Pub Date : 2022-09-02DOI: 10.1080/07374836.2022.2117749
Steven G. Kellman
To demonstrate the Shinto belief in impermanence and renewal, the Ise Grand Shrine in Japan is demolished and reconstructed every twenty years. Western readers tend not to be Shintoists, but it is a truism among publishers of literary classics that every generation requires a new translation. “A true translator,” wrote the trilingual critic George Steiner, “knows that his labour belongs ‘to oblivion’ (inevitably each generation retranslates).” You do not have to wait an entire generation to locate a new version of Antigone, Don Quixote, and the Bible, each of which has been rendered into English dozens of times. Most of those do fade into the oblivion from which their often-anonymous translators never emerged. But the need for an up-to-date take becomes more apparent as the English language evolves, and as publishers sense a market for a text in the public domain. In the ecology of global culture, the task of the translator is unremitting. No matter how obsequiously faithful, no rendition is ever definitive, because the English language is a moving target. Although George Chapman’s Homer inspired John Keats, it is unreadable today. “Translators,” according to Alexander Pushkin, are “the post-horses of enlightenment.” It is necessary to replace them with fresh mounts along the way. In 1948, a year after Albert Camus published his second novel, La Peste, it appeared in English as The Plague. Although Paul Auster called translators “the shadow heroes of literature, the oftenforgotten instruments that make it possible for different cultures to talk to one another,” the translator of The Plague, Stuart Gilbert, was hardly unknown. His name did not appear on the cover, but Gilbert (1883–1969) was known as a friend and pioneering scholar of James Joyce. He was also a prolific translator, transposing from French into English a constellation of authors including Jean Cocteau, Edouard Dujardin, André Malraux, Roger Martin du Gard, Jean-Paul Sartre, Georges Simenon, and Alexis de Tocqueville. In 1946, Gilbert had published a translation of Camus’s first novel, L’Etranger (as The Stranger), and he would later translate Camus’s plays Caligula (as Caligula), Le Malentendu (as The Misunderstanding), L’Etat de siege (as State of Siege), and Les Justes (as The Just Assassins). An Englishman who lived most of his life in France, Gilbert was an accomplished retailer of French literature to Anglophone readers. La Peste has been translated into dozens of other languages, including Afrikaans, Catalan, Gujarati, Persian, Turkish, and Vietnamese. And there are at least two different translations of the novel into German, Hebrew, Italian, and Spanish, respectively. However, for seventy-three years, Gilbert’s The Plague had been the only rendition of Camus’s novel available in English. To read Dr. Bernard Rieux’s account of how the citizens of Oran experienced an epidemic in the indeterminate year 194_, an American without French had to rely on Gilbert. However, in 2021,
为了展示神道对无常和更新的信仰，日本的伊势大神社每二十年被拆除和重建一次。西方读者往往不是神道教信徒，但在文学经典出版商中，每一代人都需要一个新的译本，这是不言而喻的。“一个真正的翻译家，”三语评论家乔治·斯坦纳写道，“知道他的劳动属于‘遗忘’（不可避免地每一代人都会重新翻译）。”你不必等整整一代人才能找到新版的《安提戈涅》、《堂吉诃德》和《圣经》，每一本都被翻译成了几十次英语。其中大多数确实被遗忘了，他们经常匿名的翻译从未出现过。但随着英语的发展，以及出版商意识到文本在公共领域的市场，对最新版本的需求变得更加明显。在全球文化生态中，译者的任务是不懈的。无论多么谄媚地忠实，没有一种演绎是决定性的，因为英语是一个移动的目标。尽管乔治·查普曼的《荷马》启发了约翰·济慈，但它在今天是无法阅读的。根据亚历山大·普希金（Alexander Pushkin）的说法，“翻译家”是“启蒙的后马”。一路上有必要用新的坐骑取代他们。1948年，阿尔伯特·加缪出版了他的第二部小说《瘟疫》一年后，这部小说以《瘟疫》的英文出现。尽管保罗·奥斯特称翻译家为“文学的影子英雄，那些经常被遗忘的工具，使不同文化之间可以相互交流”，但《瘟疫》的翻译家斯图尔特·吉尔伯特几乎不为人知。他的名字没有出现在封面上，但吉尔伯特（1883-1969）是詹姆斯·乔伊斯的朋友和开拓性学者。