TRANSLATION REVIEW最新文献

{"title":"Rites","authors":"Lourdes Molina","doi":"10.2307/j.ctv6wggkf.33","DOIUrl":"https://doi.org/10.2307/j.ctv6wggkf.33","url":null,"abstract":"","PeriodicalId":42066,"journal":{"name":"TRANSLATION REVIEW","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43698239","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":"Note from Steven Kellman","authors":"Steven G. Kellman","doi":"10.1080/07374836.2021.2008171","DOIUrl":"https://doi.org/10.1080/07374836.2021.2008171","url":null,"abstract":"I am obliged to point out an error of fact in Sandra Kingery’s review of my book Nimble Tongues: Studies in Literary Translingualism. On page 1 of the book, I define translingualism as “the phenomenon of writers who write in more than one language or in a language other than their primary one.” I make it clear that it is possible to be multilingual without being translingual if, despite knowing more than one language, a writer writes only in L1. Although Ernest Hemingway spoke French and Spanish, he wrote exclusively in his native language, English. He was not translingual. Early in Nimble Tongues, I pose the fundamental question of whether the phenomenon of translingualism is worth studying, whether it makes any difference to the kind of text produced. I suggest that a fair test might be to compare the work of a translingual writer with that of a monolingual writer (whose work could presumably not be contaminated by any additional languages). Nevertheless, I point out how very difficult it is to find a writer who is genuinely, totally monolingual. As an example, I cite William Faulkner, who wrote exclusively in English, his L1, and was therefore decidedly not translingual, but whose texts show traces of French and Haitian Creole. From this, Professor Kingery concludes, invalidly, that I have broadened the category of translingual to include even Faulkner. I have not; I have simply noted that Faulkner is not a pure specimen of monolingualism. Professor Kingery faults the book for a “tendency to see translingualism everywhere,” when I have merely pointed out that true monolingualism is very rare. Literary translingualism remains the special case of writing in an adopted language.","PeriodicalId":42066,"journal":{"name":"TRANSLATION REVIEW","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46920750","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":"Klaus Kaindl, Waltraud Kolb","authors":"Mi Zhang","doi":"10.1080/07374836.2022.2064169","DOIUrl":"https://doi.org/10.1080/07374836.2022.2064169","url":null,"abstract":"For a long time, Translation Studies has been affiliated with Linguistics, so the focus of translation research was largely the transfer from source text to target text, and equivalence was the pearl on the throne. With Translation Studies gaining its independent disciplinary status and the “cultural turn” dethroning “equivalence,” the scope of translation research has been greatly expanded. For the past two decades, the call for humanizing Translation Studies has pushed translators from a peripheral to a central position, with the establishment of “Translator Studies” as a subdiscipline in Translation Studies and the proposal of the “agent model” encompassing cultural, cognitive, and sociological domains. Research on translators has been solidified with the emergence of the “sociological turn,” especially with one branch centering on the “sociology of agents.” Literary Translator Studies traces its origin to the 2018 conference, “Staging the Literary Translator,” organized by the University of Vienna and attempts to address this subject from various angles while providing much needed theoretical and methodological frameworks. In his comprehensive introduction, “[Literary] Translator Studies: Shaping the field,” Klaus Kaindl clearly traces the development of Translation Studies and points out the significance of human research. The volume consists of four parts, each concentrating on a specific area. Part 1, “Biographical and Bibliographical Avenues,” explores Translator Studies through these titular approaches. In Chapter 1, “Literary detection in the archives: Revealing Jeanne Heywood (1856–1909),” Mary Bardet adopts a micro-historical approach to humanize this translator in two ways: through the detailed use and thick description of archival materials and by linking her personal trajectory to a social backdrop. Utilizing these methods, the author is able to identify Heywood as the translator of a series of vanguard renderings through the use of various archives housed in different locales. The second chapter, “George Egerton and Eleanor Marx as mediators of Scandinavian literature” by Sabine Strümper-Krobb, sites these translators in an attempt to link their social standing to translation practice. Through the use of biographical sketches, the author concludes that their various networks and activities led to the use of domestication as their translation strategy. In Chapter 3, “Translator biographies as a contribution to Translator Studies: Case studies from nineteenth-century Galicia,” Markus Eberharter demonstrates how biographical material can help understand the language-acquisition background, motivation, and role of the translator, coining the term “translator biography,” which he then applies to the examination of four figures. The author concludes that it is beneficial to embed a translator’s life into the broader sociocultural context in which translation activities take place through biographical analysis. The last chapter in Part 1","PeriodicalId":42066,"journal":{"name":"TRANSLATION REVIEW","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2022-05-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48810373","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":"Translating Poetry: Texts and Contexts of Nazim Hikmet","authors":"Mutlu Konuk Blasing","doi":"10.1080/07374836.2022.2065856","DOIUrl":"https://doi.org/10.1080/07374836.2022.2065856","url":null,"abstract":"Translation teaches us that a poem is both something more and something less than what it says. Poems do more than communicate “messages”; they exploit language, the physical presence of words. At the same time, however, a poem does less than communicate a meaning, for what we bring to a text as readers, together with its total context of other literary and nonliterary meanings, makes up a great part of what the text communicates. This doubleness becomes crucial in translating the work of a political poet who is at the same time an innovator in his use of language. Nazim Hikmet is such a poet, and my examples in this discussion will be drawn from my experience of translating his work from Turkish. Although the translation of a single line or even a single word with its aura of connotations, history, usage, and echoes of other words is impossible, it is possible nevertheless to translate a poem. For a poem is experienced as an emotional whole, and this emotional whole can be translated, despite the loss of the original language, style, and even form. Unlike the critic, who can separate the work into a series of untranslatable components and can choose what to look at, the translator must hold the entire complex in suspension and focus not on the separate elements of the poem but on their interaction. And it is this complex of relations that can be translated, for if the target language has poetry—if it has an established poetic usage or poetic structuring of the elements of language—it will contain the same possibilities of word-use, and the same range or kind of relations may be reproduced. For while a literary text is of the flesh and blood of a language, a poem is not identical with the text; a poem is the experience of a text in its harmony and conflict with a variety of contexts. And translation may be defined as reproducing in a second language this complex of relationships that a poem is. In translating a poem, then, one must negotiate a number of contexts for the text. First, the translator has to provide not only equivalent words but a context of poetic usage or function for the words. Since the root of the problem of translating a poem is the untranslatability of all the nuances and auras of words, a prose translation of a poem is not necessarily more accurate than a verse translation. Indeed, a prose translation is essentially unfaithful, for a poet’s meaning in any one poem is inseparable from the fact that it is being said in poetry. In a poem, both the sound and meaning of a word become functional, and this momentary integration of sound and sense, which rests precariously on the essentially arbitrary nature of the connection between how a word sounds and what it means, is what distances poetry from institutional or “profane” language-use. In the translation of poetry, this simultaneously necessary and arbitrary connection between the sound and sense of words and lines poses a question to language itself. The apparent necessity of th","PeriodicalId":42066,"journal":{"name":"TRANSLATION REVIEW","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42453205","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":"Retracing the Translation Process: Hugo Lindo’s Only the Voice","authors":"Elizabeth Gamble Miller","doi":"10.1080/07374836.2022.2066369","DOIUrl":"https://doi.org/10.1080/07374836.2022.2066369","url":null,"abstract":"Sólo la voz is a major work by Hugo Lindo, El Salvador’s best known living poet. It is a volume of forty-seven untitled cantos which are individual poems with intertwining themes and repeated motifs so that they comprise one long poem. As translator I wished to re-create the multiple aspects of Hugo Lindo’s particular aesthetic sensibility and to express his poetic vision. To accomplish this objective I sought to reconstruct the intricate relationships between the poetic elements—visual, auditory or semantic—that compose the internal dynamics of his poem and, further, through my choice of words, to reestablish in English its coherence or inner logic. Hugo Lindo views life experience as composed of polarities such as expectation and disillusionment. His aesthetic ideas and philosophic concepts are not presented as statements but take form metaphorically through a series of images so that his poetry becomes an actual enactment of the poet’s vision of the paradoxical nature of life. Thus, his thought is in constant interaction with his poetic process. Through particular techniques, Lindo creates an imaginary reality which enacts the paradox of life