TRANSLATION REVIEW最新文献_第6页

ABC’s of Translation 翻译的基础

IF 0.5 3区文学

TRANSLATION REVIEW Pub Date : 2022-09-12 DOI: 10.1080/07374836.2022.2065845

Willis Barnstone

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The Cleverest Girl in Madrid. La discreta enamorada 马德里最聪明的女孩。La discita enamorada

IF 0.5 3区文学

TRANSLATION REVIEW Pub Date : 2022-09-02 DOI: 10.1080/07374836.2022.2128627

G. J. Racz

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Call for Submission 要求提交

IF 0.5 3区文学

TRANSLATION REVIEW Pub Date : 2022-09-02 DOI: 10.1080/07374836.2022.2133923

Shelby Vincent

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Translating Persian Poetry and its Discontents 波斯诗歌的翻译及其不满

IF 0.5 3区文学

TRANSLATION REVIEW Pub Date : 2022-09-02 DOI: 10.1080/07374836.2022.2142346

Kayvan Tahmasebian

{"title":"Translating Persian Poetry and its Discontents","authors":"Kayvan Tahmasebian","doi":"10.1080/07374836.2022.2142346","DOIUrl":"https://doi.org/10.1080/07374836.2022.2142346","url":null,"abstract":"Poetry translation occasionally arouses controversy among Iranian readers, especially when the work of great masters is involved. This sensitivity applies alike to classical master poets like H _ āfiz _ Shirāzī (d. 1390) and S _ ā’ib Tabrīzī (d. 1592) and modernist forerunners like Nima Yushij (d. 1960) and Bijan Elahi (d. 2010). Because of the damages they inflict on the original poems, translations are sometimes read like acts of profanation: the translator is accused of clumsiness, of going astray, of wasting the poem, by readers, at various levels of mastery of their native language and the language in which the poem in question has been translated and at various levels of concern for Persian literature, who do not find the pleasure and the sophistication they used to take from the poem in Persian. “But this is not H _ āfiz _ ,” “this is not S _ ā’ib,” “this is not Nima,” “this is not Elahi,” they complain about the alterity that the poem, and the poet, undergo through “inappropriate” translation. More adequate and “appropriate” translations are rarely suggested by the complainants. Of course, this negativity toward poetry translation does not eclipse other readers’ sympathy with the translator’s hazardous undertaking. I have been profaning poetry for around two decades now: I have published my translations of Friedrich Hölderlin, Stéphane Mallarmé, Francis Ponge, Alejandra Pizarnik, and Arthur Rimbaud in Iranian literary magazines (2004–2014). Since 2017, I have turned to translating Persian poetry into English. With Rebecca Ruth Gould, I have cotranslated modernist poets, Bijan Elahi, Nima Yushij, and Hasan Alizadeh (b. 1947), as well as classical poets, S _ ā’ib Tabrīzī, Khāqānī Shirvānī (d. 1199), and Jahān Malik Khātūn (d. circa 1393). Throughout the years I lectured at the University of Isfahan (2008–2017), I witnessed the students’ wry smiles and grim frowns at the translations from classical Persian by Edward Fitzgerald, Gertrude Bell, R. A. Nicholson, A. J. Arberry, and other eminent scholars of Persian literature. Classical Persian poetry has been read in English translation since the late eighteenth century. Presumably, native English translators of Persian poetry have been far less bothered by concerns about untranslatability than their Persian readers. William Jones’s versified translation of H _ āfiz _ ’s ghazal (“Agar ān turk-i shirāzī”) was published first in his Grammar of the Persian Language (1771), in conjunction with a prose translation evidently for language learning reasons. By adding the prose translation, Jones meant less to highlight the lost information in the versified version than to show learners why the poem’s images and allusions “cannot be translated literally into any European language.” Far from dooming the poem to untranslatability, Jones admits that he attempted to translate it into verse because he was pleased by “the wildness and simplicity of this Persian song.” The subsequent versifications of Persian ","PeriodicalId":42066,"journal":{"name":"TRANSLATION REVIEW","volume":"114 1","pages":"17 - 26"},"PeriodicalIF":0.5,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44104231","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}

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Contemporary Chinese Women Writers in English Translation: An Agent-oriented Investigation 当代中国女作家的英译研究

