Pub Date : 2022-01-02DOI: 10.1163/2589-7802_dddo_dddo_adonis
S. Antoon
Adonis (Ali Ahmad Sa`id) (b. 1930) is one of the most influential and dominant Arab poets of the modern era and a perennial Nobel contender since the late 1980s. A number of his individual works have been ably and beautifully translated into English in previous decades by Samuel Hazo and Shawkat Toorawa. More recently, Adnan Haydar and Michael Beard translated Adonis’s most powerful and enduring work, Aghani Mihyar alDimashqi (1961), as Mihyar of Damascus: His Songs. However, a book of selections spanning Adonis’s entire oeuvre since the late 1950s is still lacking in English. The volume under review was an ambitious attempt to remedy this conspicuous gap in the Anglophone world. The pieces in Selected Poems were chosen from fourteen individual works published between 1957 and 2008, and fill almost four hundred pages. Adonis’s early and mid-career works have stood the test of time, but even his most ardent fans would agree that his later works, those written in the past two decades, lack his legendary verve. The exception is the multivolume al-Kitab (The Book), a poetic journey through Arab history and culture narrated by its greatest poet, the tenthcentury al-Mutanabbi. Adonis began working on it in the mid1970s and published the first of its four volumes in 1995. Mattawa decided not to include any excerpts from al-Kitab because, as he states in the introduction to Selected Poems: “no small sample . . . would offer an adequate sense of the work’s scope” (xxiv). This is not very convincing. There is no doubt that al-Kitab is complex and challenging, but a representative excerpt or excerpts would have enriched this book. The first volume of al-Kitab has been translated and published in French and the second is forthcoming from Seuil. Selections from three of Adonis’s later works (Prophesy, O Blind One [2003], Beginnings of the Body, Ends of the Sea [2003], and Printer of the Planets’ Books [2008]), all written in the past decade or so, take up a hundred pages, almost one-fourth of the whole book. Some of this space could have been better served by featuring further selections from earlier and more enduring works. One would expect a bibliography of the original Arabic works and editions the translator used, but there is none. The translator’s short introduction includes a few glitches. Adonis never advocated the use of dialect in poetry (xvi). On the contrary, his disagreements over this issue caused a major rift with Yusuf al-Khal (1917–87), and Adonis eventually left Shi`r, the pioneering journal the two had co-founded in Beirut. The names of major classical Arab poets who influenced Adonis are mistransliterated; “Abu Nawwas” (ix, 396) should be “Abu Nuwas,” “al-Mutannabi” (ix, xix, xx, xi) should be “alMutanabbi,” and “al-Ma`ari” (xix, xxi, 274, 395) should be “alMa`arri.” So are classical terms such as “al-Mu`tazala” (xii) (group of rational thinkers), which should be “al-Mu`tazila.” Even the title of Adonis’s most famous collection is wrong; “
阿多尼斯(Ali Ahmad Sa 'id)(生于1930年)是现代最有影响力和最具统治力的阿拉伯诗人之一，自20世纪80年代末以来一直是诺贝尔奖的竞争者。在过去的几十年里，他的一些个人作品被塞缪尔·哈佐和肖克特·图拉瓦巧妙而优美地翻译成英文。最近，阿德南·海达尔和迈克尔·比尔德将阿多尼斯最具影响力、最经久不衰的作品《阿格哈尼·米哈耶尔·大马士革》(1961)翻译为《大马士革的米哈耶尔:他的歌曲》。然而，一本囊括阿多尼斯自20世纪50年代末以来全部作品的选集仍然缺乏英文版本。正在审查的这本书是一次雄心勃勃的尝试，试图弥补英语世界中这一明显的差距。《诗选》选自1957年至2008年间出版的14部个人作品，将近400页。阿多尼斯职业生涯早期和中期的作品经受住了时间的考验，但即使是他最狂热的粉丝也会同意，他在过去20年里创作的晚期作品，缺乏他传奇的神韵。唯一的例外是多卷本的《书》(al-Kitab)，这是一部由阿拉伯最伟大的诗人、十世纪的穆塔纳比(al-Mutanabbi)讲述的穿越阿拉伯历史和文化的诗意之旅。阿多尼斯在20世纪70年代中期开始研究这本书，并于1995年出版了四卷书中的第一卷。Mattawa决定不收录任何来自al-Kitab的节选，因为正如他在《诗选》的引言中所说:“没有小样本……将提供对工作范围的充分感觉”(xxiv)。这不是很令人信服。毫无疑问，al-Kitab是复杂和具有挑战性的，但一个或几个有代表性的摘录将丰富这本书。《al-Kitab》第一卷已翻译成法文出版，第二卷即将从Seuil出版。阿多尼斯后期的三部作品(《预言》、《啊，瞎子》[2003]、《身体的开始》、《海的尽头》[2003]和《行星的印刷者》[2008])的选段都是在过去十年左右完成的，总共有一百页，几乎占了整本书的四分之一。如果更多地选择一些更早期、更持久的作品，这些空间本可以得到更好的利用。人们期望有一份原始阿拉伯语作品的参考书目和译者使用的版本，但是没有。译者的简短介绍中有一些小纰漏。阿多尼斯从不提倡在诗歌中使用方言(16)。相反，他在这个问题上的分歧导致了他与优素福·阿尔卡勒(Yusuf al-Khal, 1917-87)的重大分歧，阿多尼斯最终离开了两人在贝鲁特共同创办的先驱杂志《什叶派》。