Pub Date : 2023-01-02DOI: 10.1080/07374836.2023.2179290
Shene Mohammed
Alana Marie Levinson-LaBrosse and I have worked together for more than eight years translating Sorani Kurdish poets of the eighteen hundreds. We’ve experimented with poets, approaches to translations, and readings of literary works. The pedagogical effects of co-translation over the years created gradual, significant changes in my learning; it gave me a formative education in literature and literary translation. This project informed my knowledge of how language interacts in the Kurdish regions of Iraq and what these interactions create. The educational system of the eighteen hundreds being Arabic and religious, the literary influence traveling in all directions across Arabic, Turkish, Persian, and all the dialects and sub-dialects in between, built a very complex creative impetus for the poetry at the time that was unrestricted in literary influence and restricted in language and form. By reading these poems, we asked ourselves what kind of restrictions the writers placed upon themselves and whether to follow or defy those restrictions. When texts create an interactive world like this, they are open to new and changing interpretations as well as translations. The relationship Alana and I have built together working with these texts is constantly redefining the collaborative nature inherent in the literature and the educational nature inherent in co-translation. Translating alone is often a silent practice, at least for the beginning stages of translation. But the one clear distinction in our work together is that it starts with talking, and discussion is the main drive. Speaking in English starts the translation process, and it’s the act of speaking that not only amplifies the experience but also makes it educational. Hearing our minds while thinking, hearing thoughts formulate readings, transforms the drift of ideas in a mental effort into an embodied practice. We speak about the experience and at the same time experience the speaking. Sound is an essential device in the form and meaning of the poems we’re translating. We read the poems to each other and listen to our impressions on what the sounds are doing in each language. We transfer the sound from the text into the narrative of our discussions to assess how it travels back to us, in sensations and in images. In one instance of translating Nali, an eighteenth-century poet, when discussing a poem dedicated to his “room,” it became very clear that the contrast between the sound of words and the overall tone of the poem that Nali creates is at the core of understanding and recreating the poem. The original Arabic title hujra signifies a space, but its purpose varies from one region to another. This room was given to poets for spiritual practice and religious education and became a permanent space for their teachings, reflections, and writings, an intimate space that was solitary and communal at the same time depending on the hour of the day. Sometimes, in the poets’ home cities, the rooms beca
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Pub Date : 2023-01-02DOI: 10.1080/07374836.2023.2179797
J. Richie
elements into him as a character? What would a translation that would not link the character to abstract concepts look like? To what extent should this note influence a translation of the play? Since the Gross and Potbellied Man’s dialogue mostly consists of grunts and his actions are mainly communicated through stage directions, the most challenging element of translating the character was the name itself. Character names are of determinate importance since they impact what readers might think of them. Even in a staged version of the play, viewers would see the name of the character on programs or other associated media. Translating the name in a very literal sense posed two problems: (1) it limited the casting possibilities for a staged production of the play, and (2) it didn’t fully express the range of emotions that Marinetti specified in his note. If I choose to use a term like “fat,” any directors or producers attempting to stage the play would be obligated to cast an actor who visually conforms to the physical description. Moreover, the character should, according to Marinetti’s note (or at least