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A Most Ingenious Work of Literature for N. Manu Chakravarthy & Eliot Weinberger N.Manu Chakravarthy和Eliot Weinberger的一部最巧妙的文学作品

IF 0.5 3区文学 0 LANGUAGE & LINGUISTICS

TRANSLATION REVIEW

Pub Date : 2023-01-02 DOI: 10.1080/07374836.2023.2179301

F. Gander

same long dynasty that celebrated Buddha and Lord Rama. There, philosopher-poet Kumudendu watches his old king divide the kingdom between his two sons. Predictably, the siblings go to war with each other over territory. The younger son, Bahubali, wins but is so disgusted by the enmity that twisted his mind that he decides to hand over the whole kingdom to his brother and make himself a Digambara, a member of that sect of Jain monks who renounce ownership and wear no clothes. He becomes known as Gommata (and is memorialized in a fifty-seven-foot-high statue, constructed in 983 CE and long known as the “largest freestanding monolithic statue in the world,” on a famous hill in Karnataka) (See Figure 1).

与庆祝佛陀和罗摩的朝代相同。在那里，哲学家诗人Kumudendu看着他的老国王把王国分给他的两个儿子。可以预见的是，这些兄弟姐妹会为了领土而相互开战。小儿子巴胡巴利(Bahubali)赢得了胜利，但他对这种敌意感到非常厌恶，这种敌意扭曲了他的思想，他决定将整个王国交给他的哥哥，并让自己成为一名迪甘巴拉(Digambara)，这是耆那教僧侣中放弃所有权、不穿衣服的一员。他被称为Gommata(他的雕像高57英尺，建于公元983年，长期以来被称为“世界上最大的独立巨石雕像”，位于卡纳塔克邦一座著名的山上)(见图1)。

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Imagined Community as a Solution to a Paradoxical Translation 想象共同体:一种解决矛盾翻译的方法

IF 0.5 3区文学 0 LANGUAGE & LINGUISTICS

TRANSLATION REVIEW

Pub Date : 2023-01-02 DOI: 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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Introduction to This Special Issue on Translation as Community 本期“翻译共同体”特刊简介

IF 0.5 3区文学 0 LANGUAGE & LINGUISTICS

TRANSLATION REVIEW

Pub Date : 2023-01-02 DOI: 10.1080/07374836.2023.2179288

Clare Sullivan

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The Intimate Presence of the Other: An Interview with Margaret Sayers Peden 《他人的亲密存在:玛格丽特·塞耶斯·佩登访谈录

IF 0.5 3区文学 0 LANGUAGE & LINGUISTICS

TRANSLATION REVIEW

Pub Date : 2022-09-12 DOI: 10.1080/07374836.2022.2066353

James Hoggard