on an aesthetic level. The poet’s poetic process is built on the conflict of clashing metaphors and on the elaboration of opposing images. Within these techniques is an inherent paradox as each image consists of incongruous elements: for example—“cells of ashes.” In a biological context “cells” implies life; in a physical or spiritual context “ashes” suggests death. Through varying techniques whose internal nature is paradoxical, Hugo Lindo creates poems that evoke the multiple and contradictory aspects of life experience. The poet’s view of reality as fluid and ambiguous rather than absolute emerges for the reader through the poem’s successive images as each is undermined by the following one. A short, concrete example is in his phrase “agonies of the bedroom” in Canto XXXI of Only the Voice. The word “agonies” establishes an emotional field which is reversed when it is followed by “of the bedroom,” for this raises a question about the negative or positive connotation of “agonies.” These characteristics of fluidity and ambiguity compel the translator to conserve the antagonistic duality and multiplicity of interpretive possibilities through a choice of words that reflect the dualistic nature and effect the necessary ambiguity or clarity. Such dualism and ambiguity are found in the poet’s images which are brilliant, clear and concrete, yet have expansive possibilities. As an example, in Canto XXXII the nouns chosen for the second stanza are concrete: “muros,” “hilos,” “eslabones,” “abismos”; they represent material realities. Yet they evoke a figurative meaning as well. They must be translated by nouns which are vivid in the image they evoke and also suggestive of an additional meaning. For the translation of “hilos,”· “cords” would not be appropriate; a better selection is “bonds,” which reproduces the d","PeriodicalId":42066,"journal":{"name":"TRANSLATION REVIEW","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46962856","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":"Reflections of a Translation Review Editor","authors":"G. J. Racz","doi":"10.1080/07374836.2022.2046402","DOIUrl":"https://doi.org/10.1080/07374836.2022.2046402","url":null,"abstract":"","PeriodicalId":42066,"journal":{"name":"TRANSLATION REVIEW","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46009723","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":"Octavio Paz on Translation: Literature and Literality, translated by Lynn Tuttle","authors":"O. Paz","doi":"10.1080/07374836.2022.2065842","DOIUrl":"https://doi.org/10.1080/07374836.2022.2065842","url":null,"abstract":"Learning to speak is learning to translate; when the child asks his mother for the meaning of some word, what he is really asking is that she translate the new word into his vocabulary. Translation within a language is not, in this sense, essentially different from translation between two languages. The history of every nation repeats the child’s experience: even the most isolated tribe must, at some time, confront the language of an alien people. The astonishment, rage, horror, or amused perplexity we feel in response to the sounds of a language we do not know soon becomes doubt over the one we speak. Language loses its universality and is revealed as a plurality of languages, all foreign and unintelligible to each other. In the past, translation dispelled that doubt: though there is no universal language, languages form a universal society. Once certain difficulties are overcome, all can know and understand each other. And they understand each other because in different languages men always say the same things. The universality of the spirit was the answer to the confusion of Babel: there are many languages, but meaning is one. Pascal found in the plurality of religions a proof of Christianity’s truth; translation responded to the diversity of languages with the ideal of a universal intelligibility. Thus, translation was not only an extra proof but a guarantee of the unity of the human spirit. The modern age destroyed that security. When he rediscovered the infinite variety of temperaments and passions and beheld the spectacle of a multitude of customs and beliefs, man began to stop recognizing himself in other men. Until then, the savage had been an exception. It was necessary to suppress him by conversion or extermination, by baptism or the sword. But the savage who appeared in eighteenth-century salons was a new creature. Although he could speak his hosts’ language perfectly, he embodied an undeniable foreignness. He was no longer the subject of conversion but rather of argument and criticism; the originality of his judgments, the simplicity of his customs, and even the violence of his passions were proof of the madness and vanity, if not the infamy, of those baptisms and conversions. Change of direction: the religious search for a universal identity was followed by an intellectual curiosity bent upon discovering differences which were no less universal. Foreignness ceased to be an aberration and became exemplary. This exemplary quality is paradoxical and revealing: the savage was the civilized man’s nostalgia, his other self, his lost half. Translation reflected these changes: no longer did it tend to seek out the ultimate identity of