Theory Of Literary Translation Research Articles

Discursive Practice as the Basis for the Modern Theory of Literary Translation

The purpose of this article is to consider the issues of literary translation as a practice that is not only linguistic or intercultural, but has a discursive ontology. Currently, translation theory is moving away from the analysis of translation only in the dimension of working with text, moving towards analysis in the volumetric dimension of the contextual content of the meaning transferred to a different language and culture. Translation, as a practice, can itself become the starting point that generates discourse, while involving many linguistic and extralinguistic factors. In the process of this study, methods such as bibliographic analysis were used to determine the degree of study of the topic, as well as an analysis of discursive translation practice. It is the approach to translation from the point of view of discourse that allows us to move away from the rigid dilemma associated with translatability or untranslatability. In result, it’s possible to conclude, that discursive practice allows us to look at translation as a dynamic process in which the narrative unfolds on several levels at once, which means that there is no longer a critical need to determine the quality of translation only by questions of achieving equivalence.

UNFOLDING TRANSLATION STRATEGY AND IDEOLOGY IN LITERARY WORK

Translation has now become subject matter since its role as cross-culture and cross-language mediator. This research, then, aims to unfold the translation strategy and ideology reflected in literary work. The data source are the American short story “The Lottery“ written by Shirley Jackson and its Indonesian version “Undian“ translated by Harum L Wibowo. This research employ qualitative approach and descriptive method. Both of the strategy of literary translation theory by Kazakova (2015) and translation ideology theory by Venutti (1994) are used to answer the question of the research. This research found that translator used all four strategies of literary translation proposed by Kazakova; helper strategy (35,57%), observer strategy (26,17%), enlightener strategy (20,13%), and adherent strategy strategy (18,12%). It also found that the strategy used by translator alternately applied both foreignization and domestication ideology on his translation process. Thus, while preserving the foreign culture and language, the translator also adapt ST/SL into TT/TL in his translation process to make it fluent to the target reader.

Modernity in Xu Yuanchong's translation thoughts

Xu Yuanchong, as an outstanding contemporary translator in China, has made important contributions to promoting the translation of Chinese literary works and the going out of Chinese culture. Xu Yuanchong summed up Chinese poetry translation as "beautify art, create competition for excellence" in translation practice, and his translation theory has strong foresight and modernity, which has a positive influence and important role in promoting the innovation and development of Chinese literary translation theory and cultural propaganda. Therefore, the study on modernity of Xu Yuanchong's translation thoughts is helpful to clarify the historical value and orientation of his translation thoughts, and can also provide some modernity schemes for Chinese translation circles.

For a theory of literary translation – language and culture, translation and culture

Abstract The article deals with the issue of translation in relation to the concept of culture and with the role played by language as a mediation tool for values that pass from one reality to another, bearing witness to the complexity and diversity of the vision of the world proposed by cultures and different languages. The theoretical evolution known to the translation field especially during the twentieth century has made it possible to broaden its a priori boundaries of a linguistic nature, up to the establishment of an approach in which translation has increasingly dialogued with cultural dimensions traditionally placed outside its field of action, also taking into account realities and circumstances closely connected with current events and with socio-cultural evolution.

Literary translation and cultural transfer of an event and genre (based on Hunter S. Thompson’s writing)

This article is dedicated to the analysis of theory and practice of literary translationtopical problems. There presented a review of contemporary translation models and explanationof translation as source text interpretation in existing discursive practice. This translation modelas social phenomenon further explained based on translations of Hunter Thompson’s gonzoreporting. This hybrid form as journalism and literal writing of American author allows us toillustrate preservation in translation practice in one hand, and portioning of narrative structuresconcerning the same text from the other hand. The article also reveals ways of transferringculturally significant information, presents successful and controversial cases of resolvingtranslation problems by linguistic means. The prospects of the theory of literary translation, whichpresuppose the preservation of genre originality and the accuracy of the transfer of culturologicalinformation, have been determined.

