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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Pub Date : 2022-09-02DOI: 10.1080/07374836.2022.2128627
G. J. Racz
{"title":"The Cleverest Girl in Madrid. La discreta enamorada","authors":"G. J. Racz","doi":"10.1080/07374836.2022.2128627","DOIUrl":"https://doi.org/10.1080/07374836.2022.2128627","url":null,"abstract":"","PeriodicalId":42066,"journal":{"name":"TRANSLATION REVIEW","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47251490","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 : 2022-09-02DOI: 10.1080/07374836.2022.2128625
John Duval
{"title":"Continental England: Form, Translation, and Chaucer in the Hundred Years War","authors":"John Duval","doi":"10.1080/07374836.2022.2128625","DOIUrl":"https://doi.org/10.1080/07374836.2022.2128625","url":null,"abstract":"","PeriodicalId":42066,"journal":{"name":"TRANSLATION REVIEW","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47385360","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 : 2022-09-02DOI: 10.1080/07374836.2022.2096162
Mengying Jiang
According to the translation database “Three Percent,” established at the University of Rochester to collect data on international literature, texts written by women from 2008 to 2018 constitute only 28.7 percent of all the translations in the database, consisting of some 1,394 titles out of a total of 4,849. As translated literature makes up a limited fraction of the books in the Anglophone market, translated literature written by women can be defined as a minority within a minority. According to Josh Stenberg, when selecting Chinese literature for translation, Anglophone publishers tend to “slant towards the male, the racy, the overtly political, the transgressive, and the weird.” Many of the male writers’ historical epics that sweep through the political landmarks of twentiethcentury China have been translated. By contrast, their female counterparts have been largely neglected. The first large-scale social awakening of Chinese women writers’ female consciousness did not occur until the New Cultural Movement (1915–1927), a movement that had advocated for women’s rights, power, authority, and status. However, this feminist trend was truncated by the subsequent AntiJapanese War (1937–1945), which instigated a wave of revolutionary writing. The war became the dominant theme and women’s self-awareness was stifled by nationalism. After the founding of the People’s Republic of China in 1949, women’s voices were silenced, as the policy of the Chinese Communist Party upheld absolute equality between the two sexes. The Party legally guaranteed and protected women’s rights to participate in the workforce, to choose their own marriage partners, and to demand divorces. Nevertheless, such a statesponsored liberation emphasized women’s equal responsibility as men to serve the nation, thereby discouraging their pursuit to claim female characteristics and suppressing their desire to articulate their own concerns. During the Cultural Revolution (1966–1976), sexual identity and gender difference were further denied in the cultural discourse. Female-conscious expression was either discouraged or disallowed. The iconic female figures were the asexual “iron girls” who undertook the revolutionary struggle equally with their male counterparts. It was not until 1978, when the ideological and political restrictions imposed on literature were loosened, that women’s self-conscious writing started to flourish again. Women writers in post-Mao China thrive as a distinct group on the literary scene, ushering in a second upsurge of literary output by women writers in the Chinese mainland. The focus of this article is to discuss the translation into English of Chinese women writers after the reform and opening up in 1978 by different translation agents. Agents of translation are perceived as “social actors who are heavily involved in the dynamics of translation production and the power interplay arising at every stage throughout the translation process.” This definition of age
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Pub Date : 2022-09-02DOI: 10.1080/07374836.2022.2142346
Kayvan Tahmasebian
