Pub Date : 2021-09-02DOI: 10.1080/07374836.2021.1994244
Claudia Hamm, Jonathan A. Becker
What is a translated text and who does it belong to? What does a translation do with the “What” of the source language, when it is shifted into the “How” of the target language? Can the “What” of a text even be separated from its respective linguistic expression? These questions have been of interest to me since I began translating, which, aside from a few earlier incidental encounters, was about fifteen years ago. What do literary translators do before they translate? “They read the original,” we are inclined to answer. But am I not already translating a foreign-language original as I read it? Where does the appropriation begin that constitutes not just every translation but every reading? It might begin with opening the book, with the process of selecting it, or even with all the historical and cultural background knowledge one has to assemble to end up with this exact book. (This is part of what is known as the “hermeneutic circle,” and determines not only our reading choices, but also the “paratexts” we read before we get to the actual corpus.) So, the “Before” is already part of the process. And for translators, this “Before” rather frequently results in the discovery of a literary, emotional, intellectual, or even biographical closeness to the author, which then prompts them to find a publishing house because they are convinced that this work has to be available to read in one’s own language. Let us assume all these steps have been completed and the translator sits (or lies) before the original to be translated. In addition to the desire for an aesthetic or emotional experience, we read with the impulse to understand. What we are able and willing to understand, however, differs among individuals. Everyone reads their own book. Beyond that, the “How” of a text appears more important in the case of literature than the “What” I have to somehow extract from within the “How.” (“Everything has been said, just not by everybody,” Karl Valentin said of the “How” overhanging the “What.”) Once I, the translator, have constructed the “What” bound in the “How” of the other language, based on the horizon of my own comprehension, I can look for a linguistic form in German that organizes the linguistic material of my mother tongue in such a way that it achieves even close to the same effect the original had on me—one would think. But is that right? In translation circles there is much talk of the “equivalent effect” as the aim of translating wherein one attempts to infer, sense, analyze the kind of impression the original leaves in the source language in order to reconstruct it in one’s own. After considering the aforementioned hermeneutic circle and everything that it
{"title":"Who Does a Translated Text Belong To?","authors":"Claudia Hamm, Jonathan A. Becker","doi":"10.1080/07374836.2021.1994244","DOIUrl":"https://doi.org/10.1080/07374836.2021.1994244","url":null,"abstract":"What is a translated text and who does it belong to? What does a translation do with the “What” of the source language, when it is shifted into the “How” of the target language? Can the “What” of a text even be separated from its respective linguistic expression? These questions have been of interest to me since I began translating, which, aside from a few earlier incidental encounters, was about fifteen years ago. What do literary translators do before they translate? “They read the original,” we are inclined to answer. But am I not already translating a foreign-language original as I read it? Where does the appropriation begin that constitutes not just every translation but every reading? It might begin with opening the book, with the process of selecting it, or even with all the historical and cultural background knowledge one has to assemble to end up with this exact book. (This is part of what is known as the “hermeneutic circle,” and determines not only our reading choices, but also the “paratexts” we read before we get to the actual corpus.) So, the “Before” is already part of the process. And for translators, this “Before” rather frequently results in the discovery of a literary, emotional, intellectual, or even biographical closeness to the author, which then prompts them to find a publishing house because they are convinced that this work has to be available to read in one’s own language. Let us assume all these steps have been completed and the translator sits (or lies) before the original to be translated. In addition to the desire for an aesthetic or emotional experience, we read with the impulse to understand. What we are able and willing to understand, however, differs among individuals. Everyone reads their own book. Beyond that, the “How” of a text appears more important in the case of literature than the “What” I have to somehow extract from within the “How.” (“Everything has been said, just not by everybody,” Karl Valentin said of the “How” overhanging the “What.”) Once I, the translator, have constructed the “What” bound in the “How” of the other language, based on the horizon of my own comprehension, I can look for a linguistic form in German that organizes the linguistic material of my mother tongue in such a way that it achieves even close to the same effect the original had on me—one would think. But is that right? In translation circles there is much talk of the “equivalent effect” as the aim of translating wherein one attempts to infer, sense, analyze the kind of impression the original leaves in the source language in order to reconstruct it in one’s own. After considering the aforementioned hermeneutic circle and everything that it","PeriodicalId":42066,"journal":{"name":"TRANSLATION REVIEW","volume":"111 1","pages":"15 - 25"},"PeriodicalIF":0.5,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41935319","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-09-02DOI: 10.1080/07374836.2021.1991706
