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The Feminization of Translation: Gender Politics in the Translation Controversy over Han, Kang's The Vegetarian 翻译的女性化:韩、康《素食主义者》翻译争议中的性别政治
IF 0.3 Q4 WOMENS STUDIES Pub Date : 2021-04-01 DOI: 10.1215/15366936-8913188
Min Young Godley
Abstract:The awarding of the 2016 Man Booker International Prize to Deborah Smith's English translation of The Vegetarian brought global recognition to emergent Korean literature, but domestically it has sparked outrage among numerous Korean scholars who believe the literal inaccuracies in Smith's translation have brought about a "national disgrace." Situating this overheated reaction in the larger context of the colonial history of Korean nationalism, this article points out the irony that the "noble cause" of antiimperialist resistance has historically led to the silencing of women's voices in the context of preserving and transmitting an idea of quintessential Korean culture to an international audience. Such nationalist tendencies demand the "feminization" of the translator—requesting her to be barely visible while performing a self-effacing humility in deference to the putatively "original" culture. In contrast to this tendency, reading Han's original and Smith's translation together makes visible the damages that both colonization and nationalism have inflicted on the representation of female experiences. In the end, what truly scandalizes nationalist critics is not the failure of the translator to accurately convey Korean experiences, but the success of the translation in conveying an area of Korean experience they tend to neglect: that of female subjectivity.
摘要:2016年布克国际奖授予黛博拉·史密斯的英文译本《素食主义者》,这为新兴的韩国文学带来了全球认可,但在国内,这引发了许多韩国学者的愤怒,他们认为史密斯译本中的文字不准确导致了“国家耻辱”。本文将这种过热的反应置于朝鲜民族主义殖民历史的更大背景下,指出具有讽刺意味的是“在历史上,反帝国主义的抵抗导致了女性在保留和向国际观众传递韩国文化精髓的背景下的声音被压制。这种民族主义倾向要求译者“女性化”——要求她在尊重公认的“原作”的同时表现出谦逊的谦逊“文化”。与这种倾向相反,将韩的原作和史密斯的译本放在一起阅读,可以看到殖民主义和民族主义对女性经历的表现所造成的损害。最终,真正让民族主义评论家感到震惊的不是译者未能准确地传达韩国的经历,而是翻译在传达方面的成功他们倾向于忽略韩国经验的一个领域:女性主体性。
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引用次数: 1
Ethical Reckoning: Human Rights and National Cinema in Bangladesh 伦理清算:孟加拉国的人权与国家电影
IF 0.3 Q4 WOMENS STUDIES Pub Date : 2021-04-01 DOI: 10.1215/15366936-8913151
E. Chowdhury
Abstract:In this article the author builds on the idea of Bangladeshi national cinema as human rights cinema to explore its role in documenting and engendering understanding about women, vulnerability, and agency within a Muktijuddho gender ideology. Drawing from feminist sociologist Patricia Hill Collins's conceptualization of a Black gender ideology, the author proposes that in cinematic traditions, an idealized Muktijuddho gender ideology influences and entrenches gendered social norms and reinforces perceptions of masculinity and femininity in war. These perceptions serve to justify patterns of legibility, recognition, and rejection for discursive practices of national inclusion and exclusion. Specifically, the author analyzes Nasiruddin Yousuff's Guerrilla (2011), an award-winning film featuring the story of Bilqis Banu, a middle-class, Muslim female combatant who takes on at once the national struggle for selfdetermination and the gender struggle against patriarchal cultural norms. The film opens up new ways of imagining the category birangona and elicits a deeper appreciation of differentiated agency, vulnerability, and humanity.
摘要:在这篇文章中,作者以孟加拉国国家电影作为人权电影的理念为基础,探讨其在Muktijudho性别意识形态中记录和促进对妇女、脆弱性和能动性的理解方面的作用。根据女权主义社会学家Patricia Hill Collins对黑人性别意识形态的概念,作者提出,在电影传统中,理想化的Muktijudho性别意识形态影响和巩固了性别化的社会规范,并强化了对战争中男性和女性的看法。这些观念有助于证明民族包容和排斥的话语实践的易读性、承认和拒绝模式是合理的。具体而言,作者分析了Nasiruddin Yousuff的《游击队》(2011),这是一部获奖电影,讲述了中产阶级穆斯林女战士Bilqis Banu的故事,她同时承担了民族自决斗争和反对父权文化规范的性别斗争。这部电影开辟了想象比兰戈纳类别的新方式,并引发了对差异化代理、脆弱性和人性的更深层次的理解。
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引用次数: 0
Letter-Poems to Shauki Masi: Diasporic Queer South Asian Muslim Reflections on the Five Pillars of Islam 给肖基·玛西的信-诗:流散的南亚酷儿穆斯林对伊斯兰教五大支柱的反思
IF 0.3 Q4 WOMENS STUDIES Pub Date : 2021-04-01 DOI: 10.1215/15366936-8913174
Sasha A. Khan
Abstract:An extension of an ongoing haunted queer diasporic kinship practice, this piece consists of letter-poems written to the author's ancestor, Shauki Masi, who passed away several years ago. In this way, the author offers queer Muslim meditations on the five pillars of Islam: salat (ritual of daily prayer), zakat (alms), sawm (ramzaan), hajj (pilgrimage), and shahadah (declaration of faith). The five pillars of Islam offer a praxis through which Muslims can (re)balance their relationships, communities, and therefore the world.
