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Translation in the feminine: Theory, commitment and (good) praxis
Abstract
The gap between translation theory and practice can be narrowed by means of translators' self-reflections on their practice, although they need to acknowledge the specificity of their standpoint and avoid speaking from a transcendent position. This article engages in such self-reflective practice in order to denounce the strategies of stigmatization of feminist translation in the patriarchal defense of national culture and literary tradition. The nascent translation industry in Galicia is still marred by a bad praxis that exposes the power imbalance among the various actors involved in the translation process. Also, the introduction of the gender variable in the debate around the tensions between professional translators and amateurs reveals interesting loci of alternative practices. A plurality of translation actors, each of them enjoying some relative autonomy regarding their audience and objectives, seems more appropriate than a translation industry controlled by one, no matter how enlightened, single caucus.
... Tracing back to the 1940s, when Chen first translated and published on Baudelaire's poetry, the present essay examines how she developed a prescient ecofeminist poetics in the male-dominated, culturally and politically repressive literary fields of Shanghai in the 1940s and Beijing in the 1950s, in her translations as in her own poetry -which was clearly influenced by her engagement with Baudelaire. Obviously, Chen's work predates theories of ecofeminism, feminist translation (Palacios 2014;Palmary 2014), feminist critiques of Baudelaire's misogyny (Weinbaum 2003), and discussions of his eco-awareness (Quandt 2015) in recent decades. However, her early immersion in feminist ideals and her personal experience of oppression in a male-dominated society that was rapidly industrializing enabled her to see the interconnectedness of the oppression of women and other marginalized groups such as the poor, the aged, and the sick, on the one hand, and the destruction of nature, on the other. ...
Para terminar el primero de una serie de volúmenes que, bajo el epígrafe de Traducción & Paratraducción (T&P), serán publicados en la colección Studien zur romanischen Sprachwissenschaft und interkulturellen Kommunikation («Estudios sobre lenguas románicas y comunicación intercultural») de la editorial Peter Lang, ofrecemos, en este decimoquinto y último capítulo del libro, las fichas bibliográficas completas de la recopilación que hemos llevado a cabo a lo largo de los últimos años. El lector de esta publicación encontrará, por riguroso orden alfabético y en orden descendente, las 288 publicaciones científicas en las que se ha citado la noción de paratraducción y que constituyen otros tantos impactos del nuevo término traductológico de la Escuela Doctoral de Vigo el cual ha llegado a ser traducido a las siguientes 17 lenguas: español, gallego, catalán, portugués, italiano, francés, inglés, alemán, chino, lituano, polaco, ruso, griego, turco, rumano, persa y árabe.
Given the central role language plays in promoting social justice, feminist translation calls for the adoption of a specific approach of language to highlight women’s issues and subvert patriarchal ideologies. However, the application of this approach varies among local and international contexts that hold different views of feminism. This study evaluates the translation of Ḥikāyat Zahrah (1995) (literally, Zahra’s Tale), written by Lebanese author Hanan Al-Shaykh (1986) and translated by Peter Ford, from a feminist translation perspective. The aim of this paper is to analyze the representation of the female protagonist in the English version as compared to the Arabic one. It examines how Zahra’s character was transferred, studying her experiences, feelings, and thoughts, and evaluating whether the translator’s interventions altered her image in the English version. The paper seeks to answer the following questions: How is Zahra’s character affected as she moves from the Arab culture to a Western one? Does the translation reinforce, mitigate, or disregard the feminist issues raised through Zahra’s character? Did the translator Peter Ford apply feminist translation strategies? To that end, a corpus-based comparative analysis was conducted where translation examples were analyzed to determine whether the translator’s interventions serve the novel’s feminist message. The results show that only 21% of the examples illustrate the feminist translation approach, while the rest overlook the feminist nuances of the text. It can be concluded that the translator produced a culturally and ideologically accepted version of the novel that fits Western stereotypes rather than foregrounding Arab women’s issues and experiences.