Literary Translation Analysis of Indonesian Short Story Apel dan Pisau

Translation allows readers to enjoy literary works from all over the world without being constrained by foreign language mastery. For Producing commensurate literary works, translation strategies are employed to deal with different language systems. This research aims at investigating strategies employed by the translator in translating the Indonesian literary work into English. This Descriptive-Analytical Study has been completed by qualitative and quantitative methods. The data sources used are the Indonesian short story Apel and Pisau by Intan Paramaditha and its translation. The 219 collected data are analyzed by using Kazakova’s theory of literary translation. The results in this study indicate that the translator used (1) The Observer Strategy 70,78% (155 data), (2) The Helper Strategy 23,74 % (52 data), (3) The Adherent Strategy 3,65 % (8 data), and (4) The Enlightener Strategy 1,83% (4 data). The study reveals that the strategy dominantly prevailed is the observer strategy (70,78%), and the most dominant approach is unbiased (74,71 %). Also, it is found that the translation ideology is foreignization, where the translator tries to keep the sense of originality of the author’s work.

Anna Iwaszkiewicz’s Internalized Translation

The article analyzes Anna Iwaszkiewicz’s essay ‘My Fontainebleau’. It fi rst defi nes the ‘cultural turn’ in contemporary humanities and relates it to the theory of literary translation, which is supralinguistic and enables the translation of parts of cultural codes or literary values. The article shows how Iwaszkiewiczowa was inspired by such authors as Marcel Proust, Joseph Conrad, Thomas Mann, and uses her work to reconstruct the translation process as internalization. Through references to Iwaszkiewiczowa’s biography, especially her feeling of unproductivity and creative powerlessness, it shows how some private reasons infl uenced her literary choices and led her to write the essay under discussion

ТРАГЕДИЯ И. ГЕТЕ «ФАУСТ» В ЧУВАШСКОЙ ЛИТЕРАТУРЕ: ЛИНГВИСТИЧЕСКИЕ ОСОБЕННОСТИ ПЕРЕВОДА НА ЧУВАШСКИЙ ЯЗЫК

Цель. Статья посвящена лингвистическим особенностям перевода трагедии И. Гете «Фауст» на чувашский язык, выполненном чувашским языковедом и переводчиком Н.А. Андреевым-Урхи. Проводится сравнительно-сопоставительный анализ перевода и оригинала, определяется качество перевода произведения. Цель исследования заключается в комплексном анализе перевода трагедии И. Гете «Фауст» на чувашский язык, рассмотрении лингвистических особенностей перевода произведения.Материалы и методы. Материалом исследования послужили лексические единицы, крылатые выражения, пословицы и поговорки, встречающиеся в произведении И. Гете «Фауст». Основными методами данной работы являются сравнительно-сопоставительный и лингвистический.Результаты. Анализ рассмотренных лингвистических особенностей перевода трагедии И. Гете «Фауст» доказывает, что переводчик подбирал лексические соответствия понятные для чувашского народа, употреблял в переводе живую диалектную речь, т.е. диалект верховых чувашей, что делает данное произведение более близким и родным для чувашского читателя.Область применения результатов. Полученные результаты могут найти свое применение в учебных курсах по общему и сравнительному языкознанию, типологии языков, теории художественного перевода, а также на практических занятиях по иностранному языку.

MODERN AESTHETICS OF POETRY TRANSLATION: Efim Etkind. Studies in the history and theory of literary translation. Book I. Poetry and translation. Saint Petersburg, Publishing House “Petropolis”, 2018. 424 p. Book II. Articles about poetry translation. Saint Petersburg, Publishing House “Petropolis”, 2020. 420 p

MODERN AESTHETICS OF POETRY TRANSLATION: Efim Etkind. Studies in the history and theory of literary translation. Book I. Poetry and translation. Saint Petersburg, Publishing House “Petropolis”, 2018. 424 p. Book II. Articles about poetry translation. Saint Petersburg, Publishing House “Petropolis”, 2020. 420 p

СИМВОЛIЗМ ОПОВIДАННЯ В. НАБОКОВА «РIЗДВО», ПРЕДСТАВЛЕНИЙ ОСОБЛИВОСТЯМИ АВТОПЕРЕКЛАДУ ТВОРА (НА МАТЕРИЯЛI АНГЛОМОВНОЇ ТА РОСIЙСЬКОМОВНОЇ ВЕРСIЙ ОПОВIДАННЯ)

