain explanatory concepts of classical Indian aesthetics, this study addresses the question of how phonic elements of language constrain or smooth the ways of translation. Linguistic clogging, the study argues, constraints translation of expressions with śabda-śakti-mūla dhvani, SSMD (phonic-based suggestion) , in two ways. As a semantic constraint, the presence of SSMD in source expressions impedes translation if unsatisfied with target expressions. Secondly, as an aesthetic constraint, it curtails the aesthetic pleasure for readers even if the semantic constraint is satisfied by paraphrasing the source expressions. This study, analysing verses in English, Sanskrit, and Malayalam languages with SSMD, illustrates that if the constraints are not satisfied in the target expressions, they bring down the quality of translation. Nonetheless, satisfying both these constraints, by recovering the literal and suggested meanings where possible, can improve the quality of translation. Śabda-śakti-mūla dhvani (SSMD) is a sub-variety of dhvani where a figure of speech is suggested because of the inherent power of words. The meaning that is different from literal and metaphorical is termed “dhvani” (suggested meaning). Around the ninth century CE, Ānandavardhana articulated the philosophy of aesthetic suggestion and systematically theorised the concept of dhvani (suggestion) in his magnum opus Dhvanyāloka (Light on the Doctrine of Suggestion). He argues that the significative power of words is of two types, vācya (literal) and pratīyamāna (suggestive). SSMD is generally translated as “word-based suggestion”. In this paper, the author has translated SSMD as “phonic-based suggestion”, as sound elements distinguish SSMD from other varieties of dhvani.
通过概述语言的两个特征，即“词汇漂移”和“语言堵塞”，并采用经典印度美学的某些解释概念，本研究解决了语言的语音元素如何限制或平滑翻译方式的问题。该研究认为，语言阻塞从两个方面限制了śabda-śakti-mūla dhvani, SSMD(基于语音的建议)表达的翻译。作为一种语义约束，源表达式中存在的SSMD如果对目标表达式不满意，就会阻碍翻译。其次，作为一种审美约束，即使通过改写原文的语义约束得到满足，它也会削弱读者的审美快感。本研究分析了英语、梵语和马拉雅拉姆语的诗，结果表明，如果不满足目标表达的约束条件，就会降低翻译质量。然而，满足这两方面的限制，通过尽可能地还原字面意义和暗示意义，可以提高翻译质量。Śabda-śakti-mūla dhvani (SSMD)是dhvani的一个亚变体，由于单词的内在力量，它被建议使用修饰语。与字面和隐喻不同的意思被称为“dhvani”(暗示的意思)。大约在公元九世纪，Ānandavardhana在他的巨著Dhvanyāloka (Light on the Doctrine of suggestion)中阐述了美学暗示的哲学，并系统地将dhvani(暗示)的概念理论化。他认为，词语的意义力量有两种类型，vācya(字面意义)和pratīyamāna(暗示意义)。SSMD通常被翻译为“基于文字的建议”。在本文中，作者将其翻译为“基于语音的暗示”，因为语音元素将其与其他变体的dhvani区分开来。
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Pub Date : 2022-05-01DOI: 10.46623/tt/2022.16.1.no1
Giridhar P.P
Noting that man hasn’t as yet awakened fully rationally to the life-giving life-enhancing power and life-refreshing life-sourcing civilization-deepening beauty of literary translation, the Note argues that the possible anodynity of (Literary) Translation Sciences as they obtain today cry out for a good deal of rationally illuminating rigorisation. Part of the anodynity is linguistic (and cultural) naiveté, as we argue. See Giridhar 2005 for a rational elucidation. Lexicalisations like the Sanskrit word dharma for example have been subjected to unacceptably naïve, irrational and supremacist, and hence glaringly unscientific, treatment. This has been demonstrated (See Giridhar op cit). We will talk about it here as well. Part of the problem is the waffly kind of demagoguery that sustains itself over the years. For example, people talk(ed) of eco-translation. Has any piece been translated with eco-translation in mind? If not, what is its status? It, as seems to be the case, exists in the air as cerebral gymnastics? Is there a translation precept which has no conceivable relation to translation praxis? Following Ramayana’s several regional avatars, there was some piquant and fashionably exultant buzz about originals undergoing several forms in response to the narrativisation requirements of target cultures. I know of no modern literary piece which has had such avatars because apparently, the translator doesn’t know what to do! Does it mean these different avatars, however nebulously defined, are theoretically optional? Adaptation, I rationally assume, is technically different from translation. Essentially, there is no ‘adaptation’, for example, for discursive or scientific discourse.