Alexandre Vialatte’s (1901-1971) self-proclaimed label – ‘notoirement méconnu’ – continues to define him today. The writer-translator’s incongruities have relegated him to the margins of the French literary canon yet paradoxically attract a modest academic following. His first novel Battling le ténébreux ou la mue périlleuse (1928) – a little-studied and currently untranslated coming of age tale – exemplifies the rich placelessness that defines the author. This thesis contextualises Battling in light of Vialatte’s position as translator. It suggests the text is informed by an uneasy encounter between French and German cultures and geographies and, in parallel, it investigates the very notion of an identity ‘in translation’. This thesis adopts a translational approach whereby my own process translating Battling into English frames a literary study of the text. Given the multifaceted nature of translation, such an approach is interdisciplinary: it draws not only from translation studies (both theory and practice), but also from comparative literature, creative writing, and feminist studies, to map a polyphonous and multifaceted space between subjects and cultures. The analysis centres on the modernist hero’s ‘mue périlleuse’, or coming of age, and structures itself around two intersubjective encounters; as Vialatte’s protagonist meets his foreign and feminine Other to find insecurity, translator meets writer to problematise the original text. Through these two encounters, this thesis works to unsettle the binaries of self and other, original and translation, to ultimately present a plural and ethical identity in translation.
This article analyzes a 1917 indirect translation of Ibsen’s A Doll’s House (1879) by María Lejárraga (1874-1974) as an example of early feminist translation. Relying on the existing theoretical outcomes at the intersection of gender and translation studies, it proposes a way of analyzing diverse translation strategies as a means for womanhandling the literary text, and thus making the most of the prevailing feminist interpretation of its international reception while reinforcing the budding feminist debate in Silver Age Spain and facilitating a specific understanding of the play. The importance of this case study as an example of early feminist translation is based on several factors: (a) this theatre text had a symbolic value in first wave feminism; (b) this Spanish translation was widespread due to Ibsen’s international fame and the national fame of the (overt) mediator Gregorio Martinez Sierra; (c) the feminist activism of the (covert) translator that made her select the text to spread a “thesis” she deemed necessary in Spain at that time for the developing of feminism; and (d) the numerous interventions at different levels (textual, contextual and paratextual) traceable in the translation.
The notion of paratext is an unquestionably important consideration for many lines of research in translation studies: the history of translation, literary translation, audiovisual translation, and the analysis of ideological discourse in translation or self-translation. The article by José Yuste Frías attempts to demonstrate the utility of the concept of paratraducción (paratranslation), a term coined by the research group Traducción & Paratraducción at the Universidad de Vigo as a methodological tool for studying paratextual elements in translation. Taking ortotypography as a key paratextual element, Yuste Frías undertakes an analysis of the typographic image in the titles of two French children’s books and their translations into Spanish. Yuste Frías concludes that dialogue between the translators and the editors can guarantee better ‘paratranslations’ of originals.
This paper focuses on the relationship between gender and translation in the Galician literary system given a corpus of translations of literary texts written by women and published on different platforms. The selection of the analyzed documents has been made taking into account their representation and significance both for feminism and literature. This is meant to give an overview of the most relevant trends and features.
This article seeks to provide a theoretical framework through which to analyse the strategies of publishing invisibility or visibility of Galician authors who are practitioners of translation in Galicia as well as their social role as writers. Against the model of professional translation, and sometimes in alignment with it, 'author translation' produces, in terms of production as well as reception, idiosyncratic dynamics in the literary field which require, in turn, an understanding of their specific characteristics. On the basis of a now long history of authorial translations in Galician which has one of its pioneering figures in Álvaro Cunqueiro in the role of the translator-author, different opportunities coincide with and in turn lead to the assumption of different positions. On the one hand, the authors' version can represent a determination to create tradition through translation. In the same way that Antoine Compagnon spoke of a 'second hand' to refer to the function of quotations and allusions in texts, there is a second hand that is invisible in appearance, but which always leaves its traces in the work of some author-translators who write their poetry and speak of their sources and influences when they translate certain works into Galician. What underlines many of these effects is not so much the determination of author-translators to appear or disappear as the manner in which their names serve (or obstruct) certain tendencies in the Galician cultural system.
Current theoretical debates on Translation Studies define translation as an ideological act of intercultural mediation. In this way, notions such as neutrality or fidelity to the original text or to the author�s intent prove untenable, challenging the traditional hierarchy between the original text and its translation. However, it is my contention that these theoretical discourses tend to disregard other hierarchical power relationships that also affect translation, placing it in a position of inferiority against paratranslation (Garrido Vilariño 2005), the latter being an activity that determines crucially the final presentation of the translated book in the target society. I will illustrate the implications of this new hierarchy through an analysis of the ideological struggle that emerged from the translation and paratranslation of gender in two rewritings into Galician of the book The Curious Incident of the Dog in the Night-Time, by Mark Haddon. Los discursos teóricos de la actualidad conciben la traducción como un acto ideológico de mediación intercultural. De este modo, rechazan la supuesta neutralidad y fidelidad al texto original o a la intención autorial de antaño, subvirtiendo al mismo tiempo la tradicional jerarquía entre original y traducción. Sin embargo, en el presente artículo sostengo que estos discursos teóricos por lo general desatienden otras relaciones de poder jerárquicas que afectan a la traducción situándola en una posición de inferioridad respecto a la paratraducción (Garrido Vilariño 2005), definida ésta como un acto de mediación por el cual se decide la presentación final del libro traducido en la sociedad meta. Para ilustrar las implicaciones de esta nueva jerarquía recurro al conflicto ideológico originado a partir de la traducción y paratraducción del género en dos reescrituras en gallego de la novela de Mark Haddon The Curious Incident of the Dog in the Night-Time.