影响阿多尼斯的主要古典阿拉伯诗人的名字被误译;“Abu Nawwas”(ix, 396)应该是“Abu Nuwas”，“al-Mutannabi”(ix, xix, xx, xi)应该是“alMutanabbi”，“al-Ma 'ari”(xix, xxi, 274,395)应该是“alMa 'arri”。诸如“al-Mu 'tazala”(十二)(理性思想家群体)这样的经典术语也是如此，它应该是“al-Mu 'tazila”。甚至阿多尼斯最著名的作品集的标题都是错误的;“Ughniyat”(十六)应该是“Aghani Mihyar al-Dimashqi”(“大马士革的Mihyar之歌”)。就其本身而言，这些都是小错误，但是，唉，它们是严重误读阿拉伯语原文中许多单词短元音的症状。此外，400页的诗歌，其中大部分引用了阿拉伯伊斯兰历史和伊斯兰神秘主义的人物，并与之对话，只产生了四页的注释。这实在是太少了，为了读者的利益，可以扩展到阐明许多诗歌的上下文和互文。其中一个例子是阿多尼斯引用了al-Ma ' arri(973-1058)中的一句话:“Jasadi khirqatun tukhatu ila ' l-ardi / faya kha ' ita ' l- ' awalimi khitni”(我的身体是一块缝在地球上的碎布/呵，你缝合了世界，请缝合我)。这是“身体是一块拖在地上的破布/世界的墙壁，支持我”(278)，一个语义上偏离目标的渲染。“Kha 'it”(缝纫的人)变成了“ha 'it”(墙)，“khitni”(缝我)变成了“支持我”。对al-Ma 'arri这首诗的注释以及人类回归尘土的特定概念可能会对读者有所帮助。当阿多尼斯在他的诗中插入八世纪的《Abdulrahman al-Dakhil》中的诗句时，读者并没有被告知，而是认为它们是阿多尼斯的(68)。“复数形式的单数”在“身体”中也出现了同样的情况。阿多尼斯引用了al-Tawhidi(930 - 1023)中的两句话:“Zahiri muntathirun la amluku minhu shayan / wa batini musta 'irun la ajidu lahu fay 'an”，但没有注释指出这一点，翻译人员完全失去了意思。而不是像“我的外表是分散的，我没有拥有它/我的内心燃烧，我找不到它的阴影，”我们得到以下:“我的表面分散，我没有拥有它们/我的内心没有减少我生活的地方”(125)。阿多尼斯的诗歌经常引用古兰经的典故和隐喻。 这些逃亡的翻译员也是错误的。例如，在9月11日的协奏曲中，“神的圣日”被翻译为“神的圣日”(303)，但是“圣日”的意思是“丝绸”或“布洛德斯”，在古兰经中出现了三次。《古兰经》
{"title":"Adonis","authors":"S. Antoon","doi":"10.1163/2589-7802_dddo_dddo_adonis","DOIUrl":"https://doi.org/10.1163/2589-7802_dddo_dddo_adonis","url":null,"abstract":"Adonis (Ali Ahmad Sa`id) (b. 1930) is one of the most influential and dominant Arab poets of the modern era and a perennial Nobel contender since the late 1980s. A number of his individual works have been ably and beautifully translated into English in previous decades by Samuel Hazo and Shawkat Toorawa. More recently, Adnan Haydar and Michael Beard translated Adonis’s most powerful and enduring work, Aghani Mihyar alDimashqi (1961), as Mihyar of Damascus: His Songs. However, a book of selections spanning Adonis’s entire oeuvre since the late 1950s is still lacking in English. The volume under review was an ambitious attempt to remedy this conspicuous gap in the Anglophone world. The pieces in Selected Poems were chosen from fourteen individual works published between 1957 and 2008, and fill almost four hundred pages. Adonis’s early and mid-career works have stood the test of time, but even his most ardent fans would agree that his later works, those written in the past two decades, lack his legendary verve. The exception is the multivolume al-Kitab (The Book), a poetic journey through Arab history and culture narrated by its greatest poet, the tenthcentury al-Mutanabbi. Adonis began working on it in the mid1970s and published the first of its four volumes in 1995. Mattawa decided not to include any excerpts from al-Kitab because, as he states in the introduction to Selected Poems: “no small sample . . . would offer an adequate sense of the work’s scope” (xxiv). This is not very convincing. There is no doubt that al-Kitab is complex and challenging, but a representative excerpt or excerpts would have enriched this book. The first volume of al-Kitab has been translated and published in French and the second is forthcoming from Seuil. Selections from three of Adonis’s later works (Prophesy, O Blind One [2003], Beginnings of the Body, Ends of the Sea [2003], and Printer of the Planets’ Books [2008]), all written in the past decade or so, take up a hundred pages, almost one-fourth of the whole book. Some of this space could have been better served by featuring further selections from earlier and more enduring works. One would expect a bibliography of the original Arabic works and editions the translator used, but there is none. The translator’s short introduction includes a few glitches. Adonis never advocated the use of dialect in poetry (xvi). On the contrary, his disagreements over this issue caused a major rift with Yusuf al-Khal (1917–87), and Adonis eventually left Shi`r, the pioneering journal the two had co-founded in Beirut. The names of major classical Arab poets who influenced Adonis are mistransliterated; “Abu Nawwas” (ix, 396) should be “Abu Nuwas,” “al-Mutannabi” (ix, xix, xx, xi) should be “alMutanabbi,” and “al-Ma`ari” (xix, xxi, 274, 395) should be “alMa`arri.” So are classical terms such as “al-Mu`tazala” (xii) (group of rational thinkers), which should be “al-Mu`tazila.” Even the title of Adonis’s most famous collection is wrong; “","PeriodicalId":42066,"journal":{"name":"TRANSLATION REVIEW","volume":"112 1","pages":"141 - 143"},"PeriodicalIF":0.5,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43865792","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 : 2022-01-02DOI: 10.1080/07374836.2022.2044247