Shelby Vincent
{"title":"In Conversation with Will Evans: On Becoming a Translator and a Dallas, Texas–based Publisher and Bookstore Owner","authors":"Shelby Vincent","doi":"10.1080/07374836.2021.1991706","DOIUrl":"https://doi.org/10.1080/07374836.2021.1991706","url":null,"abstract":"","PeriodicalId":42066,"journal":{"name":"TRANSLATION REVIEW","volume":"111 1","pages":"1 - 9"},"PeriodicalIF":0.5,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48022990","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-15DOI: 10.1080/07374836.2020.1860843
Pardis Sharifpour, Masood Sharififar
Retranslation has been considered “a positive phenomenon inevitable in the field of literature, offering various interpretations of the same original” by scholars like Sirkku Aaltonen. It was usually “related to canonical literary texts; as there were few great translations of these texts, retranslations came to existence.” Theoretical assumptions about retranslation developed in the 1990s are often referred to as the “retranslation hypothesis,” suggesting that “if two or more translations of the same text exist in the same target language, the later translation(s) tend to be closer to the original than the earlier ones.” Here, closeness refers to the resemblance between the source text and translation, which is determined by structural changes, inaccuracies, deletion, or additions. The fewer the changes, the closer translation will be to the original. This study, focusing on English translations of Rumi’s poetry, considers the notion of closeness based on the dichotomy of documentary and instrumental translation rather than the traditional categories of literal and free translations, the reasons behind the production of retranslations, as well as the success of retranslation in making the original author known to the target readers and seeks to answer these questions: (1) To what extent are the retranslations of Rūmī’s poetry linguistically and culturally close to the source text (2) What are the motives for retranslating Rūmī’s poetry into English? (3) Is it possible for indirect retranslations to follow the rules of the retranslation hypothesis?
{"title":"AN INVESTIGATION OF RETRANSLATION HYPOTHESIS IN ENGLISH TRANSLATIONS OF RŪMĪ’S POETRY","authors":"Pardis Sharifpour, Masood Sharififar","doi":"10.1080/07374836.2020.1860843","DOIUrl":"https://doi.org/10.1080/07374836.2020.1860843","url":null,"abstract":"Retranslation has been considered “a positive phenomenon inevitable in the field of literature, offering various interpretations of the same original” by scholars like Sirkku Aaltonen. It was usually “related to canonical literary texts; as there were few great translations of these texts, retranslations came to existence.” Theoretical assumptions about retranslation developed in the 1990s are often referred to as the “retranslation hypothesis,” suggesting that “if two or more translations of the same text exist in the same target language, the later translation(s) tend to be closer to the original than the earlier ones.” Here, closeness refers to the resemblance between the source text and translation, which is determined by structural changes, inaccuracies, deletion, or additions. The fewer the changes, the closer translation will be to the original. This study, focusing on English translations of Rumi’s poetry, considers the notion of closeness based on the dichotomy of documentary and instrumental translation rather than the traditional categories of literal and free translations, the reasons behind the production of retranslations, as well as the success of retranslation in making the original author known to the target readers and seeks to answer these questions: (1) To what extent are the retranslations of Rūmī’s poetry linguistically and culturally close to the source text (2) What are the motives for retranslating Rūmī’s poetry into English? (3) Is it possible for indirect retranslations to follow the rules of the retranslation hypothesis?","PeriodicalId":42066,"journal":{"name":"TRANSLATION REVIEW","volume":"111 1","pages":"26 - 41"},"PeriodicalIF":0.5,"publicationDate":"2021-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/07374836.2020.1860843","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49191026","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-05-04DOI: 10.1080/07374836.2021.1939214
Şafak Horzum, Başak Ağın
This bibliography, which covers English translations of literary works produced in Turkish—including the works penned by minorities living in Turkey—from 2004 to 2020, is a sequel to Saliha Paker and Melike Yılmaz’s bibliographic research published in the 2004 special issue “Turkish Literature and Its Translation” of Translation Review (vol. 68, no. 1). Paker and Yılmaz’s work, despite its comprehensive coverage from 1949 to 2004, leaves out the translations published in the latter half of the cut-off date, presumably due to the publication date of the issue. Therefore, the following chronological bibliography begins with the works that were not included in the previous study. Taking Paker and Yılmaz’s research as its basis, this bibliography includes literary genres common to world literatures, such as poetry, drama, novel, short story, as well as creative non-fiction such as travel literature and memoir. Other works of non-fiction and self-published works are not represented here.
