Pub Date : 2022-09-02DOI: 10.1080/14781700.2022.2120064
C. Marinetti
ABSTRACT Drawing on censored manuscripts and personal writing, the article uncovers the invisible role played by Anna Larpent, the wife of John Larpent (Royal Theatre Censor 1777–1824), in shaping foreign drama and opera in Georgian Britain. Anna's journals demonstrate that, as a more attentive theatregoer and critic than her husband, she took on many aspects of the role of reviser and curator of the submitted plays and became an important mediator between European performance cultures and Georgian audiences. The article explores the complex and contradictory role played by Larpent as an “agent of translation” selecting and censoring European performance cultures throughout this period and introduces the notion of “domestic censorship” to give visibility to the labour and agency of women. In doing so, it highlights the value of archives of life writing in providing empirical evidence of the wide range of agents involved in shaping the translation of performance cultures.
{"title":"Doubly invisible: Anna Larpent, domestic censorship, and the translation of performance cultures in Georgian Britain","authors":"C. Marinetti","doi":"10.1080/14781700.2022.2120064","DOIUrl":"https://doi.org/10.1080/14781700.2022.2120064","url":null,"abstract":"ABSTRACT Drawing on censored manuscripts and personal writing, the article uncovers the invisible role played by Anna Larpent, the wife of John Larpent (Royal Theatre Censor 1777–1824), in shaping foreign drama and opera in Georgian Britain. Anna's journals demonstrate that, as a more attentive theatregoer and critic than her husband, she took on many aspects of the role of reviser and curator of the submitted plays and became an important mediator between European performance cultures and Georgian audiences. The article explores the complex and contradictory role played by Larpent as an “agent of translation” selecting and censoring European performance cultures throughout this period and introduces the notion of “domestic censorship” to give visibility to the labour and agency of women. In doing so, it highlights the value of archives of life writing in providing empirical evidence of the wide range of agents involved in shaping the translation of performance cultures.","PeriodicalId":46243,"journal":{"name":"Translation Studies","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59844393","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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: 10.1080/14781700.2022.2032307
Yahia Zhengtang Ma
Catherine Benton is Professor Emerita of Religion and Asian Studies at Lake Forest College. Her doctoral research at Columbia University focused on Indian religious story literature in Hindu and Buddhist Sanskrit texts. These texts and their stories continued to lead her back to India where she also studied present-day religious practices of contemporary Hindu, Buddhist, and Muslim communities in South Asia. Her book, God of Desire: Tales of Kamadeva in Sanskrit Story Literature (2006), offers translations and analyses of the adventures of Kamadeva as expressions of Hindu and Buddhist teachings about desire. Benton has received research awards from the Freeman Foundation, National Endowment for the Humanities, Huntington Research Library, and Associated Colleges of the Midwest.
{"title":"Queer Theory and Translation Studies: Language, Politics, Desire","authors":"Yahia Zhengtang Ma","doi":"10.1080/14781700.2022.2032307","DOIUrl":"https://doi.org/10.1080/14781700.2022.2032307","url":null,"abstract":"Catherine Benton is Professor Emerita of Religion and Asian Studies at Lake Forest College. Her doctoral research at Columbia University focused on Indian religious story literature in Hindu and Buddhist Sanskrit texts. These texts and their stories continued to lead her back to India where she also studied present-day religious practices of contemporary Hindu, Buddhist, and Muslim communities in South Asia. Her book, God of Desire: Tales of Kamadeva in Sanskrit Story Literature (2006), offers translations and analyses of the adventures of Kamadeva as expressions of Hindu and Buddhist teachings about desire. Benton has received research awards from the Freeman Foundation, National Endowment for the Humanities, Huntington Research Library, and Associated Colleges of the Midwest.","PeriodicalId":46243,"journal":{"name":"Translation Studies","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46044900","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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: 10.1080/14781700.2022.2118159
N. Nolette
ABSTRACT This article deals with human and non-human agents of surtitling in Toronto and beyond. After its emergence at the opera in Toronto, surtitling travelled to the theatre, and to other parts of French-speaking Canada, North America and Europe. Based on interviews with theatre surtitlers and on their archived materials, this article tracks the invention, growth, social acceptance, standardization, and stagnation of surtitling technologies in Toronto. Three relational aspects of the process of surtitling as a medium of theatre translation are investigated to understand its effects on translators and translations now: the division of labour (or lack thereof) from the opera to the theatre; the standardization of the practice; and the intergenerational transmission of competence through informal training.