man, but instead became the vehicle of his uniqueness. Its function had consisted of revealing similarities over differences; from now on, it would show that those differences were irreducible, whether describing the strangeness of the savage or of our neighbor. Doctor Johnson expressed the new attitude very w","PeriodicalId":42066,"journal":{"name":"TRANSLATION REVIEW","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49228951","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":"On Haiku","authors":"J. K. Vincent","doi":"10.1080/07374836.2021.1904167","DOIUrl":"https://doi.org/10.1080/07374836.2021.1904167","url":null,"abstract":"As Hiroaki Sato explains in his delightful and informative book On Haiku, “the haiku is one of the few cases . . . where the doings of translators . . . have helped shape the view of the verse form in foreign countries.” Sato is referring here to the practice of writing haiku in English in three lines despite the fact that, in Japanese, haiku normally appear in a single line. When Lafcadio Hearn first translated Matsuo Bashō’s famous frog poem in 1898, he followed the Japanese format, rendering it “with no fuss” in a single line as: “Oldpond—frogs jumped in—sound of water.” But since then, most translators seem to have felt that, in order for a haiku even to register as a poem in English, it needed to take up more real estate on the page. By now, the three-line format has become so ingrained in English that most readers would be surprised to find it doesn’t work that way in Japanese. Sato has quite a lot to say about why he thinks haiku work better in a single line, although he cheerfully admits that this issue is his “hobby horse” and is not especially sanguine about changing anyone’s mind. But there is no doubt that the “doings of translators” have affected the way we read and write haiku in profound ways, and it is as one translator’s response to those “doings” that Sato’s book makes its most important contribution to the literature on haiku in English. What are these “translators’ doings?” I am thinking not only of the habit of translating haiku in three lines to make them seem more substantial, but also of a related habit of thinking of haiku according to what might be called the “lyrical” model: as poems that require no context other than “the occasion of [their] reading” to be fully appreciated. This way of thinking of haiku is largely responsible for the fact that haiku in English tend to appear on the page shorn of any context. Such an understanding of haiku as fundamentally lyric took hold in Japan in the late nineteenth century when Masaoka Shiki anointed the haiku as a genre able to stand on its own, independent from linked verse as a form of “literature” on par with Western lyric poetry. This notion of haiku has now spread around the globe. But it was far from the only way to think of haiku, even in Shiki’s time. Readers can be drawn to haiku for many reasons, many of which depend on context, such as the view they provide into the lives of the poets who wrote them, how they allude to earlier poems (what Haruo Shirane has called the “vertical axis”), how they evoke shared cultural associations attached to seasonal words, or as one of many links in a linked verse session involving many poets. All of this is to say that haiku are about much more than what Anglophone poets like to call the “haiku moment” when the solitary poet communes with nature to attain a state of heightened consciousness. A persistent focus on this “zenlike” moment as the essence of haiku is one of several more or less Orientalizing shibboleths common in English wri","PeriodicalId":42066,"journal":{"name":"TRANSLATION REVIEW","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46910809","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 Voice of the Translator: An Interview with Breon Mitchell","authors":"R. Schulte","doi":"10.1080/07374836.2022.2066354","DOIUrl":"https://doi.org/10.1080/07374836.2022.2066354","url":null,"abstract":"Breon Mitchell is one of the most important translators from German working in the United States today. His publications include translations of The Trial by Franz Kafka, The God of Impertinence by Sten Nadolny, Shadowlife by Martin Grzimek, The Silent Angel by Heinrich Böll, Laura’s Skin by J. F. Federspiel, and The Color of the Snow by Rüdiger Kremer. Mitchell’s translation of The Tin Drum by Günter Grass was published in 2009. For the past decade he has been the Director of the Lilly Library at Indiana University in Bloomington, Indiana, where he initiated the collection of translators’ archives. Selections from Mitchell’s “Afterword” from The Tin Drum are interspersed throughout the interview. Credit: Clifford Landers","PeriodicalId":42066,"journal":{"name":"TRANSLATION REVIEW","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49504045","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":"Clarice Lispector. The Complete Stories","authors":"E. Lowe","doi":"10.1080/07374836.2021.1904166","DOIUrl":"https://doi.org/10.1080/07374836.2021.1904166","url":null,"abstract":"","PeriodicalId":42066,"journal":{"name":"TRANSLATION REVIEW","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49230649","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}