{"title":"A Chronological Bibliography of Turkish Literature in English Translation: 2004 – 2020","authors":"Şafak Horzum, Başak Ağın","doi":"10.1080/07374836.2021.1939214","DOIUrl":"https://doi.org/10.1080/07374836.2021.1939214","url":null,"abstract":"This bibliography, which covers English translations of literary works produced in Turkish—including the works penned by minorities living in Turkey—from 2004 to 2020, is a sequel to Saliha Paker and Melike Yılmaz’s bibliographic research published in the 2004 special issue “Turkish Literature and Its Translation” of Translation Review (vol. 68, no. 1). Paker and Yılmaz’s work, despite its comprehensive coverage from 1949 to 2004, leaves out the translations published in the latter half of the cut-off date, presumably due to the publication date of the issue. Therefore, the following chronological bibliography begins with the works that were not included in the previous study. Taking Paker and Yılmaz’s research as its basis, this bibliography includes literary genres common to world literatures, such as poetry, drama, novel, short story, as well as creative non-fiction such as travel literature and memoir. Other works of non-fiction and self-published works are not represented here.","PeriodicalId":42066,"journal":{"name":"TRANSLATION REVIEW","volume":"110 1","pages":"39 - 47"},"PeriodicalIF":0.5,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43543473","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-05-04DOI: 10.1080/07374836.2021.1939212
Ursula Deser Friedman
In the introduction to his 1903 translation of Jules Verne’s From the Earth to the Moon (De la terre à la lune, 1865), which he translated from an intermediary Japanese translation, Lu Xun (1881–1936) writes, “Science fiction [in China] is as rare as unicorn horns, which shows in a way the intellectual poverty of our times.” Yet China is now home to a legion of contemporary science fiction writers who wrestle with China’s historical past, explore the depths of the human psyche, and analyze the sociopolitical issues facing contemporary China through exquisite prose. However, English-language translations of contemporary Chinese women’s science fiction remain sorely lacking. My translation of Hao Jingfang’s novelette Shengsi Yu (生死域2016, lit. The Realm Between Life and Death) aims to fill this gap by extending the international influence of Chinese (women’s) science and speculative fiction. Hao Jingfang (郝景芳, b. 1984) has earned numerous accolades for her tales of Chinese urbanites struggling to forge meaningful connections amid looming social inequality and a repressive political regime. In 2016, Hao sent waves across China’s science fiction circles by beating Stephen King to the Hugo Prize for Science Fiction Literature, becoming the first Chinese woman to win the award in its sixty-five-year history. Hao tackles the implications of China’s socio-economic inequality and deftly fuses traditional Chinese folklore and modern cityscapes with a Western-style cinematic aesthetic and subtle political critique. Her novels and short stories also center around themes of existentialism, Chinese history, the human psyche, and humanity’s place in the cosmos. This article draws upon relevant translation theory to contextualize the practice of “creative subversion” in literary translation and applies these concepts to an examination of specific instances of subversion in my English translation of Shengsi Yu (Limbo), a tumultuous foray into a nameless narrator’s struggles to confront his innermost fears and desires, while hanging in limbo between life and death. The term “creative subversion” is derived from Professor Suzanne Jill Levine’s The Subversive Scribe: Translating Latin American Fiction, in which Levine hails literary translators as “subversive scribes” who destroy “the form of the original,” while retaining meaning, albeit “reproduced through another form.” Here, “creative subversion” is taken to mean creative infidelity toward the source text in order to adapt and transform the source text for an Englishspeaking readership. The translator mediates the dialogue between source and target texts by bending the source text through the prism of their particular interpretation. In