{"title":"Surtitling and the new networks of theatre translation in Toronto","authors":"N. Nolette","doi":"10.1080/14781700.2022.2118159","DOIUrl":"https://doi.org/10.1080/14781700.2022.2118159","url":null,"abstract":"ABSTRACT This article deals with human and non-human agents of surtitling in Toronto and beyond. After its emergence at the opera in Toronto, surtitling travelled to the theatre, and to other parts of French-speaking Canada, North America and Europe. Based on interviews with theatre surtitlers and on their archived materials, this article tracks the invention, growth, social acceptance, standardization, and stagnation of surtitling technologies in Toronto. Three relational aspects of the process of surtitling as a medium of theatre translation are investigated to understand its effects on translators and translations now: the division of labour (or lack thereof) from the opera to the theatre; the standardization of the practice; and the intergenerational transmission of competence through informal training.","PeriodicalId":46243,"journal":{"name":"Translation Studies","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43162636","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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: 10.1080/14781700.2022.2116099
Elen Ifan
ABSTRACT This article examines the catalogue of a prominent twentieth-century Welsh musical publishing company, the Gwynn Publishing Company, in its first decade. The act of performance as it connects to the development and evolution of culture informs the discussion, and the company’s director William Sidney Gwynn Williams, along with writer and translator Thomas Gwynn Jones, are considered as agents of both translation and the musical performance culture. The article discusses texts published by the company as well as individual translation strategies used, shedding light on the motives and objectives of these cultural agents. This, in turn, enables an exploration of how a flexible translation approach can be used by agents of minority language cultures to contribute to an ongoing process of performance of national identity and culture.
{"title":"Shaping musical performance culture in a minority language context: The Gwynn Publishing Company’s Welsh and English song-translations","authors":"Elen Ifan","doi":"10.1080/14781700.2022.2116099","DOIUrl":"https://doi.org/10.1080/14781700.2022.2116099","url":null,"abstract":"ABSTRACT This article examines the catalogue of a prominent twentieth-century Welsh musical publishing company, the Gwynn Publishing Company, in its first decade. The act of performance as it connects to the development and evolution of culture informs the discussion, and the company’s director William Sidney Gwynn Williams, along with writer and translator Thomas Gwynn Jones, are considered as agents of both translation and the musical performance culture. The article discusses texts published by the company as well as individual translation strategies used, shedding light on the motives and objectives of these cultural agents. This, in turn, enables an exploration of how a flexible translation approach can be used by agents of minority language cultures to contribute to an ongoing process of performance of national identity and culture.","PeriodicalId":46243,"journal":{"name":"Translation Studies","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48584366","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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: 10.1080/14781700.2022.2120906
Lisha Xu, D. Johnston
ABSTRACT Chinese classical opera is caught in a stranglehold, promoted as a key art form in China’s assertion of its global presence but declared untranslatable by gatekeepers distrustful of Western appropriative translation practices, and concerned to safeguard the form as the unique expression of Chinese identity. There is a parallel here with Spanish Golden Age theatre, which has struggled against the tag of an untranslatability rooted in the inviolability of its polymetric form and obsession with a seemingly arcane honour code. By acknowledging the tensions that exist between practitioners and gatekeepers of these two theatrical forms, this article examines translation as an ecology of affordance spaces that extends Chinese classical opera and Spanish Golden Age theatre into new performance practices.
{"title":"Between safeguarding and translating: Chinese classical opera and Spanish Golden Age theatre","authors":"Lisha Xu, D. Johnston","doi":"10.1080/14781700.2022.2120906","DOIUrl":"https://doi.org/10.1080/14781700.2022.2120906","url":null,"abstract":"ABSTRACT Chinese classical opera is caught in a stranglehold, promoted as a key art form in China’s assertion of its global presence but declared untranslatable by gatekeepers distrustful of Western appropriative translation practices, and concerned to safeguard the form as the unique expression of Chinese identity. There is a parallel here with Spanish Golden Age theatre, which has struggled against the tag of an untranslatability rooted in the inviolability of its polymetric form and obsession with a seemingly arcane honour code. By acknowledging the tensions that exist between practitioners and gatekeepers of these two theatrical forms, this article examines translation as an ecology of affordance spaces that extends Chinese classical opera and Spanish Golden Age theatre into new performance practices.","PeriodicalId":46243,"journal":{"name":"Translation Studies","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42728124","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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: 10.1080/14781700.2022.2126386
C. Marinetti, Enza De Francisci
ABSTRACT This introduction to the special issue opens up a dialogue between Theatre and Performance Studies and translation sociology, focusing simultaneously on the importance of developing performance-sensitive forms of knowledge and highlighting performance cultures as fruitful contexts for studying translation as a social practice and the multiple forms of agency shaping it. In particular, it challenges the “ideology of print” as the prevalent epistemological starting point of Western translation theory. The introduction also raises questions about the ways in which processes of translation are constitutive of performance cultures by mobilising translation sociology to reveal the agents, networks, and technologies which are responsible for these negotiations. The ambition is for Translation Studies to see performance cultures as a complement; an alternative; a way of critiquing the text-centric paradigm of Western translation theory, and inspiring new ways of thinking about what aspects of performance cultures are silenced, replaced, or negotiated when they are textualized through translation.
