TRANSLATION REVIEW最新文献

{"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":null,"pages":null},"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}

{"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":null,"pages":null},"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}

{"title":"The Reader’s Visibility: Analyzing Reader’s Intervention in Fan-based Translation on Wuxiaworld","authors":"Jie Chang, Gang Zhao","doi":"10.1080/07374836.2022.2089414","DOIUrl":"https://doi.org/10.1080/07374836.2022.2089414","url":null,"abstract":"Chinese Internet literature has become a unique literary phenomenon after more than twenty years of development since the late 1990s as a result of the remarkable progress of the Internet. According to the 2020 Blue Book of Chinese Internet Literature released by the China Writers Association on June 2, 2021, about two million Internet literary works were contracted to release in 2020, and cumulatively there had been about twenty-eight million online literary works in China by the end of the same year. In addition, the numbers of Chinese words updated daily and throughout the year 2020 exceeded one hundred fifty million and fifty billion, respectively, attracting a considerable readership of four hundred sixty-seven million in 2020 alone. Chinese Internet literature, mainly that on the theme of wuxia (武侠), xianxia (仙侠), and xuanhuan (玄幻), has gone global through fan-based translation, an emerging form of translation undertaken by fan communities. It has fascinated millions of English-speaking readers quickly and extended its influence over nearly the whole world since it first became widely popular in North America in 2015, and the readership is still growing. Undeniably, online platforms represented by Wuxiaworld that focus on translating Chinese Internet literature into English have played an essential role. However, a minimal amount of attention has been paid to the fan-based translation of Chinese Internet literature because, according to Cornelia Zwischenberger, such a translation form is relatively young in translation studies. This article first introduces Chinese Internet literature and the concept of fan-based translation. Then, it elaborates on readers’ multiple roles in fan-based translation of Wuxiaworld by the Internet-mediated approach and conducts a case study of readers’ roles in traditional translations of print publications. It concludes that readers have long been invisible in translation studies, especially in the print age, which, to some degree, led to some translated literary works not being well accepted by the target audience. Thanks to media shifts based on technological progress, readers have become visible in the new form of online fan-based translation, intervening in the workflow by playing different roles.","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":"48471678","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 Limit of Political Possibilities in Corporeal Translations: Achy Obejas’s Translation of Rita Indiana’s La Mucama de Omicunlé","authors":"Emily K. Sterk","doi":"10.1080/07374836.2022.2068712","DOIUrl":"https://doi.org/10.1080/07374836.2022.2068712","url":null,"abstract":"In just under 200 pages, Rita Indiana masterfully interweaves dystopian, magical, and queer elements in her 2015 novel, La mucama de Omicunlé. Indiana offers a grim commentary on past, present, and future life in the Dominican Republic and on the political and environmental forces that threaten to destroy the archipelago. Given La mucama de Omicunlé’s complex form and content—revolving around a transgender character and former sex worker named Acilde—Achy Obejas faced a particularly challenging task as the Spanish-intoEnglish translator. Uncommon among other literary translators, Obejas translates literature both from Spanish into English and from English into Spanish and has therefore been described as a “bitextual translator.” In her most recent translation projects, Obejas aims to bring the timely works of Rita Indiana, a queer feminist Dominican writer and musician, to the Anglophone reader’s attention. Indiana and Obejas’s working relationship began in 2016 with the translation of Papi, Indiana’s third novel. Tentacle (2018, translation of La mucama de Omicunlé, 2015) marks Obejas’s second collaborative project with Indiana. When looking at the scope of Rita Indiana and Achy Obejas’s respective creative work, it is fitting that the pair would decide to collaborate as author and translator on two separate occasions. Indiana and Obejas’s relationship can be contextualized through Sonia Álvarez’s ideas on “translocas,” the cross-disciplinary and cross-border group of Latina and Latin American feminists who seek to disrupt heteronormative patriarchal racisms and sexisms across the Americas. Álvarez defines “translocas” as “women trans/dislocated in a physical sense and the (resulting) conceptual madness linked to attempts to understand unfamiliar scenarios with familiar categories: women and categories out of place.” As queer and diasporic Caribbean women, Indiana and Obejas work together, across the Caribbean Sea, to challenge the cisheteropatriarchy and its racist and sexist ideals, all while affirming their rightful place in the largely homogenized world literature canon. Indiana’s literary text has received significant critical attention, but translation scholars have yet to evaluate Obejas’s Tentacle, which was shortlisted for the 2020 Best Translated Book Award. Although