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Rebel with a Cause: Domnica Radulescu’s Theater Translated into Spanish 反抗的原因:多米尼卡·拉杜列斯库的戏剧翻译成西班牙语
IF 0.2 3区 文学 Q2 Arts and Humanities Pub Date : 2020-10-03 DOI: 10.1093/cww/vpaa012
Catalina Iliescu-Gheorghiu
This paper focuses on Domnica Radulescu’s creative solutions when deconstructing myths, stereotypes, and prejudices and on the translator’s responses. In Domnica Radulescu’s plays, Exile is My Home and The Virgins of Seville (compiled, in their Spanish versions, in Dos Obras Dramáticas/Two Plays), the translator’s knowledge of both the author’s background and the target readership’s duality (Spanish host society and Romanian migrants) plays an important role in her decisions. Acknowledging that theater as a genre directly exposes hybridity of the author, translator, actors, and audience, this paper discusses the cultural context underpinning the original texts and translational options. At the same time, the reception of the translation into Spanish is partially confirmed through a small survey of Romanian diaspora and Spanish readers.
本文主要探讨了Domnica Radulescu在解构神话、刻板印象和偏见时的创造性解决方案以及译者的回应。在多米尼卡·拉杜列斯库的戏剧《流亡是我的家》和《塞维利亚的处女》(西班牙语版本汇编于Dos Obras Dramáticas/Two plays)中,译者对作者背景和目标读者的二元性(西班牙收容社会和罗马尼亚移民)的了解在她的决定中起着重要作用。承认戏剧作为一种体裁直接暴露了作者、译者、演员和观众的混杂性,本文讨论了支撑原文的文化背景和翻译选择。与此同时,通过对罗马尼亚侨民和西班牙读者的小型调查,部分证实了西班牙语翻译的接受程度。
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引用次数: 0
Grief As It Is: Genre and Narrative Withholding in the Miserable Memoir 悲伤的现状:《悲惨回忆录》的风格与叙事抑制
IF 0.2 3区 文学 Q2 Arts and Humanities Pub Date : 2020-10-03 DOI: 10.1093/cww/vpaa015
Tesla Schaeffer
One of the consequences of the so-called “memoir boom” of the 1990s and early 2000s is that it both reflected and generated an enormous hunger for memoirs of grief and suffering; these memoirs combine to provide that increasingly codified genre of storytelling (what the Bookseller magazine and industry jargon term “misery lit”) with fixed conventions. Here, I look at two memoirs, Helene Cooper’s The House at Sugar Beach (2009) and Joan Didion’s The Year of Magical Thinking (2007), in order to trace writerly strategies of resistance against the modes of interpretation that the genre expectations of the grief memoir create. I analyze the moves that the writers make in order to honor the stories they tell despite the pressures that attend generic discourses of suffering, including where those discourses are moored to racial and gender associations.
20世纪90年代和21世纪初所谓的“回忆录热潮”的后果之一是,它既反映了人们对悲伤和苦难回忆录的巨大渴望,也催生了这种渴望;这些回忆录结合在一起,以固定的惯例提供了一种日益规范化的叙事类型(《书商》杂志和行业术语称之为“悲惨文学”)。在这里,我看了两本回忆录,海伦·库珀的《糖滩之家》(2009)和琼·迪迪安的《神奇思考之年》(2007),以追踪作家抵制悲伤回忆录的类型期望所创造的解释模式的策略。我分析了作家们为了尊重他们讲述的故事而采取的行动,尽管这些故事面临着一般性的痛苦话语的压力,包括那些与种族和性别联系在一起的话语。
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引用次数: 1
Making Her Time (and Time Again): Feminist Phenomenology and Form in Recent British and Irish Fiction Written by Women 为她创造时间(又一次):近代英国和爱尔兰女性小说中的女性主义现象学和形式
IF 0.2 3区 文学 Q2 Arts and Humanities Pub Date : 2020-10-03 DOI: 10.1093/cww/vpaa014
M. Gray.
This article reads Ali Smith’s 2014 novel How to Be Both alongside Deborah Levy’s Hot Milk (2016) and Sally Rooney’s Conversations with Friends (2017). Using Lauren Berlant’s conception of neoliberal “crisis subjectivity” and Sara Ahmed’s vision of feminist wonderment as an antidote to the neoliberal “promise of happiness,” it argues that each novel considers what might be salvaged and what might grow from situations in which young women become attuned to their mutual incarceration in neoliberal time’s double bind. It contends that the forced improvisation and feminist reorientation undertaken by the protagonists can be analyzed through the lens of temporality. Finally, it contemplates how the disciplinary-specific modes through which the novels’ protagonists consider temporality might be connected to the specific literary projects of their authors.