注意到人类还没有完全理性地意识到文学翻译赋予生命的力量和赋予生命的力量，以及赋予生命的力量和赋予文明的深度的美，《注释》认为，(文学)翻译科学今天所获得的可能的平淡需要大量理性启发的严谨化。正如我们所认为的那样，这种冷漠的部分原因是语言(和文化)上的幼稚。参见Giridhar 2005的理性解释。例如，像梵语单词dharma这样的词汇化已经受到了不可接受的naïve，非理性和至上主义，因此明显不科学的对待。这已经被证明了(见Giridhar op city)。我们也会在这里讨论。问题的部分原因在于多年来持续不断的空洞的煽动性言论。例如，人们谈论生态翻译。有没有什么作品是用生态翻译来翻译的?如果不是，它的状态是什么?它似乎是存在于空气中的大脑体操?有没有一种与翻译实践毫无关系的翻译原则?在罗摩衍那的几个地区化身之后，出现了一些有趣的、时髦的、兴高采烈的关于原作经历几种形式以回应目标文化的叙事要求的嗡嗡声。据我所知，现代文学作品中没有这样的化身，因为很明显，译者不知道该怎么做!这是否意味着这些不同的化身，无论定义多么模糊，在理论上都是可选择的?我理性地认为，改编在技术上不同于翻译。从本质上讲，没有“适应”，例如，对于话语或科学话语。
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Pub Date : 2022-05-01DOI: 10.46623/tt/2022.16.1.tr2
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Pub Date : 2022-05-01DOI: 10.46623/tt/2022.16.1.no2
Mrinmoy Pramanick
This essay discusses translation as the primary factor in the creation of Indian literature in general and Bangla literature in the medieval period. The term "translation" that was used to describe the accommodation of numerous literatures after reception, adaption, influence, and translation in mediaeval Bangla was liberal. We discover several facets and definitions of translation while reading mediaeval Bangla literature, despite the word translation not being used. However, identical actions took place while disguising them as resistance and social welfare. This study does not investigate the original mediaeval texts; instead, it surveys Bangla-language literary histories of Bangla literature and traces how the literary historian(s) viewed the process of mediaeval translation. In order to support the idea of the Indian school of translation, this study incorporated diverse objectives, strategies, and conceptions of the poets involved in translating a book from Sanskrit, Persian, or any other language into Bangla. The focus of this essay is on issues like the origin of language, linguistic and cultural identity, resistance, and the function of translation in relation to all these elements. It also reads mediaeval translation as a component of a larger literary, political, and cultural system.
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Pub Date : 2021-02-10DOI: 10.46623/tt/2021.15.2.ar5
Abdul-Malik Saif Al-Selwi
The main purpose of this study is to investigate the awareness of Yemeni translation students of the importance of discourse analysis (DA) in translation. It has been conducted to find out the role of DA in enhancing students’ translation and its influence in improving their translation. For this purpose, a questionnaire was designed as the instrument to investigate the students’ awareness of DA importance in translating process. Third- and fourth-level students from three Yemeni universities were chosen to answer the que stionnaire. The results reveal that Yemeni students have an orientation of the importance of DA in translation; they are awar e of the role of DA in translation. The study concludes that understanding DA is one of the golden keys for successful translation. It is a very important course, which translation students should take and indispensable to the translation field. So there is a strong link between DA and translation. The study recommends that DA be a part of university curricula and translators’ training, and students should take a practical part with translation to apply the analysis of a text.
{"title":"The Importance of Discourse Analysis in Translation from Students’ Perspective","authors":"Abdul-Malik Saif Al-Selwi","doi":"10.46623/tt/2021.15.2.ar5","DOIUrl":"https://doi.org/10.46623/tt/2021.15.2.ar5","url":null,"abstract":"The main purpose of this study is to investigate the awareness of Yemeni translation students of the importance of discourse analysis (DA) in translation. It has been conducted to find out the role of DA in enhancing students’ translation and its influence in improving their translation. For this purpose, a questionnaire was designed as the instrument to investigate the students’ awareness of DA importance in translating process. Third- and fourth-level students from three Yemeni universities were chosen to answer the que stionnaire. The results reveal that Yemeni students have an orientation of the importance of DA in translation; they are awar e of the role of DA in translation. The study concludes that understanding DA is one of the golden keys for successful translation. It is a very important course, which translation students should take and indispensable to the translation field. So there is a strong link between DA and translation. The study recommends that DA be a part of university curricula and translators’ training, and students should take a practical part with translation to apply the analysis of a text.","PeriodicalId":410199,"journal":{"name":"Translation Today","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-02-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115475896","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}
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