Pub Date : 2022-05-04DOI: 10.1080/07374836.2022.2089414
Jie Chang, Gang Zhao
Chinese Internet literature has become a unique literary phenomenon after more than twenty years of development since the late 1990s as a result of the remarkable progress of the Internet. According to the 2020 Blue Book of Chinese Internet Literature released by the China Writers Association on June 2, 2021, about two million Internet literary works were contracted to release in 2020, and cumulatively there had been about twenty-eight million online literary works in China by the end of the same year. In addition, the numbers of Chinese words updated daily and throughout the year 2020 exceeded one hundred fifty million and fifty billion, respectively, attracting a considerable readership of four hundred sixty-seven million in 2020 alone. Chinese Internet literature, mainly that on the theme of wuxia (武侠), xianxia (仙侠), and xuanhuan (玄幻), has gone global through fan-based translation, an emerging form of translation undertaken by fan communities. It has fascinated millions of English-speaking readers quickly and extended its influence over nearly the whole world since it first became widely popular in North America in 2015, and the readership is still growing. Undeniably, online platforms represented by Wuxiaworld that focus on translating Chinese Internet literature into English have played an essential role. However, a minimal amount of attention has been paid to the fan-based translation of Chinese Internet literature because, according to Cornelia Zwischenberger, such a translation form is relatively young in translation studies. This article first introduces Chinese Internet literature and the concept of fan-based translation. Then, it elaborates on readers’ multiple roles in fan-based translation of Wuxiaworld by the Internet-mediated approach and conducts a case study of readers’ roles in traditional translations of print publications. It concludes that readers have long been invisible in translation studies, especially in the print age, which, to some degree, led to some translated literary works not being well accepted by the target audience. Thanks to media shifts based on technological progress, readers have become visible in the new form of online fan-based translation, intervening in the workflow by playing different roles.
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Pub Date : 2022-05-04DOI: 10.1080/07374836.2022.2068712
Emily K. Sterk
In just under 200 pages, Rita Indiana masterfully interweaves dystopian, magical, and queer elements in her 2015 novel, La mucama de Omicunlé. Indiana offers a grim commentary on past, present, and future life in the Dominican Republic and on the political and environmental forces that threaten to destroy the archipelago. Given La mucama de Omicunlé’s complex form and content—revolving around a transgender character and former sex worker named Acilde—Achy Obejas faced a particularly challenging task as the Spanish-intoEnglish translator. Uncommon among other literary translators, Obejas translates literature both from Spanish into English and from English into Spanish and has therefore been described as a “bitextual translator.” In her most recent translation projects, Obejas aims to bring the timely works of Rita Indiana, a queer feminist Dominican writer and musician, to the Anglophone reader’s attention. Indiana and