在介绍他1903年翻译的儒勒·凡尔纳的《从地球到月球》（De la terreàla lune，1865）时，鲁迅（1881–1936）写道：“科幻小说（在中国）像独角兽角一样罕见，这在某种程度上表明了我们时代的智识贫困。“然而，中国现在是一大批当代科幻作家的家园，他们与中国的历史过去作斗争，探索人类心理的深处，并通过精致的散文分析当代中国面临的社会政治问题。然而，中国当代女性科幻小说的英译本仍然十分匮乏。郝景芳中篇小说《圣思语》的翻译(生死域2016，点亮。《生死境界》旨在通过扩大中国（女性）科学和推理小说的国际影响力来填补这一空白。郝景芳(郝景芳, b.1984）的故事赢得了无数赞誉，她讲述了中国城市人在迫在眉睫的社会不平等和专制的政治制度中努力建立有意义的联系的故事。2016年，郝击败斯蒂芬·金获得雨果科幻文学奖，成为中国科幻文学奖六十五年历史上首位获奖的中国女性，在中国科幻界掀起了轩然大波。郝处理了中国社会经济不平等的影响，巧妙地将中国传统民间传说和现代城市景观与西方风格的电影美学和微妙的政治批判融合在一起。她的小说和短篇小说也围绕存在主义、中国历史、人类心理和人类在宇宙中的地位等主题展开。本文借鉴了相关的翻译理论，将文学翻译中的“创造性颠覆”实践置于语境中，并将这些概念应用于我的英文翻译《圣思语》中颠覆的具体例子的考察，这是一次对一个无名叙述者为对抗他内心的恐惧和欲望而进行的斗争的混乱探索，在生死之间徘徊。“创造性颠覆”一词源自苏珊娜·吉尔·莱文教授的《颠覆性抄写员：翻译拉丁美洲小说》，莱文在书中称赞文学翻译家是“颠覆性抄写人员”，他们破坏了“原作的形式”，同时保留了意义，尽管“通过另一种形式复制”，“创造性颠覆”指的是对源文本的创造性不忠，目的是为英语读者改编和改造源文本。译者通过特定解读的棱镜来弯曲源文本，从而调解源文本和目标文本之间的对话。在里面
{"title":"CREATIVE SUBVERSION IN HAO JINGFANG’S SHENGSI YU (生死域)/LIMBO","authors":"Ursula Deser Friedman","doi":"10.1080/07374836.2021.1939212","DOIUrl":"https://doi.org/10.1080/07374836.2021.1939212","url":null,"abstract":"In the introduction to his 1903 translation of Jules Verne’s From the Earth to the Moon (De la terre à la lune, 1865), which he translated from an intermediary Japanese translation, Lu Xun (1881–1936) writes, “Science fiction [in China] is as rare as unicorn horns, which shows in a way the intellectual poverty of our times.” Yet China is now home to a legion of contemporary science fiction writers who wrestle with China’s historical past, explore the depths of the human psyche, and analyze the sociopolitical issues facing contemporary China through exquisite prose. However, English-language translations of contemporary Chinese women’s science fiction remain sorely lacking. My translation of Hao Jingfang’s novelette Shengsi Yu (生死域2016, lit. The Realm Between Life and Death) aims to fill this gap by extending the international influence of Chinese (women’s) science and speculative fiction. Hao Jingfang (郝景芳, b. 1984) has earned numerous accolades for her tales of Chinese urbanites struggling to forge meaningful connections amid looming social inequality and a repressive political regime. In 2016, Hao sent waves across China’s science fiction circles by beating Stephen King to the Hugo Prize for Science Fiction Literature, becoming the first Chinese woman to win the award in its sixty-five-year history. Hao tackles the implications of China’s socio-economic inequality and deftly fuses traditional Chinese folklore and modern cityscapes with a Western-style cinematic aesthetic and subtle political critique. Her novels and short stories also center around themes of existentialism, Chinese history, the human psyche, and humanity’s place in the cosmos. This article draws upon relevant translation theory to contextualize the practice of “creative subversion” in literary translation and applies these concepts to an examination of specific instances of subversion in my English translation of Shengsi Yu (Limbo), a tumultuous foray into a nameless narrator’s struggles to confront his innermost fears and desires, while hanging in limbo between life and death. The term “creative subversion” is derived from Professor Suzanne Jill Levine’s The Subversive Scribe: Translating Latin American Fiction, in which Levine hails literary translators as “subversive scribes” who destroy “the form of the original,” while retaining meaning, albeit “reproduced through another form.” Here, “creative subversion” is taken to mean creative infidelity toward the source text in order to adapt and transform the source text for an Englishspeaking readership. The translator mediates the dialogue between source and target texts by bending the source text through the prism of their particular interpretation. In","PeriodicalId":42066,"journal":{"name":"TRANSLATION REVIEW","volume":"110 1","pages":"48 - 62"},"PeriodicalIF":0.5,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44135401","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-05-04DOI: 10.1080/07374836.2021.1939213