摘要:这是一篇持续困扰的酷儿流散亲属实践的延伸,由作者写给几年前去世的祖先Shauki Masi的信诗组成。通过这种方式,作者提供了奇怪的穆斯林对伊斯兰教五大支柱的思考:salat(每日祈祷的仪式)、zakat(施舍)、sawm(斋戒)、hajj(朝圣)和shahadah(信仰宣言)。伊斯兰教的五大支柱提供了一种实践,通过这种实践,穆斯林可以(重新)平衡他们的关系、社区,从而平衡世界。
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引用次数: 0
Contesting Militarized Violence in "Northeast India": Women Poets against Conflict “印度东北部”的军事化暴力之争:女诗人反对冲突
IF 0.3 Q4 WOMENS STUDIES Pub Date : 2021-04-01 DOI: 10.1215/15366936-8913107
B. Mehta
Abstract:The northeastern states of India have been positioned as India's postcolonial other in mainstream politics with the aim to create xenophobic binaries between insider and outsider groups. Comprising the eight "sister" states of Arunachal Pradesh, Assam, Manipur, Meghalaya, Mizoram, Nagaland, Sikkim, and Tripura, this region represents India's amorphous shadowlands in arbitrary political markings between the mainland and the off-centered northeastern periphery. These satellite states have been subjected to the neocolonial governance of the Indian government and its implementation of political terror through abusive laws, militarized violence, protracted wars against civilians and insurgents alike, and gender abuse. Women poets from the region, such as Monalisa Changkija, Temsüla Ao, Mamang Dai, and others, have played a leading role in exposing and denouncing this violence. This essay examines the importance of women's poetry as a gendered documentation of conflict, a peace narrative, a poet's reading of history, and a site of memory. Can poetry express the particularized "sorrow of women" (Mamang Dai) without sentimentality and concession? How do these poetic contestations of conflict represent complex interrogations of identity, eco-devastation, and militarization to invalidate an elitist "poetry for poetry's sake" ethic?
摘要:印度东北部各州在主流政治中被定位为印度的后殖民地,目的是在内部和外部群体之间制造仇外二元对立。该地区由印控"阿鲁纳恰尔邦"、阿萨姆邦、曼尼普尔邦、梅加拉亚邦、米佐拉姆邦、那加兰邦、锡金邦和特里普拉邦这八个“姐妹”邦组成,代表着印度大陆和偏离中心的东北部边缘之间的无定形阴影地带。这些卫星国一直受到印度政府的新殖民主义统治,并通过滥用法律、军事化暴力、针对平民和叛乱分子的旷日持久的战争以及性别虐待实施政治恐怖。来自该地区的女诗人,如Monalisa Changkija、Temsüla Ao、Mamang Dai和其他人,在揭露和谴责这种暴力行为方面发挥了主导作用。本文探讨了女性诗歌作为冲突的性别文献、和平叙事、诗人对历史的阅读和记忆场所的重要性。诗歌能否在不带感伤和退让的情况下表现出特殊的“女性的悲哀”(马芒戴)?这些关于冲突的诗意争论如何代表对身份、生态破坏和军事化的复杂质疑,以使精英主义的“为诗而诗”伦理失效?
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引用次数: 0
The Mythical Courtesan: Womanhood and Dance in Transnational India 神话中的宫廷:跨国印度的女性气质与舞蹈
IF 0.3 Q4 WOMENS STUDIES Pub Date : 2021-04-01 DOI: 10.1215/15366936-8913140
R. Putcha
Abstract:This article interrogates how and why courtesan identities are simultaneously embraced and disavowed by Brahman dancers. Using a combination of ethnographic and critical feminist methods, which allow the author to toggle between the past and the present, between India and the United States, and between film analysis and the dance studio, the author examines the cultural politics of the romanticized and historical Indian dancer—the mythical courtesan. The author argues that the mythical courtesan was called into existence through film cultures in the early twentieth century to provide a counterpoint against which a modern and national Brahmanical womanhood could be articulated. The author brings together a constellation of events that participated in the construction of Indian womanhood, especially the rise of sound film against the backdrop of growing anticolonial and nationalist sentiments in early twentieth-century South India. The author focuses on films that featured an early twentiethcentury dancersinger-actress, Sundaramma. In following her career through Telugu film and connecting it to broader conversations about Indian womanhood in the 1930s and 1940s, the author traces the contours of an affective triangle between three mutually constituting emotional points: pleasure, shame, and disgust.