Poetry translation occasionally arouses controversy among Iranian readers, especially when the work of great masters is involved. This sensitivity applies alike to classical master poets like H _ āfiz _ Shirāzī (d. 1390) and S _ ā’ib Tabrīzī (d. 1592) and modernist forerunners like Nima Yushij (d. 1960) and Bijan Elahi (d. 2010). Because of the damages they inflict on the original poems, translations are sometimes read like acts of profanation: the translator is accused of clumsiness, of going astray, of wasting the poem, by readers, at various levels of mastery of their native language and the language in which the poem in question has been translated and at various levels of concern for Persian literature, who do not find the pleasure and the sophistication they used to take from the poem in Persian. “But this is not H _ āfiz _ ,” “this is not S _ ā’ib,” “this is not Nima,” “this is not Elahi,” they complain about the alterity that the poem, and the poet, undergo through “inappropriate” translation. More adequate and “appropriate” translations are rarely suggested by the complainants. Of course, this negativity toward poetry translation does not eclipse other readers’ sympathy with the translator’s hazardous undertaking. I have been profaning poetry for around two decades now: I have published my translations of Friedrich Hölderlin, Stéphane Mallarmé, Francis Ponge, Alejandra Pizarnik, and Arthur Rimbaud in Iranian literary magazines (2004–2014). Since 2017, I have turned to translating Persian poetry into English. With Rebecca Ruth Gould, I have cotranslated modernist poets, Bijan Elahi, Nima Yushij, and Hasan Alizadeh (b. 1947), as well as classical poets, S _ ā’ib Tabrīzī, Khāqānī Shirvānī (d. 1199), and Jahān Malik Khātūn (d. circa 1393). Throughout the years I lectured at the University of Isfahan (2008–2017), I witnessed the students’ wry smiles and grim frowns at the translations from classical Persian by Edward Fitzgerald, Gertrude Bell, R. A. Nicholson, A. J. Arberry, and other eminent scholars of Persian literature. Classical Persian poetry has been read in English translation since the late eighteenth century. Presumably, native English translators of Persian poetry have been far less bothered by concerns about untranslatability than their Persian readers. William Jones’s versified translation of H _ āfiz _ ’s ghazal (“Agar ān turk-i shirāzī”) was published first in his Grammar of the Persian Language (1771), in conjunction with a prose translation evidently for language learning reasons. By adding the prose translation, Jones meant less to highlight the lost information in the versified version than to show learners why the poem’s images and allusions “cannot be translated literally into any European language.” Far from dooming the poem to untranslatability, Jones admits that he attempted to translate it into verse because he was pleased by “the wildness and simplicity of this Persian song.” The subsequent versifications of Persian
诗歌翻译偶尔会引起伊朗读者的争议，特别是当涉及到大师的作品时。这种敏感性同样适用于古典诗人大师，如H āfiz Shirāzī(1390年)和S ā ā ' ib tabr āz ā(1592年)，以及现代主义先驱，如尼玛·尤士杰(1960年)和比扬·埃拉希(2010年)。因为他们造成的损害在原诗,翻译有时读起来像亵渎的行为:笨拙的翻译被指控,误入歧途,浪费这首诗的读者,各级掌握他们的母语,这首诗的语言问题已被翻译和各级对波斯文学,那些没有找到快乐和他们使用的复杂性从波斯的诗。“但这不是H āfiz”，“这不是S ā ib”，“这不是尼玛”，“这不是以拉希”，他们抱怨这首诗和诗人，经历了“不恰当的”翻译。申诉人很少建议更充分和“适当”的翻译。当然，这种对诗歌翻译的否定并没有掩盖其他读者对译者危险事业的同情。我亵渎诗歌已经有大约二十年了:我在伊朗文学杂志上发表了我翻译的弗里德里希Hölderlin、斯特姆萨芬·马拉玛格、弗朗西斯·庞格、亚历杭德拉·皮萨尼克和亚瑟·兰波的作品(2004-2014)。从2017年开始，我开始把波斯语诗歌翻译成英语。我与Rebecca Ruth Gould合作翻译了现代主义诗人Bijan Elahi, Nima Yushij和Hasan Alizadeh(生于1947年)，以及古典诗人S ā ' ib tabr z ā， Khāqānī Shirvānī(生于1199年)和Jahān Malik Khātūn(生于大约1393年)。2008年至2017年，我在伊斯法罕大学(University of Isfahan)授课，目睹了学生们对爱德华·菲茨杰拉德(Edward Fitzgerald)、格特鲁德·贝尔(Gertrude Bell)、r·a·尼科尔森(R. A. Nicholson)、A. J. Arberry等著名波斯文学学者翻译的古典波斯语作品的苦笑和阴沉的皱眉。自18世纪后期以来，古典波斯诗歌就有了英文译本。据推测，波斯语诗歌的英语母语译者远没有波斯语读者那么担心不可译性。威廉·琼斯(William Jones)对H _ āfiz _的ghazal(“Agar ān turk-i shirāzī”)的诗体翻译首先发表在他的《波斯语言语法》(1771)中，与散文翻译一起发表，显然是出于语言学习的原因。通过添加散文翻译，琼斯的意思不是强调诗化版本中丢失的信息，而是向学习者展示为什么这首诗的形象和典故“不能按字面意思翻译成任何欧洲语言”。琼斯承认，他试图将这首诗翻译成诗歌，因为他喜欢“这首波斯语歌曲的野性和简单”，而不是注定这首诗不可翻译。后来的波斯诗歌译本，如约瑟夫·钱皮恩(Joseph Champion)从firdaws ' s Shāhnāma(1790)选选的段落，或乔治·巴罗(George Barrow)对H āfiz _(1835)的意译，与其说是这些诗人在英语中的忠实表现，不如说是东方主义形式的英语诗歌练习。另一方面，通常以学术为目的的散文翻译对翻译中难以克服的困难表现出不同的认识。例如，H. Wilberforce Clarke在他对整个Dīvān的翻译的序言中承认:“[T]这是一个散文翻译，并声称要给出字面和ūfīistic的含义。”题干译文:要把H . āfez写在诗里，一个人至少应该是一个与作者力量相当的诗人。即使这样，也几乎不可能给波斯诗歌披上英国的外衣，以真正传达它的美;即使这样翻译出来，对学生也没有什么价值。”然而，并不是所有的英语翻译经典翻译评论2022，卷114，第1期。1, 17-26 https://doi.org/10.1080/07374836.2022.2142346
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Pub Date : 2022-09-02DOI: 10.1080/07374836.2022.2125755
Shelby Vincent
{"title":"A Conversation with Ukrainian Translators Kate Tsurkan and Daisy Gibbons on Translating and Creating Amid the Russian Invasion","authors":"Shelby Vincent","doi":"10.1080/07374836.2022.2125755","DOIUrl":"https://doi.org/10.1080/07374836.2022.2125755","url":null,"abstract":"","PeriodicalId":42066,"journal":{"name":"TRANSLATION REVIEW","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46648048","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 : 2022-09-02DOI: 10.1080/07374836.2022.2128626
Annette Fisher
{"title":"The Man Who Brought Brodsky into English: Conversations with George L. Kline","authors":"Annette Fisher","doi":"10.1080/07374836.2022.2128626","DOIUrl":"https://doi.org/10.1080/07374836.2022.2128626","url":null,"abstract":"","PeriodicalId":42066,"journal":{"name":"TRANSLATION REVIEW","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44655923","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}
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