Jonathan Cohen
{"title":"RECOVERING A MASTERPIECE OF SOCIAL PROSE: WILLIAM CARLOS WILLIAMS’S LOST TRANSLATION OF “CAGE”","authors":"Jonathan Cohen","doi":"10.1080/07374836.2021.1939213","DOIUrl":"https://doi.org/10.1080/07374836.2021.1939213","url":null,"abstract":"","PeriodicalId":42066,"journal":{"name":"TRANSLATION REVIEW","volume":"110 1","pages":"4 - 14"},"PeriodicalIF":0.5,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41895541","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-05-04DOI: 10.1080/07374836.2021.1951576
members—Luise von Flotow, M. Gu, Ignacio Infante, Steven G. Kellman, S. Kingery, Jonathan C. Stalling, Clare Sulli
In lieu of an interview in this issue, we’d like to take this opportunity to introduce and thank the Translation Review Editorial Board members—Luise von Flotow, Ming Dong Gu, Ignacio Infante, Steven G. Kellman, Sandra Kingery, Jonathan Stalling, Clare Sullivan, and Kelly Washbourne. Each member has been instrumental over the years in helping to fulfill TR’s mission of serving as a forum for cultivating a dialogue between American and international authors and scholars on the art and craft of literary translation. Since the inaugural issue was published in 1978, TR has promoted the visibility and recognition of the translator as one of the most important agents in fostering understanding and appreciation among cultures.
{"title":"INTRODUCTION TO THE TRANSLATION REVIEW Editorial Board Members","authors":"members—Luise von Flotow, M. Gu, Ignacio Infante, Steven G. Kellman, S. Kingery, Jonathan C. Stalling, Clare Sulli","doi":"10.1080/07374836.2021.1951576","DOIUrl":"https://doi.org/10.1080/07374836.2021.1951576","url":null,"abstract":"In lieu of an interview in this issue, we’d like to take this opportunity to introduce and thank the Translation Review Editorial Board members—Luise von Flotow, Ming Dong Gu, Ignacio Infante, Steven G. Kellman, Sandra Kingery, Jonathan Stalling, Clare Sullivan, and Kelly Washbourne. Each member has been instrumental over the years in helping to fulfill TR’s mission of serving as a forum for cultivating a dialogue between American and international authors and scholars on the art and craft of literary translation. Since the inaugural issue was published in 1978, TR has promoted the visibility and recognition of the translator as one of the most important agents in fostering understanding and appreciation among cultures.","PeriodicalId":42066,"journal":{"name":"TRANSLATION REVIEW","volume":"110 1","pages":"1 - 3"},"PeriodicalIF":0.5,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46887437","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-05-04DOI: 10.1080/07374836.2021.1954437
Joyce Zonana
Toward the end of Windward Heights, Maryse Condé’s richly textured 1995 Caribbean retelling of Wuthering Heights, a dejected Razyé, her Heathcliff character, gazes over the “listless immensity” of the sea and wonders if he should “swim out with a calm stroke” and then, “with eyes closed and fists clenched, rolled up in a ball like a foetus in its element ... lower himself further and further to the very bottom of the body of the ocean.” Razyé chooses not to return to the womb of the sea (la mer in French, impossible for the ear to distinguish from la mère, the mother), though the sea’s alluring embrace encircles Windward Heights as it does The Belle Créole, Condé’s 2001 novel recently published in an engaging English translation by Nicole Simek. Like the earlier novel, The Belle Créole takes place on Guadeloupe, Condé’s “small, fitful, and remote” island homeland, where the sun goes down in “a daily orgy of blood.” But unlike Windward Heights, The Belle Créole is set in a familiar and disturbing turn-of-the-twenty-firstcentury present. The Belle Créole’s central character, Dieudonné Sabrina, is as drawn to the sea as to a lover, “always quick to wrap herself around his body and greet him with the moist kiss of her mouth.” He swims