R. Schulte
Translation Review has played a major role in establishing the art and craft of translation as a major field of study in the arts and humanities. After forty years of the journal’s appearance with three issues per year, the editors decided to take an inventory of what the review has contributed to the expansion of translation studies and what additional topics should be addressed in the future. When the first numbers of Translation Review appeared, translation was still considered a stepchild in many academic institutions: the publication of translations, scholarly articles on the theory and practice of translation, and book publications of translations did not fall into the category of respectable scholarly publications. The interview with Margaret Sayers Peden by Jim Hoggard reflects the treatment that a distinguished translator and scholar was receiving in the academic environment. Frequently, assistant and associate professors would hide their publications in the field of translation studies when they were up for promotion. Over the years, these attitudes have begun to change, and I hope that the essays, interviews with translators, reviews of translations, teaching of translation, and the illumination of the translation process have greatly enhanced the study of the arts and humanities during the past forty years. What is Translation? George Steiner frames the essence of translation in the following statement: “All acts of communication are acts of translation.” Translation resides in all our activities every day: we carry words and images from another language and culture into English. The translator tries to communicate the atmosphere and associations of a word in a foreign language into the environment of the new language. At all times, translators are haunted by the idea that there is no such thing as the definitive translation of a text, as there is no such thing as a definitive interpretation of a work. At all times, translation establishes an interaction with the text in which the interpretive perspective of the translator becomes apparent. The translator is reader, interpreter, and performer of the text in a new language. Translation destroys language walls and illuminates the gestures, assertions, and utterances of other nations. The craft of translation encompasses the recreation of literary, historical, philosophical texts from a foreign language into English. At the same time, all human activities are continuously involved in some form of translation: the pianist translates the music score to the keys of the piano, the actor translates the words of the play to the stage and the audience, and the dancers translate their vision of the world into movements. Translation Review has shaped the various fields and thought processes that constitute the necessary intellectual frame for the understanding and implementation of how translation shapes our daily life. Now is the time to look back into the past pages of Translation Review to ass
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Pub Date : 2022-01-02DOI: 10.1080/07374836.2022.2066373
Clare Sullivan