他也是一位多产的翻译家，将让·科克托、爱德华·杜雅尔丁、安德烈·马尔劳、罗杰·马丁·杜加德、让-保罗·萨特、乔治·西蒙农和亚历克西斯·德·托克维尔等一批作家从法语翻译成英语。1946年，吉尔伯特出版了加缪第一部小说《陌生人》的译本，他后来翻译了加缪的戏剧《卡里古拉》、《马伦特杜》、《围攻之国》和《正义的刺客》。吉尔伯特是一位英国人，一生大部分时间都生活在法国，他是一位向英语读者推销法国文学的成功人士。La Peste已被翻译成数十种其他语言，包括南非荷兰语、加泰罗尼亚语、古吉拉特语、波斯语、土耳其语和越南语。这部小说至少有两种不同的译本，分别是德语、希伯来语、意大利语和西班牙语。然而，73年来，吉尔伯特的《瘟疫》一直是加缪小说的唯一英文版本。为了阅读Bernard Rieux博士关于奥兰公民如何在不确定的194_年经历流行病的描述，一个没有法国人的美国人不得不依赖吉尔伯特。然而，在2021年，吉尔伯特版本的出版商克诺夫在其目录中添加了《瘟疫》的另一个译本。吉尔伯特的继任者劳拉·马里斯（Laura Marris）的名字出现在封面上，这无疑让当前的翻译运动感到高兴。三十四岁的马里斯只有吉尔伯特翻译《瘟疫》时年龄的一半多一点，也就是六十八岁。然而，她已经出版了当代作家Christophe Boltranski和Géraldine Schwarz以及加缪的密友Louis Guilloux的书的译本。尽管她坚称自己在新冠肺炎爆发前就开始翻译加缪的小说，但马里斯版本的《瘟疫》来得正是时候，这本书成了《新观察家报》中伊丽莎白·菲利普所说的“la Bible de ces temps tourmentés”（这些痛苦时代的圣经）。瘟疫从来都不是晦涩难懂的；它被广泛阅读和钦佩，至今仍是《2022年翻译评论》，第114卷，第1期，11-16页https://doi.org/10.1080/07374836.2022.2117749
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Pub Date : 2022-09-02DOI: 10.1080/07374836.2022.2140236
J. M. McKeown
Catherine Perrot (1620–169–) gave painting instruction to members of the French royal family, including Marie-Louise d’Orléans, niece of Louis XIV and Queen Consort of Spain from 1679 to 1689. At the age of 62, Perrot was admitted to the Académie Royale de Peinture et de Sculpture, one of only fifteen women to be admitted in the Academy’s 145-year existence. Four years later, she published Les Leçons Royales ou la manière de peindre en mignature les fleurs & les oyseaux, par l’explication des livres de fleurs & d’oyseaux de feu Nicolas Robert, fleuriste (1686). In 1693, at the age of 73, Perrot completed Traité de la mignature. This final work contains the same studies of flowers and birds as in the previous manual, but it includes some important additions. There is a different dedication and introduction, a comprehensive list of definitions of technical terms, and an index. More significantly, there are theoretical reflections, as well as instructions for the drawing and painting of landscapes, biblical figures, and saints. In her first publication, Perrot makes a tepid initial step into watercolor manuals, a genre dominated by male artists at the time. She based her instructions on engravings by Nicolas Robert, a male contemporary well established in the field and well positioned at the court of Louis XIV as the Peintre Ordinaire de Sa Majesté pour la miniature; he also acted as Perrot’s teacher and was revered by her. Perrot’s subjects in the 1686 edition—flowers and birds in miniature—are safely anchored in feminine artistic convention. But in her revised copy, Perrot has taken on landscapes and religious subjects, considered more serious themes, and has included the more academically grounded component of art theory. In this enhanced second edition, Perrot makes an explicit, direct connection between the visual arts and words. Beginning from the premise that “painting is the language of mutes,” Perrot writes that visual representations of figures “express feelings of the heart just as words do when they are joined together.” To represent an object well is akin to pronouncing a specific word “so that it is understood perfectly, without stuttering.” For Perrot, a painting is both seen and heard—and, in creating a work of art, the artist has something to both show and to tell. Messages are conveyed and a kind of intimacy exists—if only temporarily— between artist and viewer. The multi-faceted sensorial experience, then—involving speaking, hearing, seeing, and feeling—results in a rich hub of shared meaning between creator, creation, and viewer, and beyond. The creative process, then, is dynamic across varied mediums, and is achieved, and replicated, when an inspired idea assumes shareable forms. A rare first edition of the 1686 watercolor manual came to my attention when my colleague, art historian and scholar Dr. Diane Radycki, shared it with me in the hope that I might translate it into English from the original French. Student scholar Mirand