本文阅读了阿里·史密斯2014年的小说《如何与黛博拉·利维的热牛奶》(2016)和莎莉·鲁尼的《与朋友的对话》(2017)同时进行。利用劳伦·伯兰特(Lauren Berlant)的新自由主义“危机主体性”概念,以及萨拉·艾哈迈德(Sara Ahmed)对女权主义奇迹的看法,作为新自由主义“幸福承诺”的解毒剂,它认为,每部小说都考虑到,年轻女性在新自由主义时代的双重束缚中适应了相互监禁,在这种情况下,什么可能被挽救,什么可能会成长。作者认为,主人公被迫的即兴创作和女权主义的重新定位可以通过时间性的视角来分析。最后,它还思考了小说主人公考虑时间性的特定学科模式如何与作者的特定文学项目联系起来。
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引用次数: 2
Rape, Victimization, and Agency in Fang Siqi’s Paradise of First Love 房《初恋乐园》中的强奸、受害与代理
IF 0.2 3区 文学 Q2 Arts and Humanities Pub Date : 2020-10-03 DOI: 10.1093/cww/vpaa013
Lisa Chu Shen
This article undertakes a feminist analysis of rape in the semi-autobiographical novel Fang Siqi’s Paradise of First Love (“房思琪的初恋乐园” / “Fang Siqi de chulian leyuan”) by Taiwanese author Lin Yihan (林奕含). For Siqi, the traumatic experience of rape intertwines with a discourse of love, interpreted as an effort to disavow victimization and claim agency. A major strength of the novel is the way depictions of personal tragedies are accompanied by lucid exposures of rape as a decidedly social act, which shifts the conventional focus of rape narratives from victims to perpetrators and, in so doing, interrogates the victim-blaming culture and places the responsibility on both social factors and individual perpetrators. In the end, the novel identifies women’s bonding and collective resistance as an effective site for hope and agency.
本文对半自传体小说《房的初恋天堂》中的强奸进行了女性主义分析房思琪的初恋乐园” / 台湾作家林意涵的《房思琪德楚莲乐园》(林奕含). 对思琪来说,强奸的创伤经历与爱的话语交织在一起,被解读为一种否认受害和索赔代理的努力。这部小说的一大优势是,在描述个人悲剧的同时,清晰地揭露了强奸是一种明显的社会行为,这将强奸叙事的传统焦点从受害者转移到了施暴者身上,并在这样做的过程中审问了指责受害者的文化,并将责任归咎于社会因素和施暴者个人。最后,小说将女性的纽带和集体抵抗视为希望和能动性的有效场所。
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引用次数: 2
Valerie Gillies: Inscriptions in the Wind 瓦莱丽·吉利斯:风中铭文
IF 0.2 3区 文学 Q2 Arts and Humanities Pub Date : 2020-09-24 DOI: 10.1093/cww/vpaa019
L. Severin
This article focuses on Valerie Gillies’s contribution to women’s poetry through an examination of her 2016 exhibition, A Garden of Time and Silence, with textile artist Anna S. King, at Dawyck Botanic Gardens in the Scottish Borders. While Gillies is an acclaimed print-page poet, this piece represents her skill at alternative uses of poetry. Throughout her career, Gillies has employed collaborative multimedia art to engage in contemporary political discussion, often on the environment, in order to challenge, more directly than is possible with print text, poetry’s gendered assumptions.
2016年,瓦莱丽·吉利斯与纺织艺术家安娜·s·金(Anna S. King)在苏格兰边境的达维克植物园(Dawyck Botanic Gardens)举办了一场名为《时间与寂静的花园》(A Garden of Time and Silence)的展览,本文将重点关注她对女性诗歌的贡献。虽然吉利斯是一位广受好评的印刷诗人,但这篇文章代表了她在诗歌的另类使用方面的技能。在她的整个职业生涯中,吉利斯一直采用协作式多媒体艺术参与当代政治讨论,通常是关于环境的,目的是比印刷文本更直接地挑战诗歌的性别假设。
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引用次数: 0
Concrete Poetry and Scottish Women’s Writing: The Case of Veronica Forrest-Thomson 具体诗歌与苏格兰女性写作:维罗妮卡·福雷斯特-汤姆森个案
IF 0.2 3区 文学 Q2 Arts and Humanities Pub Date : 2020-07-01 DOI: 10.1093/CWW/VPAA021
Greg Thomas
This article explores the relationship between concrete poetry and women’s writing, focusing especially on the concrete-influenced work of the Scottish poet and literary critic Veronica Forrest-Thomson. I initially acknowledge the male-dominated nature of the concrete poetry movement, consider some sociological reasons for the exclusion of women from the movement, and bring to light some examples of women creatively involved with concrete poetry. I then explore Forrest-Thomson’s early concrete-influenced verse and argue that Forrest-Thomson’s willingness and ability to experiment with concrete and other late-modernist literary styles reflected an exceptional degree of intellectual and economic independence. Finally, I consider the possibility that the term “Scottish women’s poetry” sometimes indicates a resistance to intellectually adventurous work such as Forrest-Thomson’s.