I believe it is fair to say that translators are, by and large, meticulous people. Fastidious. Exacting. Fussy. But then in fairness we bear a heavy responsibility: that of absorbing the full intent of an author and rendering that intent, as faithfully and authentically as possibly, in another language. It is a task of broad assimilation; in the case of a work like a novel, the assimilation of philosophy, theme, plot, and character as well as of language. Successful translation is therefore a holistic act, one that demands a total grasp of subject, from overarching concept to the most minuscule detail. Yet for many of us, the multidimensionality of the translating task becomes obscured by the particulars of the languages we work in. We obsess over individual words and phrases, poring over dictionaries and thesauri in search of the combination of syllables that conveys just the right nuances of meaning, context, rhythm, and sound. This is of course understandable, and arguably the job description of a translator. Yet in that obsession lies risk: of losing sight of the larger elements of the story in a single-minded pursuit of linguistic accuracy. It is the kind of mistake I very nearly made in the course of a recent project, the translation of the novel Un martes como hoy (2004) by Cecilia Urbina, whereby I failed to take into account the background, intentions, and limitations of one of the novel’s central characters. The initial mistake, which was rooted primarily in the dialogue, was an honest one, springing from a translator’s instinct to authentically render period language. Yet had I not ultimately perceived the error, much of the playfulness and feel of the original novel, to say nothing of some of the larger thematic elements, might well have been lost. The following essay is the story of the error that nearly was. Un martes como hoy
我相信可以公平地说，总的来说，译者是一丝不苟的人。挑剔的苛求挑剔的但公平地说，我们承担着沉重的责任：吸收作者的全部意图，并尽可能忠实、真实地用另一种语言表达这种意图。这是一项广泛同化的任务；在小说这样的作品中，哲学、主题、情节、人物以及语言的同化。因此，成功的翻译是一种整体行为，需要对主题进行全面的把握，从总体概念到最微小的细节。然而，对我们中的许多人来说，翻译任务的多维性被我们所使用的语言的细节所掩盖。我们痴迷于单个单词和短语，仔细阅读词典和词库，寻找能够传达正确含义、上下文、节奏和声音细微差别的音节组合。这当然是可以理解的，也可以说是翻译的工作描述。然而，这种痴迷存在着风险：在一心追求语言准确性的过程中，会忽视故事中更大的元素。这是我在最近的一个项目中几乎犯下的错误，该项目是塞西莉亚·乌尔维纳的小说《Un martes como hoy》（2004）的翻译，我没有考虑到小说中心人物之一的背景、意图和局限性。最初的错误主要源于对话，是一个诚实的错误，源于译者真实再现时代语言的本能。然而，如果我最终没有意识到这个错误，原著的大部分趣味性和感觉，更不用说一些更大的主题元素了，很可能已经失去了。下面这篇文章是关于几乎是错误的故事。Un martes como hoy
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Pub Date : 2021-11-29DOI: 10.1080/07374836.2021.1982372
R. Sturges
{"title":"Jóusè d’Arbaud. The Beast and Other Tales","authors":"R. Sturges","doi":"10.1080/07374836.2021.1982372","DOIUrl":"https://doi.org/10.1080/07374836.2021.1982372","url":null,"abstract":"","PeriodicalId":42066,"journal":{"name":"TRANSLATION REVIEW","volume":"1 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2021-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48213819","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 : 2021-09-02DOI: 10.1080/07374836.2021.1988315
Shelby Vincent
{"title":"A Conversation with Samantha Schnee, translator and founding editor of Words Without Borders","authors":"Shelby Vincent","doi":"10.1080/07374836.2021.1988315","DOIUrl":"https://doi.org/10.1080/07374836.2021.1988315","url":null,"abstract":"","PeriodicalId":42066,"journal":{"name":"TRANSLATION REVIEW","volume":"111 1","pages":"58 - 65"},"PeriodicalIF":0.5,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46790072","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 : 2021-09-02DOI: 10.1080/07374836.2021.1988485
Vincent Kling
Even well-disposed readers need time to relax into the unhurried pace and apparent stasis of Adalbert Stifter’s fiction. The acclaimed composer and writer Ernst Krenek is far from the only reader initially bored by an author he later came to view as a true master of towering adagios in prose, not unlike those of his fellow Upper Austrian Anton Bruckner. Krenek’s reference to a disciplined but slowly unfolding musical tempo helps dispel the persistent view that Stifter was a quiescent or even torpid Biedermeier figure fixated on an idyllic view of impassively peaceful nature and on human community grounded in fixed equilibrium. His stories and novels are almost always judged for what they seem to lack, not for what they contain. Indian Summer (Nachsommer, trans. Wendell W. Frye), a monumental, ruminative Bildungsroman, projects an ideal of equanimity not attainable in this world, and his famous sanfte Gesetz or “gentle law,” formulated in the preface to Motley Stones, proposes that small, inconspicuous objects and minute, everyday routine signify more than alarums and violent upheavals. Stifter’s approach counterbalances the revolutionary mayhem of 1848 and only came to fruition after an early period of turbulent Romantic agony, which he learned to