{"title":"Introduction: translation and performance cultures","authors":"C. Marinetti, Enza De Francisci","doi":"10.1080/14781700.2022.2126386","DOIUrl":"https://doi.org/10.1080/14781700.2022.2126386","url":null,"abstract":"ABSTRACT This introduction to the special issue opens up a dialogue between Theatre and Performance Studies and translation sociology, focusing simultaneously on the importance of developing performance-sensitive forms of knowledge and highlighting performance cultures as fruitful contexts for studying translation as a social practice and the multiple forms of agency shaping it. In particular, it challenges the “ideology of print” as the prevalent epistemological starting point of Western translation theory. The introduction also raises questions about the ways in which processes of translation are constitutive of performance cultures by mobilising translation sociology to reveal the agents, networks, and technologies which are responsible for these negotiations. The ambition is for Translation Studies to see performance cultures as a complement; an alternative; a way of critiquing the text-centric paradigm of Western translation theory, and inspiring new ways of thinking about what aspects of performance cultures are silenced, replaced, or negotiated when they are textualized through translation.","PeriodicalId":46243,"journal":{"name":"Translation Studies","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41510946","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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: 10.1080/14781700.2022.2114932
Joseph Prestwich
ABSTRACT The work of French writers Didier Eribon and Édouard Louis has, through translation, gained an international audience. Thomas Ostermeier has adapted Eribon's Returning to Reims (Retour á Reims, 2017) and Louis' History of Violence (Histoire de la violence, 2018) for the stage allowing the authors' reflections on growing up gay and poor in rural working-class France to transform as they travel across borders. This article will map this transnational literary-theatrical network in relation to Eribon's idea of a “collective minoritarian experience”. It uncovers how Ostermeier and his collaborators adapt these texts for the stage, and how Eribon and Louis are themselves represented as subjects. The article asks how these productions develop a shared theatrical aesthetic to represent a shared queer experience. Focusing on the networks that made these productions possible reveals the potential of transnational collaboration for representing new experiences, as well as the transformations prompted by these collaborations.
摘要法国作家迪迪埃·埃里本和爱德华·路易斯的作品通过翻译获得了国际观众。托马斯·奥斯特梅尔将埃里邦的《重返兰斯》（RetouráReims，2017）和路易斯的《暴力史》（History de la Violence，2018）改编为舞台，让作者对在法国农村工人阶级中成长为同性恋和穷人的反思在跨境旅行时发生转变。本文将把这一跨国文学戏剧网络与埃里邦的“少数民族集体体验”概念联系起来。它揭示了奥斯特迈尔和他的合作者是如何将这些文本改编成舞台的，以及埃里邦和路易斯自己是如何被表现为主题的。文章询问这些作品是如何发展出一种共同的戏剧美学来代表共同的酷儿体验的。关注使这些作品成为可能的网络，揭示了跨国合作在代表新体验方面的潜力，以及这些合作所引发的变革。
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Pub Date : 2022-09-02DOI: 10.1080/14781700.2022.2114933
Yuan Ping
Sarah Booker is an educator, scholar, and literary translator. Her PhD in Hispanic Literature from the University of North Carolina at Chapel Hill focused on contemporary Latin American literature and translation studies. She has translated work by Cristina Rivera Garza, Mónica Ojeda, and Gabriela Ponce Padilla. She currently teaches Spanish at the North Carolina School of Science and Math in Morganton, NC, USA.
