{"title":"态度决定一切","authors":"Galia Hirsch","doi":"10.1075/tis.19004.hir","DOIUrl":null,"url":null,"abstract":"\n Building on various theoretical approaches to translation (Hickey 1998; Bassnett 2001), this article demonstrates the intersection between translation and parody (Aoyama and Wakabayashi 1999) by comparing two musical texts: Rachid Taha’s “Douce France” and Seu Jorge’s Portuguese translation of David Bowie’s “Life on Mars?”. According to Linda Hutcheon’s (1985) view of parody as a form of repetition maintaining a critical distance, both texts are parodic. Each parody presents a very different attitude, which influences their ethos. Rachid Taha’s cover involves irony, which often marks parody (Hutcheon 1985), and thus a negative ethos: criticizing his new country for grievances against immigrants. Seu Jorge, however, pays tribute to the Bowie song he translates. These observations illustrate the close relationship between parody and translation.","PeriodicalId":43877,"journal":{"name":"Translation and Interpreting Studies","volume":"1 1","pages":""},"PeriodicalIF":1.0000,"publicationDate":"2020-04-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"4","resultStr":"{\"title\":\"It’s all in the attitude\",\"authors\":\"Galia Hirsch\",\"doi\":\"10.1075/tis.19004.hir\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"\\n Building on various theoretical approaches to translation (Hickey 1998; Bassnett 2001), this article demonstrates the intersection between translation and parody (Aoyama and Wakabayashi 1999) by comparing two musical texts: Rachid Taha’s “Douce France” and Seu Jorge’s Portuguese translation of David Bowie’s “Life on Mars?”. According to Linda Hutcheon’s (1985) view of parody as a form of repetition maintaining a critical distance, both texts are parodic. Each parody presents a very different attitude, which influences their ethos. Rachid Taha’s cover involves irony, which often marks parody (Hutcheon 1985), and thus a negative ethos: criticizing his new country for grievances against immigrants. Seu Jorge, however, pays tribute to the Bowie song he translates. These observations illustrate the close relationship between parody and translation.\",\"PeriodicalId\":43877,\"journal\":{\"name\":\"Translation and Interpreting Studies\",\"volume\":\"1 1\",\"pages\":\"\"},\"PeriodicalIF\":1.0000,\"publicationDate\":\"2020-04-06\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"4\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Translation and Interpreting Studies\",\"FirstCategoryId\":\"98\",\"ListUrlMain\":\"https://doi.org/10.1075/tis.19004.hir\",\"RegionNum\":3,\"RegionCategory\":\"文学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"LANGUAGE & LINGUISTICS\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Translation and Interpreting Studies","FirstCategoryId":"98","ListUrlMain":"https://doi.org/10.1075/tis.19004.hir","RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"LANGUAGE & LINGUISTICS","Score":null,"Total":0}
引用次数: 4
摘要
建立在各种翻译理论方法的基础上(Hickey 1998;Bassnett 2001),本文通过比较两个音乐文本:Rachid Taha的《Douce France》和Seu Jorge对David Bowie的《Life on Mars?》的葡萄牙语翻译,展示了翻译和恶搞之间的交叉(Aoyama and Wakabayashi 1999)。根据Linda Hutcheon(1985)的观点,戏仿是一种保持临界距离的重复形式,两个文本都是戏仿的。每一个戏仿都表现出一种截然不同的态度,这影响了他们的气质。拉希德·塔哈(Rachid Taha)的封面带有讽刺意味,这通常标志着拙劣的模仿(Hutcheon 1985),因此带有一种消极的气质:批评他的新国家对移民的不满。然而,Seu Jorge对他翻译的鲍伊歌曲表示敬意。这些观察说明了戏仿与翻译之间的密切关系。
Building on various theoretical approaches to translation (Hickey 1998; Bassnett 2001), this article demonstrates the intersection between translation and parody (Aoyama and Wakabayashi 1999) by comparing two musical texts: Rachid Taha’s “Douce France” and Seu Jorge’s Portuguese translation of David Bowie’s “Life on Mars?”. According to Linda Hutcheon’s (1985) view of parody as a form of repetition maintaining a critical distance, both texts are parodic. Each parody presents a very different attitude, which influences their ethos. Rachid Taha’s cover involves irony, which often marks parody (Hutcheon 1985), and thus a negative ethos: criticizing his new country for grievances against immigrants. Seu Jorge, however, pays tribute to the Bowie song he translates. These observations illustrate the close relationship between parody and translation.
期刊介绍:
Translation and Interpreting Studies (TIS) is a biannual, peer-reviewed journal designed to disseminate knowledge and research relevant to all areas of language mediation. TIS seeks to address broad, common concerns among scholars working in various areas of Translation and Interpreting Studies, while encouraging sound empirical research that could serve as a bridge between academics and practitioners. The journal is also dedicated to facilitating communication among those who may be working on related subjects in other fields, from Comparative Literature to Information Science. Finally, TIS is a forum for the dissemination in English translation of relevant scholarly research originally published in languages other than English. TIS is the official journal of the American Translation and Interpreting Studies Association (ATISA).