in it alone for an hour every morning; his happiest memories are of childhood jaunts on La Belle Créole, the sailboat owned by the Cohen family for whom his mother worked; and in the end, the sea remains his “only friend,” the only “one who had always stayed faithful ... offering him the caress of her belly, opening for him the sticky depths of her pubis, crowned with kelp.” It is no accident that Dieudonné’s dark-skinned Black mother, abandoned by her well-to-do lighter-skinned lover (ironically named “Vertueux”) when she becomes pregnant, is named “Marine.” Dieudonné, a sensitive and sickly only child, clings to her with unabashedly Oedipal desire. Ten years old when Marine is paralyzed by a fall, Dieudonné spends the next five years “spoon-feeding her meals to her, bathing her, rubbing her down, dressing her, getting her to do her business without disgust.” Marine’s death, a relief to her family, leaves the boy “all alone in this world.” Rejected by his grandmother and godmother, he moves into the Cohens’ abandoned yacht, spending hours
在《向风高地》（Windward Heights）的结尾，玛丽斯·孔戴（Maryse Condé）1995年在加勒比海对呼啸山庄（Wuthering Heights，“闭着眼睛，紧握拳头，像胎儿一样蜷缩成一团……越来越低到海底。”拉齐选择不回到大海的子宫（法语中的la mer，耳朵无法与母亲la mère区分开来），尽管大海迷人的怀抱环绕着向风高地，就像《美丽的克里奥尔》（the Belle Créole）一样。孔戴2001年的小说最近由妮可·西梅克（Nicole Simek）以引人入胜的英文翻译出版。与早期的小说一样，《美丽的克里奥尔》发生在瓜德罗普岛，这是孔戴“小、时断时续、偏远”的岛屿家园，太阳在那里“每天的血腥狂欢”中落下。但与《向风高地》不同的是，《美儿克里奥尔》的背景是21世纪一个熟悉而令人不安的转折。Belle Créole的中心人物DieudonéSabrina对大海就像对情人一样着迷，“总是很快把自己裹在他的身上，用她湿润的嘴吻迎接他。”他每天早上都会独自在海里游泳一个小时；他最幸福的记忆是童年时在La Belle Créole帆船上的短途旅行，这艘帆船由科恩家族所有，他的母亲为科恩家族工作；最终，大海仍然是他“唯一的朋友”，是唯一一个“一直忠诚的人……给他抚摸她的腹部，为他打开她那黏糊糊的耻骨深处，上面覆盖着海带。”迪乌多内的深色皮肤的黑人母亲，在怀孕时被她富裕的浅色皮肤的情人（讽刺地称为“Vertueux”）抛弃，这绝非偶然，被命名为“海军陆战队”。迪乌多内，一个敏感多病的独生子女，带着毫不掩饰的俄狄浦斯欲望紧紧抓住她。十岁时，Marine因摔倒而瘫痪，Dieudoné在接下来的五年里“用勺子给她喂饭，给她洗澡，给她按摩，给她穿衣服，让她做生意而不感到厌恶。”Marine的死让她的家人松了一口气，让这个男孩“在这个世界上孤身一人”。在祖母和教母的拒绝下，他搬进了Cohens夫妇废弃的游艇，花费数小时
{"title":"The Belle Créole","authors":"Joyce Zonana","doi":"10.1080/07374836.2021.1954437","DOIUrl":"https://doi.org/10.1080/07374836.2021.1954437","url":null,"abstract":"Toward the end of Windward Heights, Maryse Condé’s richly textured 1995 Caribbean retelling of Wuthering Heights, a dejected Razyé, her Heathcliff character, gazes over the “listless immensity” of the sea and wonders if he should “swim out with a calm stroke” and then, “with eyes closed and fists clenched, rolled up in a ball like a foetus in its element ... lower himself further and further to the very bottom of the body of the ocean.” Razyé chooses not to return to the womb of the sea (la mer in French, impossible for the ear to distinguish from la mère, the mother), though the sea’s alluring embrace encircles Windward Heights as it does The Belle Créole, Condé’s 2001 novel recently published in an engaging English translation by Nicole Simek. Like the earlier novel, The Belle Créole takes place on Guadeloupe, Condé’s “small, fitful, and remote” island homeland, where the sun goes down in “a daily orgy of blood.” But unlike Windward Heights, The Belle Créole is set in a familiar and disturbing turn-of-the-twenty-firstcentury present. The Belle Créole’s central character, Dieudonné Sabrina, is as drawn to the sea as to a lover, “always quick to wrap herself around his body and greet him with the moist kiss of her mouth.” He swims in it alone for an hour every morning; his happiest memories are of childhood jaunts on La Belle Créole, the sailboat owned by the Cohen family for whom his mother worked; and in the end, the sea remains his “only friend,” the only “one who had always stayed faithful ... offering him the caress of her belly, opening for him the sticky depths of her pubis, crowned with kelp.” It is no accident that Dieudonné’s dark-skinned Black mother, abandoned by her well-to-do lighter-skinned lover (ironically named “Vertueux”) when she becomes pregnant, is named “Marine.” Dieudonné, a sensitive and sickly only child, clings to her with unabashedly Oedipal desire. Ten years old when Marine is paralyzed by a fall, Dieudonné spends the next five years “spoon-feeding her meals to her, bathing her, rubbing her down, dressing her, getting her to do her business without disgust.” Marine’s death, a relief to her family, leaves the boy “all alone in this world.” Rejected by his grandmother and godmother, he moves into the Cohens’ abandoned yacht, spending hours","PeriodicalId":42066,"journal":{"name":"TRANSLATION REVIEW","volume":"110 1","pages":"63 - 69"},"PeriodicalIF":0.5,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47335920","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-05-04DOI: 10.1080/07374836.2021.1939211
