“A theater of new, unforeseen constellations”: Walter Benjamin’s “Arcade” in postcolonial theories of (cultural) translation

IF 2.2 2区 文学 0 LANGUAGE & LINGUISTICS
Birgit Haberpeuntner
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引用次数: 0

Abstract

ABSTRACT In 1921, Walter Benjamin wrote his well-known essay about translation, “Die Aufgabe des Übersetzers”. Today, this text has become a classic reference in a broad spectrum of discussions within the fields of cultural and translation theory, often subsumed under the heading of “cultural translation”. This article examines how Benjamin’s essay has found its way into this discourse by looking at two exemplary texts from the field of postcolonial studies, namely Tejaswini Niranjana’s Siting Translation and Rey Chow’s Primitive Passions. The starting point for this investigation is a disturbance in translation: tracing the interlingual discrepancies of a single word that has become emblematic of Benjamin, namely the “arcade”, this text not only illustrates lines of dis/continuation between Benjamin’s writings and postcolonial perspectives on (cultural) translation, but also demonstrates how these new, English-language theorizations re-shape Benjamin’s texts, disturbing, shifting and enriching their more “traditional” readings.
“一个新的、不可预见的星座的剧场”:沃尔特·本雅明的后殖民(文化)翻译理论中的“拱廊”
摘要1921年,沃尔特·本雅明写了一篇著名的关于翻译的文章《Die Aufgabe desÜbersetzers》。今天,这篇文章已经成为文化和翻译理论领域广泛讨论的经典参考,通常被归入“文化翻译”的标题下。本文通过考察后殖民研究领域的两个典型文本,即Tejaswini Niranjana的《Siting Translation》和Rey Chow的《Primitive Passions》,来考察本雅明的文章是如何进入这一话语的。这项研究的出发点是翻译中的一场骚乱:追踪一个已经成为本雅明象征的单词,即“拱廊”的语际差异,本文不仅说明了本雅明的作品与后殖民主义对(文化)翻译的看法之间的差异/延续,英语理论重塑了本雅明的文本,扰乱、改变和丰富了他们更“传统”的阅读。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
CiteScore
2.10
自引率
10.00%
发文量
27
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