Obejas’s working relationship began in 2016 with the translation of Papi, Indiana’s third novel. Tentacle (2018, translation of La mucama de Omicunlé, 2015) marks Obejas’s second collaborative project with Indiana. When looking at the scope of Rita Indiana and Achy Obejas’s respective creative work, it is fitting that the pair would decide to collaborate as author and translator on two separate occasions. Indiana and Obejas’s relationship can be contextualized through Sonia Álvarez’s ideas on “translocas,” the cross-disciplinary and cross-border group of Latina and Latin American feminists who seek to disrupt heteronormative patriarchal racisms and sexisms across the Americas. Álvarez defines “translocas” as “women trans/dislocated in a physical sense and the (resulting) conceptual madness linked to attempts to understand unfamiliar scenarios with familiar categories: women and categories out of place.” As queer and diasporic Caribbean women, Indiana and Obejas work together, across the Caribbean Sea, to challenge the cisheteropatriarchy and its racist and sexist ideals, all while affirming their rightful place in the largely homogenized world literature canon. Indiana’s literary text has received significant critical attention, but translation scholars have yet to evaluate Obejas’s Tentacle, which was shortlisted for the 2020 Best Translated Book Award. Although Obejas’s translation hews closely to the original Spanish, there are some striking differences between the two texts, especially in relation to descriptions of the protagonist and his trans body. Specifically, although Acilde is misgendered in both versions, its effect is most apparent in Obejas’s translation because of her consistent use of gender pronouns. I argue, however, that Obejas’s translation exposes ideas of corporality and gender identity that are inherently more ambiguous in the original, primarily because of the nature of the Spanish language and its ability to omit gendered subject pronouns. Obejas’s decision recalls, then, Gayatri Chakravorty Spivak’s view o
在不到200页的篇幅里，丽塔·印第安纳在她2015年的小说《奥密库莱的女人》中巧妙地交织了反乌托邦、魔法和酷儿元素。印第安纳州对多米尼加共和国的过去、现在和未来生活，以及威胁摧毁该群岛的政治和环境力量进行了严峻的评论。考虑到《奥密库莱》复杂的形式和内容——围绕着一个名叫Acilde的跨性别角色和前性工作者——Achy Obejas作为西班牙语翻译面临着一项特别具有挑战性的任务。Obejas在其他文学翻译家中并不常见，她将文学从西班牙语翻译成英语，从英语翻译成西班牙语，因此被称为“双文本翻译家”。在她最近的翻译项目中，Obejas旨在将多明尼加酷儿女权主义作家和音乐家Rita Indiana的及时作品吸引英语读者的注意。Indiana和Obejas的工作关系始于2016年，翻译了Indiana的第三部小说《Papi》。Tentacle（2018，La mucama de Omicunlé的翻译，2015）标志着Obejas与印第安纳州的第二个合作项目。当审视Rita Indiana和Achy Obejas各自的创作范围时，两人决定在两个不同的场合作为作者和译者合作是很合适的。印第安纳州和奥贝哈斯的关系可以通过索尼娅·阿尔瓦雷斯关于“跨地域”的想法来理解，“跨地域者”是一个跨学科、跨国界的拉丁裔和拉丁美洲女权主义者群体，他们试图破坏美洲各地的异规范父权制种族主义和性别歧视。阿尔瓦雷斯将“跨性别者”定义为“在身体意义上跨性别/错位的女性，以及与试图理解陌生场景和熟悉类别相关的（由此产生的）概念上的疯狂：女性和类别错位。”由于酷儿和流散的加勒比女性，印第安纳州和奥贝哈斯在加勒比海对岸合作，挑战顺异父权制及其种族主义和性别歧视的理想，同时确认他们在基本同质化的世界文学经典中的合法地位。印第安纳州的文学文本受到了评论界的高度关注，但翻译学者尚未对入围2020年最佳翻译图书奖的奥贝哈斯的《触手》进行评价。尽管奥贝哈斯的翻译与西班牙语原文非常接近，但这两个文本之间存在一些显著的差异，尤其是在对主人公及其跨性别身体的描述方面。具体来说，尽管Acilde在两个版本中都被误解了，但由于她一贯使用性别代词，其效果在Obejas的翻译中最为明显。然而，我认为，Obejas的翻译暴露了语料库和性别认同的思想，这些思想在原文中本质上更加模糊，主要是因为西班牙语的性质及其省略性别主代词的能力。Obejas的决定让人想起了Gayatri Chakravorty Spivak将翻译视为一种亲密的阅读行为的观点，从而呼吁酷儿女权主义译者屈服于原文。正如斯皮瓦克所说，“（酷儿女权主义译者）必须能够面对这样一种观点，即在英语空间中看似具有抵抗力的东西，在原始语言空间中可能是反动的。”事实上，奥贝哈斯尊重印第安纳州坚持性别二元的创造性话语，即使这意味着主人公会被误导。此外，Obejas的版本揭示了误导的痛苦和普遍现实。出于这个原因，我认为译者的决定是对西班牙语和英语读者所遇到的跨性别恐惧症和恐同症的批判性阐述。除了斯皮瓦克的酷儿女权主义视角之外，我对《触手》的阅读与跨性别研究中的交叉批判展开了对话。2022年翻译综述，第113卷，第1期，22-32https://doi.org/10.1080/07374836.2022.2068712
