In each of these three texts, Orlić develops a unique symbolism of the polar night, which in the next collection of poems, The Hum of Millenia (1998) (Bruj milenija) is transformed into the mythopoeic space of the polar city. Such a metaphor of the city is explored in Orlić's two poetry collections, The City, Before I Fall Asleep (Grad, pre nego što usnim) published in 2006, and the latest, Longing for wholeness (Žudnja za celinom), which was published in 2009. Orlić's concise and highly stylized poetic idiom also includes a distinctive right-hand alignment of the text and the innovative use of parataxis à la Crnjanski.
Taking the poetic motifs out of their original context and re-contextualizing, quoting and quoting again, detaches them from the superimposed meaning, historical or aesthetic relevance. Below are two poems from Orlić's latest collection, Longing for wholeness (an allusion to Plato), taken from the context of the sequences within which they take on a richer meaning. The second poem, "Sit in front of the castle, wait (a contribution to palimpsest poetry)", is the fifth poem of the series "Eternity and a day" ("Večnost i jedan dan").
In fact, the next poem in the sequence "Eternity and a day", "A letter to an unknown female reader", thematizes the active role of the reader.
Translating The Second Sex
Lived Experience
Parshley translated it in 1953, but shortened and edited passages and simplified some of the complex philosophical language. One of the problems was its extensive use of the semicolon, a punctuation mark that has seen a setback in recent decades in English and French and seen somewhat more use. We also decided to approach Beauvoir's tense usage, most notably with regard to the French use of the present tense for the historical past.
In Le Deuxième Sexe, the term has at least two meanings: "the woman" and "female". The famous phrase, On ne naît pas femme: on le devient, reads in our translation: "One is not born, but rather becomes a woman." The original translation by H. Although often translated as "the young maiden" (by Parshley and other translators of French works), we believe it clearly means "girl."
Our notes do not constitute an annotated version of the translation, yet we understand the value such a guide would have for both the teacher and the person reading the translation themselves. It is generally agreed that one of the most serious absences from the first translation was the philosopher Simone de Beauvoir. We were well aware of the need to reinsert the philosopher into her text.
A particularly striking example is the title of Volume II; "L'expérience vécue" ("Lived Experience") was translated into "Women's Life Today", weakening the philosophical tenor of the French. The Other Sex is a philosophical treatise and one of the most important books of the twentieth century, on which much of the modern feminist movement was built. The philosopher Beauvoir is present right from the start of the book, building on the ideas of Hegel, Marx, Kant, Heidegger, Husserl and others.
Translating Just For Fun
KIERAN TAPSELL
The book is a non-fiction literary thriller with a touch of Zafón's The Shadow of the Wind.11 The McLean and Harvey translation of El Olvido Que Seremos is exquisitely written. Zhivago, "[the translator's] biggest pitfall is drifting unconsciously into the linguistic aura of his original - in this case writing a kind of Russified English".12 In the example below, I slipped right into this pitfall by following the Spanish too closely , while McLean and Harvey neatly bypassed it with a very concise rendering. It wasn't a clean sheet, but they were two to one in favor of the McLean and Harvey version.
McLean and Harvey were my first choice, while generally preferring the more formal "mom" and "dad". AMRH" refers to the Anne McLean and Rosalind Harvey translation, and "KT" to my translation. The McLean and Harvey solution was to preserve the pun as best they could with "Sour Hour," although "the Catholic Cockatoo" would also have retained a show alliteration.
McLean and Harvey use his given name, Luis Carlos López,15 while I again went for the "One-Eyed López." This is one of the few times when I think the McLean and Harvey version does not accurately reflect the meaning of the Spanish text. This rendering of "carcajada" is consistent with the entire McLean and Harvey translation, which uses much more restrained language than mine.
McLean and Harvey translate this as "the poorest neighborhoods of Medellín (p.31) while my version is "the poorest neighborhoods of Medellín" (and having seen a few of them, that's not very strong.) Again , in another place, the milder “slums” is used in preference to “slums.” When Hector is talking about the school he attended, he says that the teachers attended “las sutilezas mentales del doctor de la Iglesia, Santo Tomás de Aquino," which for McLean and Harvey became "the intricate intellectual paths laid out by the Doctor of the Church, St. Thomas Aquinas" (p.81). Another example of content is when the author talks about a family member who was consul in Havana.
