TRANSLATION REVIEW最新文献

{"title":"Who Does a Translated Text Belong To?","authors":"Claudia Hamm, Jonathan A. Becker","doi":"10.1080/07374836.2021.1994244","DOIUrl":"https://doi.org/10.1080/07374836.2021.1994244","url":null,"abstract":"What is a translated text and who does it belong to? What does a translation do with the “What” of the source language, when it is shifted into the “How” of the target language? Can the “What” of a text even be separated from its respective linguistic expression? These questions have been of interest to me since I began translating, which, aside from a few earlier incidental encounters, was about fifteen years ago. What do literary translators do before they translate? “They read the original,” we are inclined to answer. But am I not already translating a foreign-language original as I read it? Where does the appropriation begin that constitutes not just every translation but every reading? It might begin with opening the book, with the process of selecting it, or even with all the historical and cultural background knowledge one has to assemble to end up with this exact book. (This is part of what is known as the “hermeneutic circle,” and determines not only our reading choices, but also the “paratexts” we read before we get to the actual corpus.) So, the “Before” is already part of the process. And for translators, this “Before” rather frequently results in the discovery of a literary, emotional, intellectual, or even biographical closeness to the author, which then prompts them to find a publishing house because they are convinced that this work has to be available to read in one’s own language. Let us assume all these steps have been completed and the translator sits (or lies) before the original to be translated. In addition to the desire for an aesthetic or emotional experience, we read with the impulse to understand. What we are able and willing to understand, however, differs among individuals. Everyone reads their own book. Beyond that, the “How” of a text appears more important in the case of literature than the “What” I have to somehow extract from within the “How.” (“Everything has been said, just not by everybody,” Karl Valentin said of the “How” overhanging the “What.”) Once I, the translator, have constructed the “What” bound in the “How” of the other language, based on the horizon of my own comprehension, I can look for a linguistic form in German that organizes the linguistic material of my mother tongue in such a way that it achieves even close to the same effect the original had on me—one would think. But is that right? In translation circles there is much talk of the “equivalent effect” as the aim of translating wherein one attempts to infer, sense, analyze the kind of impression the original leaves in the source language in order to reconstruct it in one’s own. After considering the aforementioned hermeneutic circle and everything that it","PeriodicalId":42066,"journal":{"name":"TRANSLATION REVIEW","volume":"111 1","pages":"15 - 25"},"PeriodicalIF":0.5,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41935319","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":"In Conversation with Will Evans: On Becoming a Translator and a Dallas, Texas–based Publisher and Bookstore Owner","authors":"Shelby Vincent","doi":"10.1080/07374836.2021.1991706","DOIUrl":"https://doi.org/10.1080/07374836.2021.1991706","url":null,"abstract":"","PeriodicalId":42066,"journal":{"name":"TRANSLATION REVIEW","volume":"111 1","pages":"1 - 9"},"PeriodicalIF":0.5,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48022990","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":"AN INVESTIGATION OF RETRANSLATION HYPOTHESIS IN ENGLISH TRANSLATIONS OF RŪMĪ’S POETRY","authors":"Pardis Sharifpour, Masood Sharififar","doi":"10.1080/07374836.2020.1860843","DOIUrl":"https://doi.org/10.1080/07374836.2020.1860843","url":null,"abstract":"Retranslation has been considered “a positive phenomenon inevitable in the field of literature, offering various interpretations of the same original” by scholars like Sirkku Aaltonen. It was usually “related to canonical literary texts; as there were few great translations of these texts, retranslations came to existence.” Theoretical assumptions about retranslation developed in the 1990s are often referred to as the “retranslation hypothesis,” suggesting that “if two or more translations of the same text exist in the same target language, the later translation(s) tend to be closer to the original than the earlier ones.” Here, closeness refers to the resemblance between the source text and translation, which is determined by structural changes, inaccuracies, deletion, or additions. The fewer the changes, the closer translation will be to the original. This study, focusing on English translations of Rumi’s poetry, considers the notion of closeness based on the dichotomy of documentary and instrumental translation rather than the traditional categories of literal and free translations, the reasons behind the production of retranslations, as well as the success of retranslation in making the original author known to the target readers and seeks to answer these questions: (1) To what extent are the retranslations of Rūmī’s poetry linguistically and culturally close to the source text (2) What are the motives for retranslating Rūmī’s poetry into English? (3) Is it possible for indirect retranslations to follow the rules of the retranslation hypothesis?","PeriodicalId":42066,"journal":{"name":"TRANSLATION REVIEW","volume":"111 1","pages":"26 - 