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Pub Date : 2022-05-04DOI: 10.1080/07374836.2022.2068846
Ellen Elias-Bursać
Dubravka Ugrešić first began publishing her stories and novels in the early 1980s. She was one of the stars of her generation of writers in Yugoslavia, a breakthrough postmodernist, exploring literature through the lens of literary theory—her other love. In 1988, she was the first woman writer to be given the NIN award, Yugoslavia’s most prestigious literary prize, for her novel Forsiranje romana reke [Fording the Stream of Consciousness]. The war broke out in 1991, first in Slovenia, then Croatia, then Bosnia and Herzegovina, and ultimately in Serbia and Kosovo by the end of the decade. Ugrešić took a firm stand against the growing hostilities, and despite her earlier Yugoslavia-wide popularity, the public reaction in Croatia to her anti-war position was swift and damning. She decided to accept an offer to teach abroad, first for a semester at the University of Amsterdam, then two semester-long stays at Wesleyan College in Connecticut, a year as a fellow at the Radcliffe Advanced Studies Institute, a semester teaching in the Harvard University Department of Slavic Languages and Literatures, a stint of teaching at UCLA. After her first years of living abroad, she settled permanently in the Netherlands. She has published two books of short stories, six novels, nine collections of essays, a book of literary scholarship, two children’s books, a few screenplays for television and film, and a number of translations from the Russian. All of her fiction and the nine collections of essays have been translated into English, and several of them have also appeared in translations in a staggering array of languages: Dutch, German, French, Spanish, Italian, Portuguese, Swedish, Danish, Norwegian, Polish, Bulgarian, Slovenian, Macedonian, Russian, Ukrainian, Slovak, Czech, Hungarian, Finnish, Lithuanian, Latvian, Estonian, Albanian, Romanian, Turkish, Greek, Hebrew, Japanese, Arabic, and Farsi. She has received ten major international awards, as well as, most recently, the prestigious Croatian T-Portal award. In the course of her career as a writer she has developed a strong critical voice, particularly in her essays. She sees herself not as Croatian or Dutch but as a public intellectual, a citizen of the Republic of World Letters. From her transnational position, she comments on global culture while also keeping an eye on what is happening in the cultures where she is from—now known as the “region”: the successor states of ex-Yugoslavia. I have translated two of her essay collections (Nobody’s Home and The Age of Skin) and have collaborated with other translators on two of her novels (Baba Yaga Laid an Egg and Fox). In the analysis that follows of the issues that arise for me when translating her essays, the examples are all taken from The Age of Skin, published in 2020 by Open Letter Press. Since the 1980s, I have had the honor of translating writing by authors who have lived or are now living in Bosnia, Croatia, Montenegro, and / or Serbia. Most of them add
