Whereas first-person speech is not marked for the speaker’s gender in English, in French particular linguistic forms identify a speaker as female. This conflicts with the intention of those female authors, poets in particular, who want to speak not from a gendered point of view but as human beings. A similar problem arises in translations of anglophone poetry by women into French. The routine method of rendering the generic ‘lyric I’ by a female ‘je lyrique’ does not reflect the implicit claim women poets often make to universal relevance. With regard to French versions of texts ranging in time from Emily Brontë to the present, this contribution shows how the original meaning of a poem can be narrowed or distorted by grammatical feminization. In some cases, however, the gender ambivalence of the English source texts has been successfully recreated in translation, and the spirit of egalitarian feminism thus kept alive.
在英语中，第一人称并不标明说话人的性别，而在法语中，特定的语言形式却将说话人标明为女性。这与女作家，尤其是女诗人的意图相冲突，因为她们不希望从性别的角度说话，而希望以人的身份说话。在将英语国家的女性诗歌翻译成法语时，也出现了类似的问题。用女性的 "je lyrique "来表述一般的 "抒情诗 I "的常规方法，并不能反映女诗人通常对普遍意义的隐含诉求。从艾米莉-勃朗特（Emily Brontë）到现在的法语版本，这篇论文展示了语法女性化如何缩小或扭曲诗歌的原意。不过，在某些情况下，英文原文的性别矛盾性在译文中得以成功再现，平等主义的女权主义精神也因此得以延续。
{"title":"Regendered in Translation: From ‘Lyric I’ to Je lyrique","authors":"Ina Schabert","doi":"10.3366/tal.2024.0586","DOIUrl":"https://doi.org/10.3366/tal.2024.0586","url":null,"abstract":"Whereas first-person speech is not marked for the speaker’s gender in English, in French particular linguistic forms identify a speaker as female. This conflicts with the intention of those female authors, poets in particular, who want to speak not from a gendered point of view but as human beings. A similar problem arises in translations of anglophone poetry by women into French. The routine method of rendering the generic ‘lyric I’ by a female ‘je lyrique’ does not reflect the implicit claim women poets often make to universal relevance. With regard to French versions of texts ranging in time from Emily Brontë to the present, this contribution shows how the original meaning of a poem can be narrowed or distorted by grammatical feminization. In some cases, however, the gender ambivalence of the English source texts has been successfully recreated in translation, and the spirit of egalitarian feminism thus kept alive.","PeriodicalId":42399,"journal":{"name":"Translation and Literature","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2024-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141850490","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}
Sidney Godolphin (1645–1712), first Earl of Godolphin, the nephew of the Civil War poet responsible for The Destruction of Troy, was a translator and versifier as well as a very prominent courtier and politician. One or two of his literary productions were published posthumously. Unprinted and unknown until now have been his verse translations of Nicolas Boileau: Satires 2 and 5, and one canto of L’Art poétique. The two satires are here introduced and transcribed in full from the British Library manuscript in which they appear.
{"title":"Two Satires of Boileau Translated by Sidney Godolphin (1645–1712), Lord Treasurer","authors":"Stuart Gillespie","doi":"10.3366/tal.2024.0588","DOIUrl":"https://doi.org/10.3366/tal.2024.0588","url":null,"abstract":"Sidney Godolphin (1645–1712), first Earl of Godolphin, the nephew of the Civil War poet responsible for The Destruction of Troy, was a translator and versifier as well as a very prominent courtier and politician. One or two of his literary productions were published posthumously. Unprinted and unknown until now have been his verse translations of Nicolas Boileau: Satires 2 and 5, and one canto of L’Art poétique. The two satires are here introduced and transcribed in full from the British Library manuscript in which they appear.","PeriodicalId":42399,"journal":{"name":"Translation and Literature","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2024-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141845666","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}
{"title":"Henrik Ibsen: A Doll's House, translated by William Archer (1889), edited by L. W. Conolly","authors":"J. Pellicer","doi":"10.3366/tal.2024.0593","DOIUrl":"https://doi.org/10.3366/tal.2024.0593","url":null,"abstract":"","PeriodicalId":42399,"journal":{"name":"Translation and Literature","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2024-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141848118","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}
{"title":"The Philosophy of Literary Translation: Dialogue, Movement, Ecology, by Clive Scott","authors":"Samuel Trainor","doi":"10.3366/tal.2024.0595","DOIUrl":"https://doi.org/10.3366/tal.2024.0595","url":null,"abstract":"","PeriodicalId":42399,"journal":{"name":"Translation and Literature","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2024-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141849263","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}
{"title":"Milton, Longinus, and the Sublime in the Seventeenth Century, by Thomas Matthew Vozar","authors":"David Currell","doi":"10.3366/tal.2024.0592","DOIUrl":"https://doi.org/10.3366/tal.2024.0592","url":null,"abstract":"","PeriodicalId":42399,"journal":{"name":"Translation and Literature","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2024-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141851097","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}
{"title":"HoneyVoiced: A Translation of Pindar's Songs for Athletes, by James Bradley Wells","authors":"John Colley","doi":"10.3366/tal.2024.0591","DOIUrl":"https://doi.org/10.3366/tal.2024.0591","url":null,"abstract":"","PeriodicalId":42399,"journal":{"name":"Translation and Literature","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2024-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141852039","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}
‘Jur nijedna na svit vila’, by Hanibal Lucić ( c.1485–1553), is one of the best known and most loved poems of the Croatian Renaissance, but translating it into a different context poses problems of reception. The article uses travesty and parody to address the issues of poetic vocabulary and gender regime, and finds similarities between such techniques and translation. Each of these can prompt a critical interpretation of the poem. But the resulting critical gaze does not necessarily lead to an adequate reading, and the article goes on to discuss aspects that are obscured in translation, from echoes of oral literature to the grammar of traditional love-charms, suggesting that the point of the poem is to convey an emotional effect, that of enchantment or wonder, that is not accessible through critique. But does such magic, which demands exact repetition, work in translation?