Obejas’s translation hews closely to the original Spanish, there are some striking differences between the two texts, especially in relation to descriptions of the protagonist and his trans body. Specifically, although Acilde is misgendered in both versions, its effect is most apparent in Obejas’s translation because of her consistent use of gender pronouns. I argue, however, that Obejas’s translation exposes ideas of corporality and gender identity that are inherently more ambiguous in the original, primarily because of the nature of the Spanish language and its ability to omit gendered subject pronouns. Obejas’s decision recalls, then, Gayatri Chakravorty Spivak’s view o","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":"48575537","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":"Raised by Wolves: Poems and Conversations","authors":"Canaan Morse","doi":"10.1080/07374836.2022.2064171","DOIUrl":"https://doi.org/10.1080/07374836.2022.2064171","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":"49104301","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":"Robert S. Lesman. Translating Cuba: Literature, Music, Film, Politics","authors":"G. J. Racz","doi":"10.1080/07374836.2022.2064172","DOIUrl":"https://doi.org/10.1080/07374836.2022.2064172","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":"60049435","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":"Giuseppe Ungaretti","authors":"Philip Balma","doi":"10.1080/07374836.2022.2064165","DOIUrl":"https://doi.org/10.1080/07374836.2022.2064165","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":"45472881","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":"Humor in the Dark","authors":"Ellen Elias-Bursać","doi":"10.1080/07374836.2022.2068846","DOIUrl":"https://doi.org/10.1080/07374836.2022.2068846","url":null,"abstract":"Dubravka Ugrešić first began publishing her stories and novels in the early 1980s. She was one of the stars of her generation of writers in Yugoslavia, a breakthrough postmodernist, exploring literature through the lens of literary theory—her other love. In 1988, she was the first woman writer to be given the NIN award, Yugoslavia’s most prestigious literary prize, for her novel Forsiranje romana reke [Fording the Stream of Consciousness]. The war broke out in 1991, first in Slovenia, then Croatia, then Bosnia and Herzegovina, and ultimately in Serbia and Kosovo by the end of the decade. Ugrešić took a firm stand against the growing hostilities, and despite her earlier Yugoslavia-wide popularity, the public reaction in Croatia to her anti-war position was swift and damning. She decided to accept an offer to teach abroad, first for a semester at the University of Amsterdam, then two semester-long stays at Wesleyan College in Connecticut, a year as a fellow at the Radcliffe Advanced Studies Institute, a semester teaching in the Harvard University Department of Slavic Languages and Literatures, a stint of teaching at UCLA. After her first years of living abroad, she settled permanently in the Netherlands. She has published two books of short stories, six novels, nine collections of essays, a book of literary scholarship, two children’s books, a few screenplays for television and film, and a number of translations from the Russian. All of her fiction and the nine collections of essays have been translated into English, and several of them have also appeared in translations in a staggering array of languages: Dutch, German, French, Spanish, Italian, Portuguese, Swedish, Danish, Norwegian, Polish, Bulgarian, Slovenian, Macedonian, Russian, Ukrainian, Slovak, Czech, Hungarian, Finnish, Lithuanian, Latvian, Estonian, Albanian, Romanian, Turkish, Greek, Hebrew, Japanese, Arabic, and Farsi. She has received ten major international awards, as well as, most recently, the prestigious Croatian T-Portal award. In the course of her career as a writer she has developed a strong critical voice, particularly in her essays. She sees herself not as Croatian or Dutch but as a public intellectual, a citizen of the Republic of World Letters. From her transnational position, she comments on global culture while also keeping an eye on what is happening in the cultures where she is from—now known as the “region”: the successor states of ex-Yugoslavia. I have translated two of her essay collections (Nobody’s Home and The Age of Skin) and have collaborated with other translators on two of her novels (Baba Yaga Laid an Egg and Fox). In the analysis that follows of the issues that arise for me when translating her essays, the examples are all taken from The Age of Skin, published in 2020 by Open Letter Press. Since the 1980s, I have had the honor of translating writing by authors who have lived or are now living in Bosnia, Croatia, Montenegro, and / or Serbia. Most of them add","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":"43446701","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":"Call for Submissions","authors":"Shelby Vincent","doi":"10.1080/07374836.2022.2116201","DOIUrl":"https://doi.org/10.1080/07374836.2022.2116201","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":"42266154","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":"Adventures in Literary Translation: A Conversation with Valerie Miles","authors":"Shelby Vincent","doi":"10.1080/07374836.2022.2104586","DOIUrl":"https://doi.org/10.1080/07374836.2022.2104586","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":"42420902","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}