Мета дослідження – виявити роль символів і дослідити особливості перекладу оповідання В. Набокова «Різдво» на матеріалі англомовної та російськомовної версій оповідання. Порівняльний аналіз техніки перекладу Набокова, представленої англомовною та російськомовною текстовими версіями, виявляє особливості стратегії та технік перекладу Набокова як перекладача своїх оповідань. У той же час, досліджуючи техніку перекладу, використану Набоковим при створенні російськомовної версії оповідання «Різдво», ми можемо виявити глибокий філософський підтекст твору. Новинку дослідження зумовлює недостатнє вивчення автоперекладних прозаїчних текстів Набокова, представлених у порівняльному аспек-ті. Актуальність роботи обумовлена інтересом сучасних учених до літературної техніки перекладу художніх творів, тісними міжкультурними таAlena Hulevich мiжлiтературними контактами, а також появою нових підходів у сфері теорії літературного перекладу. Практичне значення дослідження полягає у тому, що техніка перекладу Набокова демонструє високий рівень художньої та перекладацької майстерності Набокова. Техніки, застосовані Набоковим при перекладі оповідань, входять у програму курсу «Художній переклад», який займає важливе місце в учбовому плані підготовки спецiалiстiв-перекладачів у вищих навчальних закладах. Оповідання Набокова «Різдво» надзвичайно символічне, тому передати при перекладі усю глибину підтексту є досить складним завданням. Літературна геніальність та художня майстерність Набокова виявилася у тому, що він зумів створити російськомовну версію оповідання, яка є семантичним i контекстуальним еквівалентом оригінальної англомовної версії. Набокову вдалося передати найменші семантичні нюанси та відтворити у перекладі інтонацію оригінальної версії завдяки тому, що він враховував особливості національного менталітету i культурного фону читача тієї мови, на яку здійснювався переклад. Набоков також зумів створити необхідне візуаль-не зображення у свідомості реципієнта перекладної версії оповідання. Набоков-перекладач застосував механізм культурної адаптації національних особливостей світосприйняття читача приймаючої культури, що забезпечило успіх оповідання. Набоков застосовував описові й пояснювальні техніки перекладу. Незважаючи на те, що оригінально версією розповіді є англомовна, коментарі та необхідні короткі текстові доповнення представлені саме в ній. Це пояснюється тим, що, оскільки дія оповідання відбувається в Росії, Набоков намагався зробити російську реальність ближче до американського читача. Можна припустити, що Набоков хотів дати західному читачеві можливість відчути національно-обумовлені особливості життя в Росії кінця XVIII в.

Da tradução e suas voltas:

Este artigo expõe uma reflexão pessoal sobre o processo tradutório do conto “Darle vueltas a una ceiba”, do escritor cubano Guillermo Cabrera Infante. Com uma linguagem pautada na oralidade, o relato concebe uma Havana quase pitoresca, com suas ruas, sua gente, costumes e crenças. Partindo da ideia de que traduzir significa desempenhar uma atividade ética, estética e experimental, as reflexões apresentadas neste texto discorrem sobre a experiência da própria autora quanto às estratégias de tradução adotadas, especialmente no que concerne ao contexto cultural e à linguagem do conto, que oscila entre vernácula, coloquial, burlesca e irônica. As apreciações conceituais se respaldam, sobretudo, em três eixos teóricos fundamentais para a teoria da tradução literária: a tradução criativa ou transcriação, conforme proposta por Haroldo de Campos (1962), a hospitalidade linguística, nos termos de Paul Ricoeur e Antoine Berman, e a ideia de lealdade/fidelidade, tratada amplamente por distintos pensadores da tradução, entre os quais Humberto Eco.

Indywidualna stylistyka autora w przekładzie literackim na pzrykładzie powieści Joanny Bator "Piaskowa góra" i jej tłumaczenia na język niemiecki

To merely mention such skills or qualifications of a literary translator as perfect knowledge of a target language or literary skills would be a cliche. Much more interesting aspects of the art of literary translation emerge when it comes to taking strategic decisions concerning how far the translator can trust the reader in deliberate violation of conventions in the target language and culture or how close the translator can near the limit of acceptability. This Polish-German contrastive analysis of extracts of Joanna Bator’s novel, in which the author in an unconventional way works with her language, was conducted on the basis of German philosopher Friedrich Schleiermacher’s well known idea of dichotomy in the theory of literary translation, which employs domestication and foreignisation strategies, with the concepts of style, personal aesthetics and formal-aesthetic equivalence, as well as on the basis of Esther Kinsky’s theorethical essay „Fremdsprechen. Gedanken zum Ubersetzen”. Kinsky, the translator of Joanna Bator’s novel, suggests that a certain level of foreignisation in translation should be preserved . This theoretical assumption is virtually applied by Kinsky, foreignization being her main translation strategy. In the process of translation Kinsky also takes more radical steps of omitting or neutralising certain passages, thus diminishing their semantic strength. By analysing a literary text we can determine to what extent the strategies that the translator uses are justified or when the decision to implement a domestication strategy erases certain value of the text and creates only an illusion of authenticity, or vice versa – when foreignisation which goes too far makes the text unclear to the reader. Translation techniques employed by Kinsky are, as we may presume, the effect of the translator’s attempt to reach the balance between adequacy and acceptability, which are so crucial in the art of translation.