{"title":"Translation and social media communication in the age of the pandemic","authors":"Yuan Ping","doi":"10.1080/14781700.2022.2114933","DOIUrl":"https://doi.org/10.1080/14781700.2022.2114933","url":null,"abstract":"Sarah Booker is an educator, scholar, and literary translator. Her PhD in Hispanic Literature from the University of North Carolina at Chapel Hill focused on contemporary Latin American literature and translation studies. She has translated work by Cristina Rivera Garza, Mónica Ojeda, and Gabriela Ponce Padilla. She currently teaches Spanish at the North Carolina School of Science and Math in Morganton, NC, USA.","PeriodicalId":46243,"journal":{"name":"Translation Studies","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45762764","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-12DOI: 10.1080/14781700.2022.2100463
Sarah Booker
directionality in spaces of translation of the past, but also for building a decolonial translation praxis into the future. In concluding Chapter Six, she contends that a decolonial understanding of translation first requires scholarly work to de-instrumentalize translation: to theorize it not as message transmission, but as a charged practice that operates in the same political-cultural arenas as print culture projects. In other words, this conclusion bolsters the premise of the book: that translation and print culture find themselves in generative relation. This argument then allows Guzmán Martínez to close by proposing translation “with an attitude” as a liberatory critical position that effectively extends into the future the transgressive spaces of translation of the past. Through Silvio Torres-Saillant’s concept of a reading stance “with an attitude,” alert to the mechanisms of Western discourse and thus able to subvert them, Guzmán Martínez advocates for a similar positionality within spaces of translation – for writers, translators, editors, and scholars – that is critically aware of translation history and potentiality. A necessary precondition for such a translation praxis is a thicker understanding of translation as critique – a motivation traced throughout the monograph – and which is map-like: a form of critique that “frames, rather than assumes, language, circulation, and modes of importation, and that brings to the surface systemic and epistemic directionalities” (117). Guzmán Martínez’s translational cartography brings to the surface these possibilities, both for reassessing the translation itineraries of the past and for rethinking the ones artists and scholars build into the future. For those interested in either task, Mapping spaces is a must-read.
{"title":"Literature in motion: Translating multilingualism across the Americas","authors":"Sarah Booker","doi":"10.1080/14781700.2022.2100463","DOIUrl":"https://doi.org/10.1080/14781700.2022.2100463","url":null,"abstract":"directionality in spaces of translation of the past, but also for building a decolonial translation praxis into the future. In concluding Chapter Six, she contends that a decolonial understanding of translation first requires scholarly work to de-instrumentalize translation: to theorize it not as message transmission, but as a charged practice that operates in the same political-cultural arenas as print culture projects. In other words, this conclusion bolsters the premise of the book: that translation and print culture find themselves in generative relation. This argument then allows Guzmán Martínez to close by proposing translation “with an attitude” as a liberatory critical position that effectively extends into the future the transgressive spaces of translation of the past. Through Silvio Torres-Saillant’s concept of a reading stance “with an attitude,” alert to the mechanisms of Western discourse and thus able to subvert them, Guzmán Martínez advocates for a similar positionality within spaces of translation – for writers, translators, editors, and scholars – that is critically aware of translation history and potentiality. A necessary precondition for such a translation praxis is a thicker understanding of translation as critique – a motivation traced throughout the monograph – and which is map-like: a form of critique that “frames, rather than assumes, language, circulation, and modes of importation, and that brings to the surface systemic and epistemic directionalities” (117). Guzmán Martínez’s translational cartography brings to the surface these possibilities, both for reassessing the translation itineraries of the past and for rethinking the ones artists and scholars build into the future. For those interested in either task, Mapping spaces is a must-read.","PeriodicalId":46243,"journal":{"name":"Translation Studies","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2022-08-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41821287","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-10DOI: 10.1080/14781700.2022.2092207
Olivia Lott
Mapping spaces of translation in twentieth-century Latin American print culture sets out with an ambitious task: to map the intersections of translation and print culture in contemporary America. from a transnational scope, charting and comparative methodological theoretical inquiry, case study she centrality of translation in print culture, a key condition in the formation of Latin American thought (2). this claim is a careful contextualization of translation as contested terrain inseparable from geopolitics.
{"title":"Mapping spaces of translation in twentieth-century Latin American print culture","authors":"Olivia Lott","doi":"10.1080/14781700.2022.2092207","DOIUrl":"https://doi.org/10.1080/14781700.2022.2092207","url":null,"abstract":"Mapping spaces of translation in twentieth-century Latin American print culture sets out with an ambitious task: to map the intersections of translation and print culture in contemporary America. from a transnational scope, charting and comparative methodological theoretical inquiry, case study she centrality of translation in print culture, a key condition in the formation of Latin American thought (2). this claim is a careful contextualization of translation as contested terrain inseparable from geopolitics.","PeriodicalId":46243,"journal":{"name":"Translation Studies","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2022-08-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46925880","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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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