IF 0.5 3区文学

TRANSLATION REVIEW Pub Date : 2022-09-02 DOI: 10.1080/07374836.2022.2096162

Mengying Jiang

{"title":"Contemporary Chinese Women Writers in English Translation: An Agent-oriented Investigation","authors":"Mengying Jiang","doi":"10.1080/07374836.2022.2096162","DOIUrl":"https://doi.org/10.1080/07374836.2022.2096162","url":null,"abstract":"According to the translation database “Three Percent,” established at the University of Rochester to collect data on international literature, texts written by women from 2008 to 2018 constitute only 28.7 percent of all the translations in the database, consisting of some 1,394 titles out of a total of 4,849. As translated literature makes up a limited fraction of the books in the Anglophone market, translated literature written by women can be defined as a minority within a minority. According to Josh Stenberg, when selecting Chinese literature for translation, Anglophone publishers tend to “slant towards the male, the racy, the overtly political, the transgressive, and the weird.” Many of the male writers’ historical epics that sweep through the political landmarks of twentiethcentury China have been translated. By contrast, their female counterparts have been largely neglected. The first large-scale social awakening of Chinese women writers’ female consciousness did not occur until the New Cultural Movement (1915–1927), a movement that had advocated for women’s rights, power, authority, and status. However, this feminist trend was truncated by the subsequent AntiJapanese War (1937–1945), which instigated a wave of revolutionary writing. The war became the dominant theme and women’s self-awareness was stifled by nationalism. After the founding of the People’s Republic of China in 1949, women’s voices were silenced, as the policy of the Chinese Communist Party upheld absolute equality between the two sexes. The Party legally guaranteed and protected women’s rights to participate in the workforce, to choose their own marriage partners, and to demand divorces. Nevertheless, such a statesponsored liberation emphasized women’s equal responsibility as men to serve the nation, thereby discouraging their pursuit to claim female characteristics and suppressing their desire to articulate their own concerns. During the Cultural Revolution (1966–1976), sexual identity and gender difference were further denied in the cultural discourse. Female-conscious expression was either discouraged or disallowed. The iconic female figures were the asexual “iron girls” who undertook the revolutionary struggle equally with their male counterparts. It was not until 1978, when the ideological and political restrictions imposed on literature were loosened, that women’s self-conscious writing started to flourish again. Women writers in post-Mao China thrive as a distinct group on the literary scene, ushering in a second upsurge of literary output by women writers in the Chinese mainland. The focus of this article is to discuss the translation into English of Chinese women writers after the reform and opening up in 1978 by different translation agents. Agents of translation are perceived as “social actors who are heavily involved in the dynamics of translation production and the power interplay arising at every stage throughout the translation process.” This definition of age","PeriodicalId":42066,"journal":{"name":"TRANSLATION REVIEW","volume":"114 1","pages":"27 - 37"},"PeriodicalIF":0.5,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44097587","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}

引用次数: 0

Continental England: Form, Translation, and Chaucer in the Hundred Years War 英国大陆:百年战争中的形式、翻译和乔叟

IF 0.5 3区文学

TRANSLATION REVIEW Pub Date : 2022-09-02 DOI: 10.1080/07374836.2022.2128625

John Duval

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A Conversation with Ukrainian Translators Kate Tsurkan and Daisy Gibbons on Translating and Creating Amid the Russian Invasion 与乌克兰翻译家Kate Tsurkan和Daisy Gibbons谈俄罗斯入侵时期的翻译和创作

IF 0.5 3区文学

TRANSLATION REVIEW Pub Date : 2022-09-02 DOI: 10.1080/07374836.2022.2125755

Shelby Vincent

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Self-Portrait of an Artist: Translation and the Creative Process of Catherine Perrot 艺术家的自画像:凯瑟琳·佩罗的翻译与创作过程

IF 0.5 3区文学

TRANSLATION REVIEW Pub Date : 2022-09-02 DOI: 10.1080/07374836.2022.2140236

J. M. McKeown

{"title":"Self-Portrait of an Artist: Translation and the Creative Process of Catherine Perrot","authors":"J. M. McKeown","doi":"10.1080/07374836.2022.2140236","DOIUrl":"https://doi.org/10.1080/07374836.2022.2140236","url":null,"abstract":"Catherine Perrot (1620–169–) gave painting instruction to members of the French royal family, including Marie-Louise d’Orléans, niece of Louis XIV and Queen Consort of Spain from 1679 to 1689. At the age of 62, Perrot was admitted to the Académie Royale de Peinture et de Sculpture, one of only fifteen women to be admitted in the Academy’s 145-year existence. Four years later, she published Les Leçons Royales ou la manière de peindre en mignature les fleurs & les oyseaux, par l’explication des livres de fleurs & d’oyseaux de feu Nicolas Robert, fleuriste (1686). In 1693, at the age of 73, Perrot completed Traité de la mignature. This final work contains the same studies of flowers and birds as in the previous manual, but it includes some important additions. There is a different dedication and introduction, a comprehensive list of definitions of technical terms, and an index. More significantly, there are theoretical reflections, as well as instructions for the drawing and painting of landscapes, biblical figures, and saints. In her first publication, Perrot makes a tepid initial step into watercolor manuals, a genre dominated by male artists at the time. She based her instructions on engravings by Nicolas Robert, a male contemporary well established in the field and well positioned at the court of Louis XIV as the Peintre Ordinaire de Sa Majesté pour la miniature; he also acted as Perrot’s teacher and was revered by her. Perrot’s subjects in the 1686 edition—flowers and birds in miniature—are safely anchored in feminine artistic convention. But in her revised copy, Perrot has taken on landscapes and religious subjects, considered more serious themes, and has included the more academically grounded component of art theory. In this enhanced second edition, Perrot makes an explicit, direct connection between the visual arts and words. Beginning from the premise that “painting is the language of mutes,” Perrot writes that visual representations of figures “express feelings of the heart just as words do when they are joined together.” To represent an object well is akin to pronouncing a specific word “so that it is understood perfectly, without stuttering.” For Perrot, a painting is both seen and heard—and, in creating a work of art, the artist has something to both show and to tell. Messages are conveyed and a kind of intimacy exists—if only temporarily— between artist and viewer. The multi-faceted sensorial experience, then—involving speaking, hearing, seeing, and feeling—results in a rich hub of shared meaning between creator, creation, and viewer, and beyond. The creative process, then, is dynamic across varied mediums, and is achieved, and replicated, when an inspired idea assumes shareable forms. A rare first edition of the 1686 watercolor manual came to my attention when my colleague, art historian and scholar Dr. Diane Radycki, shared it with me in the hope that I might translate it into English from the original French. Student scholar Mirand","PeriodicalId":42066,"journal":{"name":"TRANSLATION REVIEW","volume":"114 1","pages":"38 - 46"},"PeriodicalIF":0.5,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47329879","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}

