TRANSLATION REVIEW最新文献_第7页

In Real Time 实时

IF 0.5 3区文学

TRANSLATION REVIEW Pub Date : 2023-01-02 DOI: 10.1080/07374836.2023.2179290

Shene Mohammed

{"title":"In Real Time","authors":"Shene Mohammed","doi":"10.1080/07374836.2023.2179290","DOIUrl":"https://doi.org/10.1080/07374836.2023.2179290","url":null,"abstract":"Alana Marie Levinson-LaBrosse and I have worked together for more than eight years translating Sorani Kurdish poets of the eighteen hundreds. We’ve experimented with poets, approaches to translations, and readings of literary works. The pedagogical effects of co-translation over the years created gradual, significant changes in my learning; it gave me a formative education in literature and literary translation. This project informed my knowledge of how language interacts in the Kurdish regions of Iraq and what these interactions create. The educational system of the eighteen hundreds being Arabic and religious, the literary influence traveling in all directions across Arabic, Turkish, Persian, and all the dialects and sub-dialects in between, built a very complex creative impetus for the poetry at the time that was unrestricted in literary influence and restricted in language and form. By reading these poems, we asked ourselves what kind of restrictions the writers placed upon themselves and whether to follow or defy those restrictions. When texts create an interactive world like this, they are open to new and changing interpretations as well as translations. The relationship Alana and I have built together working with these texts is constantly redefining the collaborative nature inherent in the literature and the educational nature inherent in co-translation. Translating alone is often a silent practice, at least for the beginning stages of translation. But the one clear distinction in our work together is that it starts with talking, and discussion is the main drive. Speaking in English starts the translation process, and it’s the act of speaking that not only amplifies the experience but also makes it educational. Hearing our minds while thinking, hearing thoughts formulate readings, transforms the drift of ideas in a mental effort into an embodied practice. We speak about the experience and at the same time experience the speaking. Sound is an essential device in the form and meaning of the poems we’re translating. We read the poems to each other and listen to our impressions on what the sounds are doing in each language. We transfer the sound from the text into the narrative of our discussions to assess how it travels back to us, in sensations and in images. In one instance of translating Nali, an eighteenth-century poet, when discussing a poem dedicated to his “room,” it became very clear that the contrast between the sound of words and the overall tone of the poem that Nali creates is at the core of understanding and recreating the poem. The original Arabic title hujra signifies a space, but its purpose varies from one region to another. This room was given to poets for spiritual practice and religious education and became a permanent space for their teachings, reflections, and writings, an intimate space that was solitary and communal at the same time depending on the hour of the day. Sometimes, in the poets’ home cities, the rooms beca","PeriodicalId":42066,"journal":{"name":"TRANSLATION REVIEW","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47859439","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

Metaphors in the Space Between 介于两者之间的隐喻

IF 0.5 3区文学

TRANSLATION REVIEW Pub Date : 2023-01-02 DOI: 10.1080/07374836.2023.2179794

Clare Sullivan

{"title":"Metaphors in the Space Between","authors":"Clare Sullivan","doi":"10.1080/07374836.2023.2179794","DOIUrl":"https://doi.org/10.1080/07374836.2023.2179794","url":null,"abstract":"Natalia Toledo writes poetry in Isthmus Zapotec, a language spoken in Mexico’s Oaxacan Peninsula that belongs to the Otomanguean family. She has published five volumes of bilingual poetry (Zapotec-Spanish), and her verses have been translated into languages as varied as German, Slovenian, and Chinese. Like many poets who write in the indigenous languages of Mexico, she translates her own writing into Spanish. The vast majority of indigenous poets are their own translators because no professional cohort exists to provide such services. Mexico in particular, with more than sixty languages, each with its own variants, has no infrastructure to translate texts for educational or artistic purposes. Thus, poets who write in originary languages must often translate themselves if they want to be read beyond their own language. Toledo has sometimes created the Spanish text first or even written both at the same time. (When translating into Spanish, she often replaces Zapotec words with Nahuatl because this language, with many more speakers, has permeated Mexican Spanish.) This creation process undermines fixed notions of an original text, because the poems are in flux as the author works back and forth between Zapotec and Spanish. In her book Literary Translation and the Making of Originals, Karen Emmerich explains that, given the many iterations any work undergoes via edition and translation, there really is no such thing as an original text. She proposes that we “replace an outdated understanding of translation as a transfer or transmission of some semantic invariant with a more reasonable understanding of translation as a further textual extension of an already unstable literary work.” In this way, she frees translation from the limiting idea of one text/ one author/one translator and recognizes the process of creation and recreation that actually takes place. Working with the bilingual poetry of Natalia Toledo provides an example of this dynamic and varied process.","PeriodicalId":42066,"journal":{"name":"TRANSLATION REVIEW","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47917455","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