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Pub Date : 2021-09-02DOI: 10.1080/07374836.2021.1988482
G. J. Racz
Eric Sellin’s The Magic Mirror of Literary Translation: Reflections on the Art of Translating Verse, an entertaining, highly personal account of his decades-long engagement with the craft of poetic translation, will not be mistaken for an academic tome on this subject— nor does it aspire to be one, as the author makes clear in his “Introduction,” where he affirms having “opted instead for a style more commonly associated with the familiar essay” (xi). With occasional humor Sellin invokes the (neo-)classical ideal that one should “inform and delight” when he adds that the essays in this slim volume, some previously published in literary journals, “are meant to be entertaining as well as instructive” (xii). Discussing the process he undertakes in rendering formal French-language verse and frequently providing multiple drafts of his efforts (without a doubt the most interesting, even engrossing sections of this book), Sellin offers wry critiques of his lexical decisions in highly phenomenological language. Thus, at one point, he refers to his decision to undertake a retranslation as “a personal quest for a deeper and more acute appreciation” of the source-text poem (8). Looking back at another series of preliminary versions, he comments: “I find it interesting to actually relive the critical moments of excitement, hard work, and self-doubt that left their own heart line, so to speak” (65). This highly experiential approach
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Pub Date : 2021-09-02DOI: 10.1080/07374836.2021.1955787
Jonathan Baillehache
I examine here Gayatri Chakravorty Spivak’s 2010 English retranslation of Aimé Césaire’s 1966 play A Season in the Congo in the context of previous translations and performances of Césaire’s theatrical work. Césaire’s historical drama portrays the last months of Patrice Lumumba’s life and his political fight against Belgium, Western powers, and African secessionists during Congo’s transition from a Belgian colony to a free, independent country. Its retranslation offers an opportunity to study the interlinguistic fate of a dramatic language juxtaposing historical fiction, poetical discourse, and an attempt at creating what the Martinican playwright called an African French, as well as to question the role of translation on the staging of a theater addressing neo-colonialism within a Brechtian dramaturgical tradition. Emily Sahakian has shown the benefits of combining translation criticism with performance analysis for theater studies, reception studies, and higher education pedagogy. Although this article has a comparatively stronger focus on translation criticism, performance analysis is used here to assess how theatrical translation differs from other translational traditions. Spivak’s translation is also of interest to the field of translation studies because of the impact of the renowned translator on this very field. An examination of her translation project will allow us to read her essay on translation with a more thoughtful consideration of her proposed shift from the ethics to the erotic of translation. Following Antoine Berman’s methodology, I have attempted to reconstruct Spivak’s translational project by drawing from several sources: the postcolonial reception of Caribbean theater, contemporary discourse about dramatic translation, previous translations of Césaire’s theater, Spivak’s theoretical essays, and a confrontation between the translated and translating text. I hope my contribution encourages an appreciation of some of the ways Spivak’s erotic of translation can be useful to contemporary theater.
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