1. Introduction
Traditionally, approaches to translation studies have been focused upon the internal factors, i.e., the rules of linguistic conversion that guide the translation process. Translation is regarded as a process of seeking for linguistic equivalence between ST and TT, as Nida(1964) put it, the target text should be the closest natural equivalent to the original text.With the rise of “cultural turn” in translation studies, there emerges a new research trend that views translation as a culture-bound phenomenon, and places translation studies under a large historical and socio-cultural context.Various cultural theories begin to lend their forces to translation studies, resulting in a series of new approaches, such as cultural manipulative, feminism and postcolonial approaches to translation studies.Thus, translation is no longer viewed as a process of seeking for linguistic equivalence, but an interaction between two cultural systems.
Under the influence of “cultural turn”that greatly expands the width and breadth of translation studies, translators and scholars have gradually realized that translation, literary translation in particular, is a sort of “creative treason”: creative in the sense that the translator must make subjective efforts to
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He argues that creativity and treason are intrinsically entwined in translation and the act of translation is always a sort of creative treason: “treason” in the sense that the original text has to be placed into a completely unexpected referential frame (namely, utterly different linguistic environment); “creative” in the sense that the original text is to be given a brand new look, and an opportunity to have a new literary exchange with a larger scope of readers as
Literary translation is portrayed by Weshsler (1998:p.9) as an “odd art” because “it consists of a person sitting at a desk, writing a fiction or poetry that has already been written, that has someone else’s name on it…”.In the like fashion, literary translation is considered by Landers (1999) as a unique form among all other forms that translation takes, for instance, technical, scientific, legal, and so forth, which are just some technical and specialized terms and do not make a particular relationship with the original but in literary genre, the translator should make relationship with the original text and be familiar with the author’s culture.
Translators across the world will face problems through out their translation. One of these problems is allusion. An author referring to a person, or a place, or an event, in his\her book won't make a problem for readers from the same culture to figure it out, but it may cause a cross culture for readers from other culture.
The author provides a study on translation of malapropism. Malapropism refers to the comic misuse of language. This technique is used in many works and a satisfactory effect is achieved. With this in mind many scholars become interested in this figure of speech. Translators’ task should be to reproduce or create an acceptable translation in TL which has a similar effect of ST. As a result, how to retain the rhetorical effect of the malapropism in the target text becomes a problem for the translator. In this respect the novel, "The Adventures of Huckleberry Finn", and its two translations, by Daryabandari and Pirnazar have been chosen. The author selects some examples of malapropism from the novel and their translations. The strategies which
It is well known that immigrants come to America with the hope of a better life filled with immense opportunity. Immigrants are filled with ambition, the driving force of their success. Their ambition is fueled by adversity faced in their native countries, and the realization that their situation, no matter how bad it may be, is much better than previous living conditions; they hope it will eventually improve. “Girl in Translation” is yet another novel, which explicates how immigrants are more ambitious in striving for success than American citizens.
Raffel not only translated other artist work but, he was an artist himself. Mr. Raffel wrote poems and scripted a film called “The Legend of Alfred Packer”. Raffel also had his translation of “The Canterbury tales”
The need to make a work such as Fuente Ovejuna accessible to modern audiences is apparent in Boswell’s non-literal translation, done, according to the translator, to avoid a dry text (Stratford Festival). Boswell did not alter the plot or the time period: the rant about printing presses in Act f, Scene f remained as such, and Mengo’s song in Act II, Scene V, was thematically constant as the comic relief, in which the gracioso ridicules poets by comparing them to pastry chefs (de Vega 37, 60). However, the language was what evolved to be appropriate and entertaining for a 21st-century audience; a webcast presented the process for this adaptation presented, demonstrating how composer Ed Henderson and Boswell experimented with lyrics in a collaboration session for music in the production (Stratford
Liuzza begins his article by telling the reader that when a person translates a novel, all their shortcomings and biases are put on public display. What gave him the most anxiety while translating, however, was the “vague thing usually called tone”.
agitator of the C19, and his main aim was to secure the repeal of the
Description: More than three decades after its founding, the Journal of Modern Literature relics the most restless and far allow learned serial in the province of present-day erudition. Each issue underline scholarly meditation of letters in all languages, as well as told arts and cultural artifacts, from 1900 to the present. International in its extent its contributors include scholars from Australia, England, France, Italy, Nigeria, Saudi Arabia, South Africa, and Spain.
The acclaimed play Romeo and Juliet has inspired numerous film and play makers to recreate the love between the main characters. In the 1996 production of Romeo + Juliet, starring Leonardo DiCaprio and Claire Danes, each character is depicted in a much more flamboyant light than in the 1968 version. Despite being based on the same original play, the 28 year difference between the release dates resulted in a significantly changed audience. Similarly, the epic poem Beowulf, originally written in Old English about a hero who defeats a seemingly unassailable, “violent, and cruel” (23) oppressor, has been translated multiple times. Each translation differs due to the intended audience of the translators. The differences in the structure and characterization
If you can’t tell already, I’m big on quotes. Almost every class I take, I find myself writing down phrases or ideas people say. I have quite a handful from you and I think they express the whole point of this Russian novels class. At least, in my opinion. Moreover, it relates to the whole dilemma of translations as adaptations and interpretations… as you’ll notice based off of these quotes. The context of each quote is gone. Maybe, the all add up together, maybe they don’t and are just random phrases. Meaning, even when we talk in the same language, it is a translation, in a sense. Here ya
“Fake News”: Analyzing Gabriel García Márquez’s subtle commentary and use of minor characters through syntax, juxtaposition, and periphrasis
Originally published in the Wall Street Journal in 2010, Lera Boroditsky’s paper titled “Lost in Translation” analyzes the impact language has on thought. Formatted as more of a persuasive than truth seeking essay, Boroditsky begins by asking the reader if the language a person speaks shapes the way they think. This makes the reader believe as though she is truly trying to find an answer to this inquiry, but as the paper goes on, the reader is mostly introduced to evidence that supports Boroditsky’s stance and she merely touches upon the argument of the opposing side. Although Boroditsky does not include more counterarguments, “Lost in Translation” is a well written article which demonstrates that languages indeed shape the way people think through her use of the Rhetorical Triangle, inductive logic, and her stylistic choices.
In his essay “Why Literature?” Varga Llosa exalted with great enthusiasm that the value of literature is the way it makes us think and question and create. As such, it is a value that can be seen, more often than not, in the subversive feature of literature that allows for the uprising of minds against the norms that society imposes and the guidelines that leaders define and proclaim. As such, Rubén Darío’s A Roosevelt is a poem worth studying, as with its multiple historical reference and its direct attack against the former president and the United States of America, one would truly be hard pressed to find a better example of Llosa’s exclamations and the subversive nature of literature.
In this essay I will discuss and comment on Mona Baker’s statement through Skopos theory, one of the most well-known translation theories, and its applications in deferent text types and genera. ( relationship between theory and practice) find out how the translator’s theoretical knowledge is needed in translation field.