Machine Translation and Translation Machines in Roberto Arlt’s Los siete locos (1929) and Los lanzallamas (1931)

Literary translation theory reclaims “untranslatables” (Apter, 2013, Lezra, 2017) as Google promises to bridge the gap between human and machine (Wu et al, 2016). Surveying recent developments in translation theory and machine translation, I reread Roberto Arlt’s Los siete locos (1929) and Los lanzallamas (1931) through the prism of translation, focusing on how translation machines and machine translation operate within the novel to offer a different interpretation of its ending.

La creatividad del traductor literario y la ilusión de traducción

La teoría de la traducción literaria ha dejado de comprender la fidelidad al original y la creatividad del traductor como conceptos opuestos. La fidelidad ya no se entiende como traducción “palabra por palabra” sino como la identificación y trasposición de los elementos significantes de la obra original, y la creatividad del traductor es vista como su capacidad para identificar dichos elementos y hallar para ellos equivalencias funcionales con medios lingüísticos y estilísticos a menudo muy diferentes de los originales. Sin embargo, la creatividad del traductor, mal entendida, puede llevar a intervenciones arbitrarias sobre el texto original que conduzcan a la llamada ilusión de traducción, o seudotraducción. En la nota se examinan tres ejemplos de ilusión de traducción y se comentan las consecuencias negativas del fenómeno. Además de poner en tela de juicio la responsabilidad de los traductores, se llama la atención sobre la de las editoriales que publican traducciones sin un adecuado control editorial de calidad.

НЕМЕЦКАЯ ПОЭЗИЯ: ЛИНГВИСТИЧЕСКИЕ И СТИЛИСТИЧЕСКИЕ ОСОБЕННОСТИ ПЕРЕВОДА НА ЧУВАШСКИЙ ЯЗЫК

Цель. Статья посвящена особенностям перевода немецкой поэзии на чувашский язык. На примере стихотворения Г. Гейне «Lorelei» и его перевода на чувашский язык, выполненном чувашским поэтом Г. Шевкен, проводится сравнительно-сопоставительный анализ перевода и оригинала, определяется качество перевода произведения. Цель исследования заключается в комплексном анализе перевода стихотворения Г. Гейне «Lorelei» на чувашский язык, рассмотрении лингвистических и стилистических особенностей перевода поэзии.Метод или методология проведения работы. Основными методами данной работы являются сопоставительный, лингвистический, описательный, историко-литературный методы исследования.Результаты. В статье проведен сопоставительный лингвистический анализ перевода и оригинала стихотворения Г. Гейне «Lorelei», показано качество перевода произведения.Область применения результатов. Полученные результаты могут найти свое применение в учебных курсах по общему и сравнительному языкознанию, типологии языков, теории художественного перевода, стилистике, а также на практических занятиях по иностранному языку.