Part of the reason for this may be that McLean and Harvey had the advantage of talking to the author, and while he gave me permission to do an unofficial translation, I had no desire to bother a busy man. A few more months spent comparing McLean and Harvey's version with mine didn't increase my vocabulary that much—the lure of these translation sirens.
Translation of Contemporary Chinese Literature in the English-speaking World
An Interview with Nicky Harman
LI HAO
As for Chinese writers, I think it is a slow process for them to enter the English literary world. It's not that untranslatable, but writers and readers have different concerns. I'm not saying they're westernized, but I think they're more unusual in their writing style, so it's easier for them to appeal to western readers.
LH: So you think it's very important that Chinese writing appeals to Western readers. NH: I would say it's going to be more influential worldwide because it's a website. I'd say it's both a skill and a talent, and it helps if you love your own language as passionately as you love the other language.
So yes, it is a skill that you can learn and work very hard at. So rather than focusing solely on the actual words of the text – although these are of course important – it is important that the translator takes into account the author's intent. I was happy with that, because I think it is such a well-constructed story that it should not be cut.
It's not because it's a part-time job either, because many translators I know work more than full-time. He has very much his own style, but it is interesting that he greatly admires certain authors who have been translated into Chinese, such as Raymond Carver and Kafka. NH: Our translators would like to think that we influenced the selection, but it is often completely random.
LH: Do you think collaboration is the best model for doing Chinese to English translation? NH: I like it, but I wouldn't go so far as to say it's the best model.
REVIEW
James St André (ed.), Thinking through Translation with Metaphors (Manchester and
JORGE SALAVERT
The former argues that the discipline of translation studies has until now been too closely fixated on Western European concepts of translation, while the latter draws our attention to the remarkable prejudice and ignorance that prevailed in many Western translations of Japanese literature. What both essays show is that Eurocentric notions are not necessarily ideal for founding an international discipline of translation studies. For many reasons: to begin with, contemporary Western European thinking about translation is anchored in the written text and neglects the oral practice prevalent in many parts of the world; second, Eurocentric ideas about translation have been clearly shaped by Bible translation and the close connections between language and nation in Europe; history shows that the European concept of translation is strongly linked to imperial and colonial practices.
This elevated translation to a literalist view of translation: "At once grammatical and sacred, the word itself assumed central importance in translation processes, partly because of the metaphorical religious meanings of the verb in the scriptures of the Western Church". The Western concepts of translation that predominate in current translation studies tend to shape insights into the cultural processes and cultures of others and thus continue to perpetuate narrow, exclusionary conceptualizations of local forms of knowledge. However, the literal and the figurative stand in a reversible and reciprocal relationship, the basis of the continuous process of translation within language and between languages.
The concept of translation therefore extends to the area of intercultural communication, and cultural and social negotiations are considered acts of translation, processes of interpretation. Since the basic premise seems to be that metaphor is a central problem, because it defies any strictly linguistic perspective on translation, Monti examines the corpus of translation studies literature. There are qualitative metaphors that attempt to describe the issue in a confrontational perspective ("a searching test of a translator's powers", "a challenge", the ever-present "problem", "pitfalls" or "dangers") or place the case. of metaphor at the limits of translatability (of course related to the dangers and obstacles mentioned above that must be overcome by crossing or transgressing boundaries).
Fluid (less limited by boundaries) spatial metaphors for the translation of metaphors include the 'gradient', the 'spectrum', the 'continuum' and the 'fluctuation' between Review: Thinking through Translation with Metaphors 33. Roesler points out that Bonnefoy's metaphors for translation invite a view of the translation process as “a relationship between. In his final essay, St. André makes a bold proposal to rethink many aspects of translation studies research using a specifically performative metaphor: translation as cross-identity performance, where cross-identity is an umbrella term under which 'the crosser represents the Other through a series of learned practices” (p. 284) that require bicultural expertise.
C ONTRIBUTORS