my interpretation of it), provoke negative emotions in the audience. Considering the unique contributions a translator can make in the process of theatrical translation helped me to determine how to translate the name of this character. Instead of a physical description of the character, such as “fat,” “portly,” or “large,” I chose to focus more on the unpleasantness of his presence. For this reason, I settled on “The Gross and Potbellied Man” as the name for the character. This is a much less literal translation of the name, but this translation resonates with the connotations that grasso can refer to someone or something being “greasy” or “oily” (as grasso can mean “fatty” in a chemical or nutritional sense in addition to the way it can describe someone physically). The Treccani Institute Dictionary includes, for the term grasso, the following definition: “Che ha consistenza untuosa, viscosa, densa” [“That which has a greasy, viscous, or dense consistency,” my translation]. I liked this solution, as it seemed to resolve the dilemmas I had been considering. By focusing more on the “greasiness” or “sliminess” of the character, my choice of “gross,” although a less direct or literal translation of grasso, put a greater emphasis on the emotional response from the audience that the character should provoke. Additionally, this translation, being more abstract, would allow directors, producers, or others who would be involved in any theatrical production of the work to have a greater freedom when casting the role. By translating in a way that was more abstract, I increased the potential for engagement with the work. Imagining how a community in the target language might engage with a translation can help translators make difficult choices. I managed to work through Marinetti’s paradoxical (non) symbol when I considered how an English-speaking theatrica
他作为一个角色的元素?一个没有将角色与抽象概念联系起来的翻译会是什么样子?这个注释应该在多大程度上影响戏剧的翻译?由于“大腹便便的人”的对话主要由咕噜声组成，他的动作主要是通过舞台指示传达的，所以翻译这个角色最具挑战性的因素是名字本身。角色的名字非常重要，因为它会影响读者对角色的看法。即使在舞台剧版本中，观众也会在节目或其他相关媒体上看到角色的名字。从字面意义上翻译这个名字带来了两个问题:(1)它限制了该剧在舞台上演出的演员选择的可能性，(2)它没有完全表达马里内蒂在他的笔记中指定的情感范围。如果我选择使用像“胖”这样的术语，任何导演或制片人都有义务选择一个在视觉上符合身体描述的演员。此外，根据马里内蒂的笔记(或者至少是我对它的解释)，这个角色应该引起观众的负面情绪。考虑到译者在戏剧翻译过程中所能做出的独特贡献，我决定了如何翻译这个角色的名字。我没有使用诸如“胖”、“大腹便便”或“大”之类的人物外形描述，而是选择更多地关注他出现时的不愉快。出于这个原因，我决定用“大腹便便的人”作为这个角色的名字。这是对这个名字的不那么直白的翻译，但这个翻译与grasso可以指某人或某事“油腻”或“油腻”的内涵产生了共鸣(因为grasso除了可以描述某人的身体之外，还可以在化学或营养意义上表示“脂肪”)。《特雷卡尼学院词典》对“草”一词的定义如下:“Che ha consistenza untuosa, viscosa, densa”[我的翻译是“油腻、粘稠或致密的东西”]。我喜欢这个解决方案，因为它似乎解决了我一直在考虑的困境。通过更多地关注角色的“油腻”或“滑腻”，我选择的“gross”虽然不是直接的字面翻译，但更强调了角色应该引起的观众的情感反应。此外，这种翻译更加抽象，将允许导演，制片人或其他参与任何戏剧制作的人在选择角色时拥有更大的自由。通过以一种更抽象的方式翻译，我增加了参与工作的潜力。想象目标语言的社区如何参与翻译可以帮助翻译人员做出艰难的选择。当我考虑一个以英语为母语的戏剧界如何处理这部作品时，我设法理解了马里内蒂的矛盾(非)符号。这种考虑使我的翻译更加抽象，这种抽象给其他人留下了参与文本的空间。我决定让这个角色的名字更抽象，这可能违背了马里内蒂的意见，他认为这个角色不应该是一个符号。然而，这种抽象和符号化的实例是必要的，以邀请其他人参与到戏剧中，并将其用于目标语言。
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Pub Date : 2023-01-02DOI: 10.1080/07374836.2023.2179288
Clare Sullivan
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Pub Date : 2022-09-12DOI: 10.1080/07374836.2022.2066353
James Hoggard
Published in Translation Review (Vol. 112, No. 1, 2022)
发表于《翻译评论》(第112卷第1期，2022年)
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Pub Date : 2022-09-12DOI: 10.1080/07374836.2022.2065847
Michael Gorman
Published in Translation Review (Vol. 112, No. 1, 2022)
发表于《翻译评论》(第112卷第1期，2022年)
{"title":"W. S. Merwin Translator-Poet: Questions Raised by the W. S. Merwin Translation Papers","authors":"Michael Gorman","doi":"10.1080/07374836.2022.2065847","DOIUrl":"https://doi.org/10.1080/07374836.2022.2065847","url":null,"abstract":"Published in Translation Review (Vol. 112, No. 1, 2022)","PeriodicalId":42066,"journal":{"name":"TRANSLATION REVIEW","volume":"118 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138515556","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 : 2022-09-12DOI: 10.1080/07374836.2022.2066375
Samuel Hazo
Published in Translation Review (Vol. 112, No. 1, 2022)
发表于《翻译评论》(第112卷第1期，2022年)
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Pub Date : 2022-09-12DOI: 10.1080/07374836.2022.2065866
Ronald Christ
Published in Translation Review (Vol. 112, No. 1, 2022)
发表于《翻译评论》(第112卷第1期，2022年)
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