杜布拉夫卡Ugrešić在20世纪80年代初开始出版她的故事和小说。她是南斯拉夫那一代作家中的明星之一，是一位突破性的后现代主义者，通过文学理论的视角探索文学——这是她的另一个爱好。1988年，她凭借小说《意识流》(Forsiranje romana reke)成为第一位获得南斯拉夫最负盛名的文学奖NIN奖的女作家。战争于1991年爆发，先是在斯洛文尼亚，然后是克罗地亚，然后是波斯尼亚和黑塞哥维那，最后在90年代末在塞尔维亚和科索沃爆发。Ugrešić对日益增长的敌对行动采取了坚定的立场，尽管她早些时候在南斯拉夫广受欢迎，但克罗地亚公众对她的反战立场的反应是迅速而严厉的。她决定接受一份出国任教的工作，先是在阿姆斯特丹大学(University of Amsterdam)任教一个学期，然后在康涅狄格州的卫斯理学院(Wesleyan College)待了两个学期，在拉德克利夫高等研究院(Radcliffe Advanced Studies Institute)当了一年研究员，在哈佛大学斯拉夫语言文学系任教一个学期，在加州大学洛杉矶分校(UCLA)任教一段时间。在国外生活了几年之后，她在荷兰永久定居下来。她出版了两本短篇小说集，六本小说，九本散文集，一本文学学术书籍，两本儿童书籍，一些电视和电影剧本，以及一些俄语翻译作品。她的所有小说和九部论文集都被翻译成英语，其中一些还被翻译成一系列惊人的语言:荷兰语、德语、法语、西班牙语、意大利语、葡萄牙语、瑞典语、丹麦语、挪威语、波兰语、保加利亚语、斯洛文尼亚语、马其顿语、俄语、乌克兰语、斯洛伐克语、捷克语、匈牙利语、芬兰语、立陶宛语、拉脱维亚语、爱沙尼亚语、阿尔巴尼亚语、罗马尼亚语、土耳其语、希腊语、希伯来语、日语、阿拉伯语和波斯语。她获得了十项主要的国际奖项，以及最近享有盛誉的克罗地亚T-Portal奖。在她的写作生涯中，她形成了强烈的批评声音，尤其是在她的随笔中。她不认为自己是克罗地亚人或荷兰人，而是一名公共知识分子，一名世界文学共和国的公民。她站在跨国的立场上，对全球文化发表评论，同时也密切关注她所在的文化中正在发生的事情——现在被称为“地区”:前南斯拉夫的继承国。我翻译了她的两本散文集(《无人之家》和《皮肤的年代》)，并与其他译者合作翻译了她的两部小说(《巴巴亚加下了一个蛋》和《狐狸》)。在接下来的分析中，我在翻译她的文章时遇到了一些问题，这些例子都摘自公开信出版社(Open Letter Press)于2020年出版的《皮肤时代》(the Age of Skin)。自20世纪80年代以来，我有幸翻译了曾经或现在生活在波斯尼亚、克罗地亚、黑山和/或塞尔维亚的作家的作品。他们中的大多数都谈到了20世纪90年代战争的各个方面，以及他们最熟悉的社区所面临的战后现实。在翻译他们的作品时，我从他们身上了解到幽默在传达他们的痛苦和活力方面是多么重要。当我考虑如何写杜布拉夫卡Ugrešić的文章，尤其是她最近的文集《皮肤时代》(The Age of Skin)时，我碰巧听到一家广播电台正在播放一天的美国抗议音乐。就是这首尖刻、轻快的诗:
{"title":"Humor in the Dark","authors":"Ellen Elias-Bursać","doi":"10.1080/07374836.2022.2068846","DOIUrl":"https://doi.org/10.1080/07374836.2022.2068846","url":null,"abstract":"Dubravka Ugrešić first began publishing her stories and novels in the early 1980s. She was one of the stars of her generation of writers in Yugoslavia, a breakthrough postmodernist, exploring literature through the lens of literary theory—her other love. In 1988, she was the first woman writer to be given the NIN award, Yugoslavia’s most prestigious literary prize, for her novel Forsiranje romana reke [Fording the Stream of Consciousness]. The war broke out in 1991, first in Slovenia, then Croatia, then Bosnia and Herzegovina, and ultimately in Serbia and Kosovo by the end of the decade. Ugrešić took a firm stand against the growing hostilities, and despite her earlier Yugoslavia-wide popularity, the public reaction in Croatia to her anti-war position was swift and damning. She decided to accept an offer to teach abroad, first for a semester at the University of Amsterdam, then two semester-long stays at Wesleyan College in Connecticut, a year as a fellow at the Radcliffe Advanced Studies Institute, a semester teaching in the Harvard University Department of Slavic Languages and Literatures, a stint of teaching at UCLA. After her first years of living abroad, she settled permanently in the Netherlands. She has published two books of short stories, six novels, nine collections of essays, a book of literary scholarship, two children’s books, a few screenplays for television and film, and a number of translations from the Russian. All of her fiction and the nine collections of essays have been translated into English, and several of them have also appeared in translations in a staggering array of languages: Dutch, German, French, Spanish, Italian, Portuguese, Swedish, Danish, Norwegian, Polish, Bulgarian, Slovenian, Macedonian, Russian, Ukrainian, Slovak, Czech, Hungarian, Finnish, Lithuanian, Latvian, Estonian, Albanian, Romanian, Turkish, Greek, Hebrew, Japanese, Arabic, and Farsi. She has received ten major international awards, as well as, most recently, the prestigious Croatian T-Portal award. In the course of her career as a writer she has developed a strong critical voice, particularly in her essays. She sees herself not as Croatian