Hanibal Lucić（约 1485-1553 年）的《Jur nijedna na svit vila》是克罗地亚文艺复兴时期最著名、最受喜爱的诗歌之一，但将其翻译成不同的语境却带来了接受上的问题。文章利用滑稽剧和戏仿来解决诗歌词汇和性别制度的问题，并发现这些技巧与翻译之间的相似之处。每一种手法都能引发对诗歌的批判性解读。文章接着讨论了翻译中被掩盖的方面，从口头文学的回声到传统爱情符咒的语法，认为诗歌的重点在于传达一种情感效果，即魔力或惊奇，而这种效果是无法通过批判获得的。但是，这种需要准确重复的魔力在翻译中能起作用吗？
{"title":"Travesty, Parody, Enchantment: Translating Hanibal Lucić's Vila","authors":"Wendy Bracewell","doi":"10.3366/tal.2024.0584","DOIUrl":"https://doi.org/10.3366/tal.2024.0584","url":null,"abstract":"‘Jur nijedna na svit vila’, by Hanibal Lucić ( c.1485–1553), is one of the best known and most loved poems of the Croatian Renaissance, but translating it into a different context poses problems of reception. The article uses travesty and parody to address the issues of poetic vocabulary and gender regime, and finds similarities between such techniques and translation. Each of these can prompt a critical interpretation of the poem. But the resulting critical gaze does not necessarily lead to an adequate reading, and the article goes on to discuss aspects that are obscured in translation, from echoes of oral literature to the grammar of traditional love-charms, suggesting that the point of the poem is to convey an emotional effect, that of enchantment or wonder, that is not accessible through critique. But does such magic, which demands exact repetition, work in translation?","PeriodicalId":42399,"journal":{"name":"Translation and Literature","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2024-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141853008","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}
{"title":"Nelly Sachs: Flight and Metamorphosis: Poems, translated by Joshua Weiner; If I Only Knew, translated by Jean Boase-Beier; Revelation Freshly Erupting: Collected Poetry, translated by Andrew Shanks","authors":"Jennifer M. Hoyer","doi":"10.3366/tal.2024.0594","DOIUrl":"https://doi.org/10.3366/tal.2024.0594","url":null,"abstract":"","PeriodicalId":42399,"journal":{"name":"Translation and Literature","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2024-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141846233","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}
Henry Clark Barlow (1806–1876) was a lifelong student of Dante, publishing copious amounts of scholarship and a major edition of the Divina Commedia. He was also given to composing English poetry. He translated just one canto of Dante’s Commedia into English verse, which he never published: Paradiso 7. In this note the translation is introduced and transcribed from the University College London archive containing Barlow’s papers.
亨利-克拉克-巴洛（Henry Clark Barlow，1806-1876 年）终生研究但丁，出版了大量学术著作和《神曲》的重要版本。他还热衷于创作英文诗歌。他仅将但丁的《神曲》中的一个章节翻译成英文诗歌，但从未出版：本注释介绍了该译本，并根据伦敦大学学院的巴洛文件档案进行了转录。
{"title":"A Victorian Dantofilo: Henry Clark Barlow’s Paradiso 7","authors":"Stuart Gillespie","doi":"10.3366/tal.2024.0590","DOIUrl":"https://doi.org/10.3366/tal.2024.0590","url":null,"abstract":"Henry Clark Barlow (1806–1876) was a lifelong student of Dante, publishing copious amounts of scholarship and a major edition of the Divina Commedia. He was also given to composing English poetry. He translated just one canto of Dante’s Commedia into English verse, which he never published: Paradiso 7. In this note the translation is introduced and transcribed from the University College London archive containing Barlow’s papers.","PeriodicalId":42399,"journal":{"name":"Translation and Literature","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2024-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141844703","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}
Here are printed for the first time four Horatian verse translations or imitations by William Parsons ( fl. 1785–1824) with a further item by William Boscawen (1752–1811), from the two Bodleian manuscripts in which they are apparently uniquely extant. The Horatian poems involved are Odes 1.1, 1.22, and 1.30; Epist. 1.4. The appeal of these sophisticated and playful compositions lies partly in their off-the-record character, with frequent satirical flavouring.
{"title":"Some English Horatians of the 1790s","authors":"Stuart Gillespie","doi":"10.3366/tal.2024.0589","DOIUrl":"https://doi.org/10.3366/tal.2024.0589","url":null,"abstract":"Here are printed for the first time four Horatian verse translations or imitations by William Parsons ( fl. 1785–1824) with a further item by William Boscawen (1752–1811), from the two Bodleian manuscripts in which they are apparently uniquely extant. The Horatian poems involved are Odes 1.1, 1.22, and 1.30; Epist. 1.4. The appeal of these sophisticated and playful compositions lies partly in their off-the-record character, with frequent satirical flavouring.","PeriodicalId":42399,"journal":{"name":"Translation and Literature","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2024-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141851232","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：