引用次数: 0

The Man Who Brought Brodsky into English: Conversations with George L. Kline 把布罗茨基带入英语的人:与乔治·l·克莱恩的对话

IF 0.5 3区文学

TRANSLATION REVIEW Pub Date : 2022-09-02 DOI: 10.1080/07374836.2022.2128626

Annette Fisher

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The Plague, Again 《又一次瘟疫》

IF 0.5 3区文学

TRANSLATION REVIEW Pub Date : 2022-09-02 DOI: 10.1080/07374836.2022.2117749

Steven G. Kellman

{"title":"The Plague, Again","authors":"Steven G. Kellman","doi":"10.1080/07374836.2022.2117749","DOIUrl":"https://doi.org/10.1080/07374836.2022.2117749","url":null,"abstract":"To demonstrate the Shinto belief in impermanence and renewal, the Ise Grand Shrine in Japan is demolished and reconstructed every twenty years. Western readers tend not to be Shintoists, but it is a truism among publishers of literary classics that every generation requires a new translation. “A true translator,” wrote the trilingual critic George Steiner, “knows that his labour belongs ‘to oblivion’ (inevitably each generation retranslates).” You do not have to wait an entire generation to locate a new version of Antigone, Don Quixote, and the Bible, each of which has been rendered into English dozens of times. Most of those do fade into the oblivion from which their often-anonymous translators never emerged. But the need for an up-to-date take becomes more apparent as the English language evolves, and as publishers sense a market for a text in the public domain. In the ecology of global culture, the task of the translator is unremitting. No matter how obsequiously faithful, no rendition is ever definitive, because the English language is a moving target. Although George Chapman’s Homer inspired John Keats, it is unreadable today. “Translators,” according to Alexander Pushkin, are “the post-horses of enlightenment.” It is necessary to replace them with fresh mounts along the way. In 1948, a year after Albert Camus published his second novel, La Peste, it appeared in English as The Plague. Although Paul Auster called translators “the shadow heroes of literature, the oftenforgotten instruments that make it possible for different cultures to talk to one another,” the translator of The Plague, Stuart Gilbert, was hardly unknown. His name did not appear on the cover, but Gilbert (1883–1969) was known as a friend and pioneering scholar of James Joyce. He was also a prolific translator, transposing from French into English a constellation of authors including Jean Cocteau, Edouard Dujardin, André Malraux, Roger Martin du Gard, Jean-Paul Sartre, Georges Simenon, and Alexis de Tocqueville. In 1946, Gilbert had published a translation of Camus’s first novel, L’Etranger (as The Stranger), and he would later translate Camus’s plays Caligula (as Caligula), Le Malentendu (as The Misunderstanding), L’Etat de siege (as State of Siege), and Les Justes (as The Just Assassins). An Englishman who lived most of his life in France, Gilbert was an accomplished retailer of French literature to Anglophone readers. La Peste has been translated into dozens of other languages, including Afrikaans, Catalan, Gujarati, Persian, Turkish, and Vietnamese. And there are at least two different translations of the novel into German, Hebrew, Italian, and Spanish, respectively. However, for seventy-three years, Gilbert’s The Plague had been the only rendition of Camus’s novel available in English. To read Dr. Bernard Rieux’s account of how the citizens of Oran experienced an epidemic in the indeterminate year 194_, an American without French had to rely on Gilbert. However, in 2021, ","PeriodicalId":42066,"journal":{"name":"TRANSLATION REVIEW","volume":"114 1","pages":"11 - 16"},"PeriodicalIF":0.5,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49100111","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}

引用次数: 0