Valentina Maniacco
The works of Italian/Friulian author, Tito Maniacco (1932–2010), including Mestri di mont (2007), incorporate a multitude of allusions. One of the problems authors face when using allusions is that, if their reader does not recognize the allusion, meaning can be lost. This problem is exacerbated when a work moves across cultural borders. While Mestri di mont is written in Italian, the Friulian language features prominently, and there is also a smattering of French and Latin. In this article, I discuss my approach to handling these two challenges in bringing this text across into English: the multiple languages and allusions. My aim is to explain why footnotes were my chosen strategy for transmitting additional information to a new readership. In the field of translation, footnotes are controversial. In the case of Mestri di mont, footnotes served to convey information and insights for an improved reading experience.
{"title":"An Argument for Footnotes: The Special Case of Translating Tito Maniacco’s Mestri di mont (2007)","authors":"Valentina Maniacco","doi":"10.1080/07374836.2021.1939211","DOIUrl":"https://doi.org/10.1080/07374836.2021.1939211","url":null,"abstract":"The works of Italian/Friulian author, Tito Maniacco (1932–2010), including Mestri di mont (2007), incorporate a multitude of allusions. One of the problems authors face when using allusions is that, if their reader does not recognize the allusion, meaning can be lost. This problem is exacerbated when a work moves across cultural borders. While Mestri di mont is written in Italian, the Friulian language features prominently, and there is also a smattering of French and Latin. In this article, I discuss my approach to handling these two challenges in bringing this text across into English: the multiple languages and allusions. My aim is to explain why footnotes were my chosen strategy for transmitting additional information to a new readership. In the field of translation, footnotes are controversial. In the case of Mestri di mont, footnotes served to convey information and insights for an improved reading experience.","PeriodicalId":42066,"journal":{"name":"TRANSLATION REVIEW","volume":"110 1","pages":"15 - 30"},"PeriodicalIF":0.5,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44184953","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-05-04DOI: 10.1080/07374836.2021.1951577
Daniella Smith
Reviewed by Daniel Smith Robert Stock’s thoughtful and engaging Celebrity Translation in British Theatre: Relevance and Reception, Voice and Visibility employs methodologies derived from cognitive ...
丹尼尔·史密斯·罗伯特·斯托克（Daniel Smith Robert Stock）的《英国戏剧名人翻译：关联与接受，声音与可视性》（Celebrity Translation in British Theatre:Relevance and Reception，Voice and Visibility）采用了源自认知的方法论。。。
{"title":"Celebrity Translation in British Theatre: Relevance and Reception, Voice and Visibility","authors":"Daniella Smith","doi":"10.1080/07374836.2021.1951577","DOIUrl":"https://doi.org/10.1080/07374836.2021.1951577","url":null,"abstract":"Reviewed by Daniel Smith Robert Stock’s thoughtful and engaging Celebrity Translation in British Theatre: Relevance and Reception, Voice and Visibility employs methodologies derived from cognitive ...","PeriodicalId":42066,"journal":{"name":"TRANSLATION REVIEW","volume":"110 1","pages":"70 - 74"},"PeriodicalIF":0.5,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48212561","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","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：