摘要:本文探讨了妓女身份是如何以及为什么同时被婆罗门舞者接受和否认的。作者结合民族志和批判女权主义的方法,在过去和现在、印度和美国以及电影分析和舞蹈工作室之间切换,研究了浪漫化和历史化的印度舞者——神话妓女的文化政治。作者认为,神话中的妓女是在20世纪初通过电影文化而产生的,以提供一种现代和民族的婆罗门女性身份可以被表达出来的对比。作者汇集了一系列参与印度女性建设的事件,特别是在20世纪初南印度反殖民和民族主义情绪日益高涨的背景下,有声电影的兴起。作者关注的是20世纪初的舞蹈演员Sundarama的电影。通过泰卢固语电影追踪她的职业生涯,并将其与20世纪30年代和40年代关于印度女性的更广泛对话联系起来,作者在三个相互构成的情感点之间描绘了情感三角的轮廓:快乐、羞耻和厌恶。
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引用次数: 0
About the Cover Artist 关于封面艺术家
IF 0.3 Q4 WOMENS STUDIES Pub Date : 2020-12-02 DOI: 10.2307/j.ctv1vbd22k.19
S. Tamara
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引用次数: 0
Dreaming in the Delta 梦在三角洲
IF 0.3 Q4 WOMENS STUDIES Pub Date : 2020-12-01 DOI: 10.1215/15366936-8565935
Kristal Brent Zook
In 1990, in Indianola, Mississippi, there was a catfish-processing plant owned by 178 White male farmers. The workforce inside the plant was ninety percent Black and female. Led by an ordinary working mother turned union organizer named Sarah White, the women at Delta Pride led the largest strike of Black laborers ever to take place in that state, and won. Kristal Brent Zook, an award-winning journalist, traveled to Indianola to meet with White and others in an effort to understand the plight of working class women in the modern-day South. What she found there taught her as much about herself, as it did about human rights and dignity in America today.
1990年,在密西西比州的印地安诺拉,有一家鲶鱼加工厂,由178名白人男性农场主所有。工厂里的劳动力百分之九十是黑人和女性。在一位名叫莎拉·怀特(Sarah White)的普通职业母亲的带领下,Delta Pride的妇女们领导了该州有史以来规模最大的黑人工人罢工,并取得了胜利。屡获殊荣的记者克里斯塔尔·布伦特·祖克(Kristal Brent Zook)前往印第安纳州与怀特等人会面,试图了解现代南方工人阶级女性的困境。她在那里的发现不仅让她认识了自己,也让她认识了今天美国的人权和尊严。
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引用次数: 0
Hair Race-ing 头发Race-ing
IF 0.3 Q4 WOMENS STUDIES Pub Date : 2020-12-01 DOI: 10.1215/15366936-8565825
Ginetta E. B. Candelario
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引用次数: 3
Missing in Action 行动中失踪
IF 0.3 Q4 WOMENS STUDIES Pub Date : 2020-12-01 DOI: 10.1215/15366936-8565847
Paula J. Giddings
In 1930, Ida B. Wells-Barnett was surprised and disappointed to find that, despite her pioneering role as an anti-lynching activist and a founder of the NAACP, her name was not included in a contemporary Black history text by Carter G. Woodson, the “Father of Negro History.” This essay interrogates the social and political forces, beyond conventional racism and sexism, that marginalized Wells-Barnett’s place in history.
1930年,艾达·b·威尔斯-巴内特惊讶而又失望地发现,尽管她是反私刑活动家和全国有色人种协进会的创始人,但她的名字却没有被“黑人历史之父”卡特·g·伍德森(Carter G. Woodson)收录在当代黑人历史教科书中。这篇文章探讨了社会和政治力量,超越了传统的种族主义和性别歧视,边缘化了威尔斯-巴内特在历史上的地位。
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引用次数: 0
Queering Puerto Rican Women’s Narratives 奇怪的波多黎各妇女的叙述
IF 0.3 Q4 WOMENS STUDIES Pub Date : 2020-12-01 DOI: 10.1215/15366936-8566001
Lourdes Torres
While in the last decades there has been a proliferation of writings by Latina lesbians who theorize issues of intersectionality, missing still are the voices and analyses of Puerto Rican lesbians who articulate the specificity of Puerto Rican sexual, racial, national, and class dynamics. It is within this context that the author examines Memoir of a Visionary (2002) by Antonia Pantoja and The Noise of Infinite Longing (2004) by Luisita López Torregrosa; the article considers how these recent memoirs engage with intersecting issues in the lives of Puerto Rican women and suggest how shame implicitly conditions the articulation of Puerto Rican identity.
虽然在过去的几十年里,拉丁裔女同性恋的著作大量涌现,将交叉性问题理论化,但波多黎各女同性恋的声音和分析仍然缺失,她们阐明了波多黎各性、种族、国家和阶级动态的特殊性。正是在这种背景下,作者研究了安东尼娅·潘托哈的《一个梦想家的回忆录》(2002)和路易西塔·López·托雷格罗萨的《无限渴望的噪音》(2004);这篇文章考虑了这些最近的回忆录如何与波多黎各妇女生活中的交叉问题联系在一起,并表明羞耻如何隐含地影响了波多黎各人身份的表达。
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引用次数: 0
期刊
Meridians-Feminism Race Transnationalism
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