凯瑟琳·佩罗(1620-169 -)为法国王室成员提供绘画指导，其中包括路易十四的侄女、1679年至1689年的西班牙王后玛丽-路易丝·德奥尔萨姆斯。62岁时，佩罗被皇家美术与雕塑学院录取，成为该学院145年历史中仅有的15位女性之一。四年后，她出版了《花与羊》一书，解释了花与羊的关系，并在1686年出版了《花与羊的关系》。1693年，73岁的佩罗完成了《移民描摹》。这个最后的工作包含了与前一个手册中相同的花卉和鸟类的研究，但它包括一些重要的补充。有一个不同的奉献和介绍，一个技术术语定义的综合列表，和一个索引。更重要的是，书中有理论反思，以及对风景画、圣经人物和圣徒的绘画指导。在她的第一本出版物中，佩罗迈出了不温不火的第一步，进入了当时由男性艺术家主导的水彩手册。她以尼古拉斯·罗伯特(Nicolas Robert)的版画为指导，尼古拉斯·罗伯特是一位同时代的男性，在这一领域有着良好的地位，在路易十四的宫廷中被称为Sa majest pour la miniature的Peintre Ordinaire;他也是佩罗特的老师，并受到她的尊敬。在1686年的版本中，佩罗的主题——花和鸟的微缩——安全地锚定在女性艺术传统中。但在她修改后的版本中，佩罗采用了风景和宗教题材，考虑了更严肃的主题，并纳入了更有学术基础的艺术理论组成部分。在这个增强的第二版中，佩罗在视觉艺术和文字之间建立了明确而直接的联系。从“绘画是无声的语言”的前提出发，佩罗写道，人物的视觉表现“表达了内心的感受，就像文字连接在一起一样。”要很好地表达一个对象，就类似于发音一个特定的单词，“这样它就能被完美地理解，而不会口吃。”对佩罗来说，一幅画既能被看到，也能被听到——在创作一件艺术品时，艺术家既有要展示的东西，也有要讲述的东西。信息被传递，一种亲密的存在——即使只是暂时的——在艺术家和观众之间。这种多方面的感官体验，包括说话、听觉、视觉和感觉，在创造者、被造物和观看者之间形成了一个丰富的共享意义的中心。因此，创意过程在不同的媒介中是动态的，当一个灵感的想法采用可共享的形式时，它就会被实现和复制。我的同事、艺术史学家和学者黛安·拉迪基博士(Dr. Diane Radycki)与我分享了一本罕见的第一版1686年水彩画手册，希望我能把它从法文原版翻译成英文。学生学者米兰达·库珀(Miranda Cooper)制作了一份初稿翻译，并为高年级的一个顶点研究项目添加了传记和历史背景。在佩罗专心致志地翻译这本书的六个月里，库珀对她着迷了。阅读这位艺术家的作品，然后试图传达她的内容和原始的语气和风格，这一过程让库珀感觉自己与佩罗进行了一次漫长而深入的对话，就像罗伯特·韦施勒(Robert Weschler)在《无舞台表演》(Performing Without a Stage)中描述的那样，是一种“长期的亲密关系”;文学翻译的艺术。试图用英语表达艺术家的话语是一个挑战;面对这一挑战，我觉得自己比那些没有仔细研究佩罗表情的人更了解她。库珀回忆说:“最粗糙的草稿也是我对凯瑟琳·佩罗的介绍……她的才华和组织能力，以及她的影响力和人脉。”我所做的工作是检查库珀的翻译评论2022,VOL. 114, NO. 5。1,38 - 46 https://doi.org/10.1080/07374836.2022.2140236
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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.
{"title":"The Reader’s Visibility: Analyzing Reader’s Intervention in Fan-based Translation on Wuxiaworld","authors":"Jie Chang, Gang Zhao","doi":"10.1080/07374836.2022.2089414","DOIUrl":"https://doi.org/10.1080/07374836.2022.2089414","url":null,"abstract":"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.","PeriodicalId":42066,"journal":{"name":"TRANSLATION REVIEW","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48471678","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: 10.1080/07374836.2022.2068712
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
{"title":"The Limit of Political Possibilities in Corporeal Translations: Achy Obejas’s Translation of Rita Indiana’s La Mucama de Omicunlé","authors":"Emily K. Sterk","doi":"10.1080/07374836.2022.2068712","DOIUrl":"https://doi.org/10.1080/07374836.2022.2068712","url":null,"abstract":"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","PeriodicalId":42066,"journal":{"name":"TRANSLATION REVIEW","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48575537","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: 10.1080/07374836.2022.2064171
Canaan Morse
{"title":"Raised by Wolves: Poems and Conversations","authors":"Canaan Morse","doi":"10.1080/07374836.2022.2064171","DOIUrl":"https://doi.org/10.1080/07374836.2022.2064171","url":null,"abstract":"","PeriodicalId":42066,"journal":{"name":"TRANSLATION REVIEW","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49104301","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: 10.1080/07374836.2022.2068846
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:
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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":null,"pages":null},"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}
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