A Literary Translation in the Making: A Process-Oriented Perspective 创作中的文学翻译:过程导向视角

IF 0.5 3区文学

TRANSLATION REVIEW Pub Date : 2023-01-02 DOI: 10.1080/07374836.2023.2179823

Hong Diao

引用次数: 0

Imagined Community as a Solution to a Paradoxical Translation 想象共同体:一种解决矛盾翻译的方法

IF 0.5 3区文学

TRANSLATION REVIEW Pub Date : 2023-01-02 DOI: 10.1080/07374836.2023.2179797

J. Richie

{"title":"Imagined Community as a Solution to a Paradoxical Translation","authors":"J. Richie","doi":"10.1080/07374836.2023.2179797","DOIUrl":"https://doi.org/10.1080/07374836.2023.2179797","url":null,"abstract":"elements into him as a character? What would a translation that would not link the character to abstract concepts look like? To what extent should this note influence a translation of the play? Since the Gross and Potbellied Man’s dialogue mostly consists of grunts and his actions are mainly communicated through stage directions, the most challenging element of translating the character was the name itself. Character names are of determinate importance since they impact what readers might think of them. Even in a staged version of the play, viewers would see the name of the character on programs or other associated media. Translating the name in a very literal sense posed two problems: (1) it limited the casting possibilities for a staged production of the play, and (2) it didn’t fully express the range of emotions that Marinetti specified in his note. If I choose to use a term like “fat,” any directors or producers attempting to stage the play would be obligated to cast an actor who visually conforms to the physical description. Moreover, the character should, according to Marinetti’s note (or at least my interpretation of it), provoke negative emotions in the audience. Considering the unique contributions a translator can make in the process of theatrical translation helped me to determine how to translate the name of this character. Instead of a physical description of the character, such as “fat,” “portly,” or “large,” I chose to focus more on the unpleasantness of his presence. For this reason, I settled on “The Gross and Potbellied Man” as the name for the character. This is a much less literal translation of the name, but this translation resonates with the connotations that grasso can refer to someone or something being “greasy” or “oily” (as grasso can mean “fatty” in a chemical or nutritional sense in addition to the way it can describe someone physically). The Treccani Institute Dictionary includes, for the term grasso, the following definition: “Che ha consistenza untuosa, viscosa, densa” [“That which has a greasy, viscous, or dense consistency,” my translation]. I liked this solution, as it seemed to resolve the dilemmas I had been considering. By focusing more on the “greasiness” or “sliminess” of the character, my choice of “gross,” although a less direct or literal translation of grasso, put a greater emphasis on the emotional response from the audience that the character should provoke. Additionally, this translation, being more abstract, would allow directors, producers, or others who would be involved in any theatrical production of the work to have a greater freedom when casting the role. By translating in a way that was more abstract, I increased the potential for engagement with the work. Imagining how a community in the target language might engage with a translation can help translators make difficult choices. I managed to work through Marinetti’s paradoxical (non) symbol when I considered how an English-speaking theatrica","PeriodicalId":42066,"journal":{"name":"TRANSLATION REVIEW","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45217952","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

Introduction to This Special Issue on Translation as Community 本期“翻译共同体”特刊简介

IF 0.5 3区文学

TRANSLATION REVIEW Pub Date : 2023-01-02 DOI: 10.1080/07374836.2023.2179288

Clare Sullivan

引用次数: 0

The Intimate Presence of the Other: An Interview with Margaret Sayers Peden 《他人的亲密存在:玛格丽特·塞耶斯·佩登访谈录

IF 0.5 3区文学

TRANSLATION REVIEW Pub Date : 2022-09-12 DOI: 10.1080/07374836.2022.2066353

James Hoggard

引用次数: 0

The Translator’s Voice: An Interview With Gregory Rabassa 译者的声音:对格雷戈里·拉巴萨的采访