or Dutch but as a public intellectual, a citizen of the Republic of World Letters. From her transnational position, she comments on global culture while also keeping an eye on what is happening in the cultures where she is from—now known as the “region”: the successor states of ex-Yugoslavia. I have translated two of her essay collections (Nobody’s Home and The Age of Skin) and have collaborated with other translators on two of her novels (Baba Yaga Laid an Egg and Fox). In the analysis that follows of the issues that arise for me when translating her essays, the examples are all taken from The Age of Skin, published in 2020 by Open Letter Press. Since the 1980s, I have had the honor of translating writing by authors who have lived or are now living in Bosnia, Croatia, Montenegro, and / or Serbia. Most of them add","PeriodicalId":42066,"journal":{"name":"TRANSLATION REVIEW","volume":"113 1","pages":"48 - 51"},"PeriodicalIF":0.5,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43446701","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 : 2022-05-04DOI: 10.1080/07374836.2022.2104586
Shelby Vincent
{"title":"Adventures in Literary Translation: A Conversation with Valerie Miles","authors":"Shelby Vincent","doi":"10.1080/07374836.2022.2104586","DOIUrl":"https://doi.org/10.1080/07374836.2022.2104586","url":null,"abstract":"","PeriodicalId":42066,"journal":{"name":"TRANSLATION REVIEW","volume":"113 1","pages":"1 - 16"},"PeriodicalIF":0.5,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42420902","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 : 2022-05-04DOI: 10.1080/07374836.2021.2008171
Steven G. Kellman
I am obliged to point out an error of fact in Sandra Kingery’s review of my book Nimble Tongues: Studies in Literary Translingualism. On page 1 of the book, I define translingualism as “the phenomenon of writers who write in more than one language or in a language other than their primary one.” I make it clear that it is possible to be multilingual without being translingual if, despite knowing more than one language, a writer writes only in L1. Although Ernest Hemingway spoke French and Spanish, he wrote exclusively in his native language, English. He was not translingual. Early in Nimble Tongues, I pose the fundamental question of whether the phenomenon of translingualism is worth studying, whether it makes any difference to the kind of text produced. I suggest that a fair test might be to compare the work of a translingual writer with that of a monolingual writer (whose work could presumably not be contaminated by any additional languages). Nevertheless, I point out how very difficult it is to find a writer who is genuinely, totally monolingual. As an example, I cite William Faulkner, who wrote exclusively in English, his L1, and was therefore decidedly not translingual, but whose texts show traces of French and Haitian Creole. From this, Professor Kingery concludes, invalidly, that I have broadened the category of translingual to include even Faulkner. I have not; I have simply noted that Faulkner is not a pure specimen of monolingualism. Professor Kingery faults the book for a “tendency to see translingualism everywhere,” when I have merely pointed out that true monolingualism is very rare. Literary translingualism remains the special case of writing in an adopted language.
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