{"title":"翻译专家:Jacques Derrida, Safaa Fathy和Nom a la mer","authors":"Max Cavitch","doi":"10.3366/olr.2021.0362","DOIUrl":null,"url":null,"abstract":"This essay explores the film collaborations of Franco-Egyptian filmmaker Safaa Fathy and Franco-Maghrebian philosopher Jacques Derrida, offering an extended reading of their court-métrage, Nom à la mer (2004)—a film about language, exile, and loss, made by a pair of wanderers both keenly interested in the spectral effects of translation as they haunt the filmic medium. Nom à la mer is a cinematic rendering of the French translation of Fathy's original, Arabic-language poem, recited by Derrida in voice-off as Fathy's camera focuses on a single, highly overdetermined site in a small Andalusian town. This essay reads the film as both an artefact of the pathos of translation and as a scene of valediction, played out by both collaborators on grounds simultaneously intimate and historical.","PeriodicalId":43403,"journal":{"name":"OXFORD LITERARY REVIEW","volume":null,"pages":null},"PeriodicalIF":0.2000,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Specters of Translation: Jacques Derrida, Safaa Fathy, and Nom à la mer\",\"authors\":\"Max Cavitch\",\"doi\":\"10.3366/olr.2021.0362\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"This essay explores the film collaborations of Franco-Egyptian filmmaker Safaa Fathy and Franco-Maghrebian philosopher Jacques Derrida, offering an extended reading of their court-métrage, Nom à la mer (2004)—a film about language, exile, and loss, made by a pair of wanderers both keenly interested in the spectral effects of translation as they haunt the filmic medium. Nom à la mer is a cinematic rendering of the French translation of Fathy's original, Arabic-language poem, recited by Derrida in voice-off as Fathy's camera focuses on a single, highly overdetermined site in a small Andalusian town. This essay reads the film as both an artefact of the pathos of translation and as a scene of valediction, played out by both collaborators on grounds simultaneously intimate and historical.\",\"PeriodicalId\":43403,\"journal\":{\"name\":\"OXFORD LITERARY REVIEW\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.2000,\"publicationDate\":\"2021-12-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"OXFORD LITERARY REVIEW\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.3366/olr.2021.0362\",\"RegionNum\":4,\"RegionCategory\":\"文学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"LITERARY THEORY & CRITICISM\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"OXFORD LITERARY REVIEW","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.3366/olr.2021.0362","RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"LITERARY THEORY & CRITICISM","Score":null,"Total":0}
引用次数: 0
摘要
本文探讨了法国-埃及电影制作人萨法·法蒂和法国-马格里布哲学家雅克·德里达的电影合作，并对他们的宫廷- la mer(2004)进行了扩展阅读，这是一部关于语言，流亡和失落的电影，由一对流浪者拍摄，他们都对翻译的幽灵效应非常感兴趣，因为他们经常出现在电影媒介中。《Nom Nom la mer》是法蒂原始阿拉伯语诗歌法语翻译的电影版本，德里达在旁白中朗诵了这首诗，法蒂的镜头聚焦在安达卢西亚小镇上一个高度确定的地点。本文认为这部电影既是翻译悲怆的产物，也是两位合作者在亲密和历史的基础上进行的告别。
Specters of Translation: Jacques Derrida, Safaa Fathy, and Nom à la mer
This essay explores the film collaborations of Franco-Egyptian filmmaker Safaa Fathy and Franco-Maghrebian philosopher Jacques Derrida, offering an extended reading of their court-métrage, Nom à la mer (2004)—a film about language, exile, and loss, made by a pair of wanderers both keenly interested in the spectral effects of translation as they haunt the filmic medium. Nom à la mer is a cinematic rendering of the French translation of Fathy's original, Arabic-language poem, recited by Derrida in voice-off as Fathy's camera focuses on a single, highly overdetermined site in a small Andalusian town. This essay reads the film as both an artefact of the pathos of translation and as a scene of valediction, played out by both collaborators on grounds simultaneously intimate and historical.
期刊介绍：
Oxford Literary Review, founded in the 1970s, is Britain"s oldest journal of literary theory. It is concerned especially with the history and development of deconstructive thinking in all areas of intellectual, cultural and political life. In the past, Oxford Literary Review has published new work by Derrida, Blanchot, Barthes, Foucault, Lacoue-Labarthe, Nancy, Cixous and many others, and it continues to publish innovative and controversial work in the tradition and spirit of deconstruction. Planned issues include ‘Writing and Immortality’, "Word of War" and ‘Deconstruction and Environmentalism’.
京公网安备 11010802042870号
京ICP备2023020795号-1
分享
求助内容：
应助结果提醒方式：
扫码关注我们