“Arms and the Man I Sing . . .”: A Preface to Dryden’s Aeneid by Arvid Løsnes

Reviewed by: “Arms and the Man I Sing . . .”: A Preface to Dryden’s Aeneid by Arvid Løsnes Taylor Corse Løsnes, Arvid. “Arms and the Man I Sing...”: A Preface to Dryden’s Aeneid. Newark: Delaware, 2011. Pp. 370. $85. Building upon Mark Van Doren, J. McG. Bottkkol, Helene Maxwell Hooker, [End Page 249] Richard Proudfoot, Earl Miner, William Frost, Robin Sowerby, Taylor Corse, Tanya Caldwell, and others, Mr. Løsnes’s work on Dryden’s translation of Virgil’s Aeneid (1697) stands out for its scope, learning, originality, and detail. Mr. Løsnes looks freshly at the earlier Aeneid translations in English, starting with Gavin Douglas and ending with Denham and Lauderdale, showing Dryden’s affinities with each of his predecessors. In the best account of literary translation theory in the seventeenth century, he explains how Dryden constantly revises and refines his own ideas about translation. Mr. Løsnes also firmly establishes Dryden’s comprehensive and creative use of contemporary Virgilian scholarship (Segrais, Ruaeus, and the Delphin Virgil). Seeking to rehabilitate Dryden’s reputation as a re-creator of Virgil, Mr. Løsnes anticipates or confirms the insights of modern Virgil scholars such as Jackson Knight and Kenneth Quinn. In the second part of his study, Mr. Løsnes argues convincingly that the prevailing Augustan framework of Dryden’s age provided the cultural conditions for Dryden’s re-creation of Virgil’s epic. Even more interestingly, Longinus’s treatise On the Sublime is vital to Dryden’s approach to Virgil. This is perhaps Mr. Løsnes’s most valuable insight, since it accounts for Dryden’s critical understanding of Virgil and his re-creating the Roman poet to an English audience. According to Mr. Løsnes, Longinus (whom Dryden discovered in 1677) helped Dryden unlock the sources of Virgil’s success as an epic writer. Passion, energy, empathy, imagination, figurative language, heightened diction—all these Longinian qualities Dryden writes about explicitly and extensively in his critical prefaces, including The Dedication of the Aeneis. These features emerge fully in selected passages that Mr. Løsnes analyzes in his final chapters. I especially admire his discussion of the famous night scene passage (4.757–772), one of many fine examples interpreting Dryden and Virgil. Although Mr. Løsnes calls his book a “preface” and an “introductory study,” this magisterial work of scholarship and criticism is exhaustively researched, judiciously argued, and lucidly written. He makes good his claim that Dryden’s translation is essentially an original poem that manages to be a “composite matrix of Virgil’s world and the world of Dryden’s own day and age.” Delaware Press should also be thanked for a beautifully designed book. Taylor Corse Arizona State University Copyright © 2013 Roy S. Wolper, W. B. Gerard, E. Derek Taylor, and David F. Venturo

Vladimir Nabokov’s Self-Translated Lolita: Revisiting the Original Alliterative Modes

This paper is a case study comparison of Vladimir Nabokov’s self-translated Russian version of his English novel Lolita with its original text within the frame of the theory of literary translation. Here, self-translation is referred to as a branch of literary translation whose distinctive feature is that the work is both composed and translated by the same person. It is interesting to observe that, for the most part, the authors who translate their own works into another language are bilingual. Theoretical investigation into the field of self-translation is a recent endeavour; the term only appeared around 1976. Before it appeared in A Dictionary for the Analysis of Literary Translation, self-translation was thought to be related to bilingualism, and was therefore approached from the perspective of linguistics.This paper analyses some alliterative modes, including suballiteration, produced by Nabokov in the two versions of Lolita. Throughout, the process of translation is viewed as a “two-stage reading-writing activity.” The novel’s translation into Lithuanian, which was performed from Nabokov’s Russian translation, is used to show the difference between translation and selftranslation, and to reveal the clash or the interplay between the foreign and the domestic in the development of alliterative appeal.

Literary Translation Theory in Brazil

This article will examine literary translation theory in Brazil. It will first look at the approach used by brothers Haroldo and Augusto de Campos, which could be considered as veritable translation school of thought. It will then examine other approaches.

The Poetics of Translation: History, Theory, Practice

In a lucid, pioneering volume, Willis Barnstone explores the history and theory of literary translation as an art form. Arguing that literary translation goes beyond the transfer of linguistic information, he emphasizes that imaginative originality resides as much in the translation as in the source text-a view that skews conventional ideas of artistic primacy. Barnstone begins by dealing with general issues of literalness, fidelity, and originality: with translation as metaphor, aesthetic transformation, and re-creation. He looks as well at translation as a traditionally stigmatized genre. Then he discusses the history of translation, using as his paradigm the most translated book in the world, the Bible, tracing it from its original Hebrew and Greek to Jerome's Latin and the English of Tyndale and the King James Version. Citing the way authors intentionally mistranslate for religious and political purposes, Barnstone provides fascinating insights into how, by altering names in the Gospels, the Virgin Mary and Jesus cease to be Jews, the Jews are turned into villains, and Christianity becomes an original rather than a mere translation. In the next section Barnstone analyzes translation theory, ranging from the second century B.C. Letter of Aristeas to Roman Jakobson's linguistic categories and Walter Benjamin's Task of the Translator. The book ends with an aphoristic ABC of translating.

The Contemporary State of the Theory of Literary Translation

The Contemporary State of the Theory of Literary Translation