41"},"PeriodicalIF":0.5,"publicationDate":"2021-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/07374836.2020.1860843","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49191026","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":"A Chronological Bibliography of Turkish Literature in English Translation: 2004 – 2020","authors":"Şafak Horzum, Başak Ağın","doi":"10.1080/07374836.2021.1939214","DOIUrl":"https://doi.org/10.1080/07374836.2021.1939214","url":null,"abstract":"This bibliography, which covers English translations of literary works produced in Turkish—including the works penned by minorities living in Turkey—from 2004 to 2020, is a sequel to Saliha Paker and Melike Yılmaz’s bibliographic research published in the 2004 special issue “Turkish Literature and Its Translation” of Translation Review (vol. 68, no. 1). Paker and Yılmaz’s work, despite its comprehensive coverage from 1949 to 2004, leaves out the translations published in the latter half of the cut-off date, presumably due to the publication date of the issue. Therefore, the following chronological bibliography begins with the works that were not included in the previous study. Taking Paker and Yılmaz’s research as its basis, this bibliography includes literary genres common to world literatures, such as poetry, drama, novel, short story, as well as creative non-fiction such as travel literature and memoir. Other works of non-fiction and self-published works are not represented here.","PeriodicalId":42066,"journal":{"name":"TRANSLATION REVIEW","volume":"110 1","pages":"39 - 47"},"PeriodicalIF":0.5,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43543473","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":"CREATIVE SUBVERSION IN HAO JINGFANG’S SHENGSI YU (生死域)/LIMBO","authors":"Ursula Deser Friedman","doi":"10.1080/07374836.2021.1939212","DOIUrl":"https://doi.org/10.1080/07374836.2021.1939212","url":null,"abstract":"In the introduction to his 1903 translation of Jules Verne’s From the Earth to the Moon (De la terre à la lune, 1865), which he translated from an intermediary Japanese translation, Lu Xun (1881–1936) writes, “Science fiction [in China] is as rare as unicorn horns, which shows in a way the intellectual poverty of our times.” Yet China is now home to a legion of contemporary science fiction writers who wrestle with China’s historical past, explore the depths of the human psyche, and analyze the sociopolitical issues facing contemporary China through exquisite prose. However, English-language translations of contemporary Chinese women’s science fiction remain sorely lacking. My translation of Hao Jingfang’s novelette Shengsi Yu (生死域2016, lit. The Realm Between Life and Death) aims to fill this gap by extending the international influence of Chinese (women’s) science and speculative fiction. Hao Jingfang (郝景芳, b. 1984) has earned numerous accolades for her tales of Chinese urbanites struggling to forge meaningful connections amid looming social inequality and a repressive political regime. In 2016, Hao sent waves across China’s science fiction circles by beating Stephen King to the Hugo Prize for Science Fiction Literature, becoming the first Chinese woman to win the award in its sixty-five-year history. Hao tackles the implications of China’s socio-economic inequality and deftly fuses traditional Chinese folklore and modern cityscapes with a Western-style cinematic aesthetic and subtle political critique. Her novels and short stories also center around themes of existentialism, Chinese history, the human psyche, and humanity’s place in the cosmos. This article draws upon relevant translation theory to contextualize the practice of “creative subversion” in literary translation and applies these concepts to an examination of specific instances of subversion in my English translation of Shengsi Yu (Limbo), a tumultuous foray into a nameless narrator’s struggles to confront his innermost fears and desires, while hanging in limbo between life and death. The term “creative subversion” is derived from Professor Suzanne Jill Levine’s The Subversive Scribe: Translating Latin American Fiction, in which Levine hails literary translators as “subversive scribes” who destroy “the form of the original,” while retaining meaning, albeit “reproduced through another form.” Here, “creative subversion” is taken to mean creative infidelity toward the source text in order to adapt and transform the source text for an Englishspeaking readership. The translator mediates the dialogue between source and target texts by bending the source text through the prism of their particular interpretation. In","PeriodicalId":42066,"journal":{"name":"TRANSLATION REVIEW","volume":"110 1","pages":"48 - 62"},"PeriodicalIF":0.5,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44135401","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":"RECOVERING A MASTERPIECE OF SOCIAL PROSE: WILLIAM CARLOS WILLIAMS’S LOST TRANSLATION OF “CAGE”","authors":"Jonathan Cohen","doi":"10.1080/07374836.2021.1939213","DOIUrl":"https://doi.org/10.1080/07374836.2021.1939213","url":null,"abstract":"","PeriodicalId":42066,"journal":{"name":"TRANSLATION REVIEW","volume":"110 1","pages":"4 - 14"},"PeriodicalIF":0.5,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41895541","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":"INTRODUCTION TO THE TRANSLATION REVIEW Editorial Board Members","authors":"members—Luise von Flotow, M. Gu, Ignacio Infante, Steven G. Kellman, S. Kingery, Jonathan C. Stalling, Clare Sulli","doi":"10.1080/07374836.2021.1951576","DOIUrl":"https://doi.org/10.1080/07374836.2021.1951576","url":null,"abstract":"In lieu of an interview in this issue, we’d like to take this opportunity