本文探讨了具体诗歌与女性写作之间的关系,特别是苏格兰诗人兼文学评论家维罗妮卡·福雷斯特·汤姆森的具体作品。我最初承认具体诗歌运动的男性主导性质,考虑了将女性排除在运动之外的一些社会学原因,并列举了一些女性创造性地参与具体诗歌的例子。然后,我探索了福雷斯特·汤姆森早期受混凝土影响的诗歌,并认为福雷斯特·汤姆森尝试混凝土和其他晚期现代主义文学风格的意愿和能力反映了非凡的智力和经济独立性。最后,我认为“苏格兰女性诗歌”一词有时可能表示对福雷斯特·汤姆森这样的智力冒险作品的抵制。
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引用次数: 0
Long Thoughts With Aritha van Herk. An Interview 与Aritha van Herk的长思。访谈
IF 0.2 3区 文学 Q2 Arts and Humanities Pub Date : 2020-06-09 DOI: 10.1093/CWW/VPAA007
Veronika Schuchter
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引用次数: 0
Place and Postcolonial Ecofeminism: Pakistani Women’s Literary and Cinematic Fictions 地方与后殖民生态女权主义:巴基斯坦女性文学电影创作
IF 0.2 3区 文学 Q2 Arts and Humanities Pub Date : 2020-03-01 DOI: 10.1093/cww/vpaa018
C. Chambers
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引用次数: 1
“I Know I Can’t Change the Future, But I Can Change the Past”: Toni Morrison, Robin Coste Lewis, and the Classical Tradition “我知道我不能改变未来,但我可以改变过去”:托尼·莫里森、罗宾·科斯特·刘易斯与古典传统
IF 0.2 3区 文学 Q2 Arts and Humanities Pub Date : 2019-12-31 DOI: 10.1093/cww/vpaa001
Grace McGowan
“A central figure in transnational intellectual history” (Roynon, 2013), Toni Morrison’s oeuvre has helped deconstruct the triangulated relationship between a European Graeco-Roman classical tradition, Africa, and America. Morrison’s deconstruction of the classical past and its aesthetics have laid the foundation for the reconstructive work of a new generation of writers, including Robin Coste Lewis. Both writers renegotiate and reclaim a classical aesthetic by recovering its African roots and situating it in an African American context. In addition, the article (1) examines the role of a classical aesthetic in beauty discourse and Robin Coste Lewis’s re-vision of the black female body and (2) addresses what this means for canonicity, linking Lewis’s ambivalence about reclaiming a classical aesthetic to Morrison’s ambivalence in “Unspeakable Things Unspoken” (1987).
托尼·莫里森的作品是“跨国知识史上的中心人物”(罗伊农,2013),帮助解构了欧洲古罗马古典传统、非洲和美国之间的三角关系。莫里森对古典历史及其美学的解构为包括罗宾·科斯特·刘易斯在内的新一代作家的重建工作奠定了基础。两位作家都通过恢复其非洲根源并将其置于非裔美国人的背景下,重新谈判并恢复了古典美学。此外,文章(1)考察了古典美学在美话语中的作用,以及罗宾·科斯特·刘易斯对黑人女性身体的重新审视,(2)探讨了这对经典性意味着什么,将刘易斯关于恢复古典美学的矛盾心理与莫里森在《说不出的事》(1987)中的矛盾心理联系起来。
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引用次数: 0
Toni Morrison and the New Black: Reading God Help the Child 托尼·莫里森与新黑人:阅读上帝帮助孩子
IF 0.2 3区 文学 Q2 Arts and Humanities Pub Date : 2019-12-31 DOI: 10.1093/cww/vpaa005
Y. Begum
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引用次数: 2
期刊
Contemporary Womens Writing
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