to introduce and thank the Translation Review Editorial Board members—Luise von Flotow, Ming Dong Gu, Ignacio Infante, Steven G. Kellman, Sandra Kingery, Jonathan Stalling, Clare Sullivan, and Kelly Washbourne. Each member has been instrumental over the years in helping to fulfill TR’s mission of serving as a forum for cultivating a dialogue between American and international authors and scholars on the art and craft of literary translation. Since the inaugural issue was published in 1978, TR has promoted the visibility and recognition of the translator as one of the most important agents in fostering understanding and appreciation among cultures.","PeriodicalId":42066,"journal":{"name":"TRANSLATION REVIEW","volume":"110 1","pages":"1 - 3"},"PeriodicalIF":0.5,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46887437","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 Belle Créole","authors":"Joyce Zonana","doi":"10.1080/07374836.2021.1954437","DOIUrl":"https://doi.org/10.1080/07374836.2021.1954437","url":null,"abstract":"Toward the end of Windward Heights, Maryse Condé’s richly textured 1995 Caribbean retelling of Wuthering Heights, a dejected Razyé, her Heathcliff character, gazes over the “listless immensity” of the sea and wonders if he should “swim out with a calm stroke” and then, “with eyes closed and fists clenched, rolled up in a ball like a foetus in its element ... lower himself further and further to the very bottom of the body of the ocean.” Razyé chooses not to return to the womb of the sea (la mer in French, impossible for the ear to distinguish from la mère, the mother), though the sea’s alluring embrace encircles Windward Heights as it does The Belle Créole, Condé’s 2001 novel recently published in an engaging English translation by Nicole Simek. Like the earlier novel, The Belle Créole takes place on Guadeloupe, Condé’s “small, fitful, and remote” island homeland, where the sun goes down in “a daily orgy of blood.” But unlike Windward Heights, The Belle Créole is set in a familiar and disturbing turn-of-the-twenty-firstcentury present. The Belle Créole’s central character, Dieudonné Sabrina, is as drawn to the sea as to a lover, “always quick to wrap herself around his body and greet him with the moist kiss of her mouth.” He swims in it alone for an hour every morning; his happiest memories are of childhood jaunts on La Belle Créole, the sailboat owned by the Cohen family for whom his mother worked; and in the end, the sea remains his “only friend,” the only “one who had always stayed faithful ... offering him the caress of her belly, opening for him the sticky depths of her pubis, crowned with kelp.” It is no accident that Dieudonné’s dark-skinned Black mother, abandoned by her well-to-do lighter-skinned lover (ironically named “Vertueux”) when she becomes pregnant, is named “Marine.” Dieudonné, a sensitive and sickly only child, clings to her with unabashedly Oedipal desire. Ten years old when Marine is paralyzed by a fall, Dieudonné spends the next five years “spoon-feeding her meals to her, bathing her, rubbing her down, dressing her, getting her to do her business without disgust.” Marine’s death, a relief to her family, leaves the boy “all alone in this world.” Rejected by his grandmother and godmother, he moves into the Cohens’ abandoned yacht, spending hours","PeriodicalId":42066,"journal":{"name":"TRANSLATION REVIEW","volume":"110 1","pages":"63 - 69"},"PeriodicalIF":0.5,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47335920","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":"An Argument for Footnotes: The Special Case of Translating Tito Maniacco’s Mestri di mont (2007)","authors":"Valentina Maniacco","doi":"10.1080/07374836.2021.1939211","DOIUrl":"https://doi.org/10.1080/07374836.2021.1939211","url":null,"abstract":"The works of Italian/Friulian author, Tito Maniacco (1932–2010), including Mestri di mont (2007), incorporate a multitude of allusions. One of the problems authors face when using allusions is that, if their reader does not recognize the allusion, meaning can be lost. This problem is exacerbated when a work moves across cultural borders. While Mestri di mont is written in Italian, the Friulian language features prominently, and there is also a smattering of French and Latin. In this article, I discuss my approach to handling these two challenges in bringing this text across into English: the multiple languages and allusions. My aim is to explain why footnotes were my chosen strategy for transmitting additional information to a new readership. In the field of translation, footnotes are controversial. In the case of Mestri di mont, footnotes served to convey information and insights for an improved reading experience.","PeriodicalId":42066,"journal":{"name":"TRANSLATION REVIEW","volume":"110 1","pages":"15 - 30"},"PeriodicalIF":0.5,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44184953","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":"Celebrity Translation in British Theatre: Relevance and Reception, Voice and Visibility","authors":"Daniella Smith","doi":"10.1080/07374836.2021.1951577","DOIUrl":"https://doi.org/10.1080/07374836.2021.1951577","url":null,"abstract":"Reviewed by Daniel Smith Robert Stock’s thoughtful and engaging Celebrity Translation in British Theatre: Relevance and Reception, Voice and Visibility employs methodologies derived from cognitive ...","PeriodicalId":42066,"journal":{"name":"TRANSLATION REVIEW","volume":"110 1","pages":"70 - 74"},"PeriodicalIF":0.5,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48212561","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}