galegoEste artigo parte da descrición dun caso persoal e altamente controvertido no eido da práctica da tradución en Galicia: a miña tradución ao galego O curioso incidente do can á medianoite, do autor británico Mark Haddon, e de como o meu contrato pola Editorial Rinoceronte foi rescindido debido ás estratexias tradutivas feministas que eu implementara no texto. Como explicarei, ditas estratexias implicaban que os termos con xénero neutro en inglés non se habían de transformar en masculinos ou femininos en galego, atendendo a prexuízos patriarcais. Describirei e analizarei este caso á luz das teorías de tradución feminista, co obxectivo de entender non só ás miñas opcións como tradutora, senón as reaccións que este caso provocou tanto nas partes involucradas coma no público lector en Galicia.
Finalmente, as miñas conclusións profundarán nas relacións entre xénero e nación e como estas lle deron forma ao debate público que arrodeou esta controversia.
With Gender in Translation, Sherry Simon presents a study of the feminist issues surrounding translation studies. She argues that translation of feminist texts is a cultural intervention, seeking to create new cultural meanings and bring social change.
The thesis looks at the patterns, tendencies, and tensions that characterise the Anglo-American
critical reception of the three peninsular woman authors Merce Rodoreda,
Esther Tusquets, and Rosa Montero, generally assigned a representative role as feminist
writers in the field of gender-centred Hispanism. The study begins with the recognition
that there has been an increase in the level of awareness as to certain recurrent
mechanisms of academic Hispanism in America, as is proved by the recent burgeoning of
studies with an avowed metacritical slant. My analysis partakes in this trend but
integrates also translational analysis, with a view to showing the validity of translated
texts as critical artefacts, informed by similar operations and leanings. Ultimately, my
aim is to shed light on the often downplayed complexities characterising ideologically
inflected instances of cultural reception and diffusion, of which the Anglo-American
critical response to women-authored, contemporary narrative in Spain is a case in point.
Following decades of feminist linguistic activism, and as a result of a greater awareness of the vital role that non-sexist language plays in achieving social equality, different campaigns were launched in many countries leading to a more frequent use of so-called inclusive language. Bringing this together with current theoretical approaches to translation studies which have been defining translation as an ideological act of intercultural mediation since the 1990s, this article seeks to examine to what extent feminist linguistics have had any influence on translation studies. My purpose is to assess whether particular feminist linguistic interventions in vogue when writing 'original' texts within the realm of the source language are also adopted when (re)writing 'translated' texts in the target language, bearing in mind the double (con)textual responsibility that translators have towards the source and the target (con)texts. I will examine the arguments for and against the use of inclusive language in (literary) translation through an analysis of the 'ideological struggle' that emerged from two ideologically disparate rewritings of gender markers into Galician of the British bestseller The Curious Incident of the Dog in the Night-Time, by Mark Haddon (2003), focusing on the ideological, poetic and economic pressures that (still) define the professional practice of translation. It is my contention that the close scrutiny of these conflicting arguments will shed light not only on the existing gap between the theory and practice of translation, but may be also indicative of a possible 'missing link' between feminist approaches to linguistics and to translation studies.
In the tradition dominated by essentialism, translation has generally been regarded as a stubborn theoretical problem which defies the basic assumptions of most traditional disciplines. The fact that translation has been conquering a more defined space within language and cultural studies since the 1980s seems to be closely related to the dissemination of postmodern conceptions of meaning which have not only undermined the notion of the ‘original’ as a stable, objectively transferable entity, but have also proposed a radical revision of the traditional dichotomy that has always put practice under the alleged control of theory. As we regard translation as a form of transformation, we finally begin to move beyond the old stalemates which have paralyzed the reflection on the area for at least two thousand years.
This article is indebted to contemporary debates on translation and gender, and analyses how a woman-oriented commitment informs the Galician translation of Irish poetry by women. Contrary to common cultural assumptions about the transparency of the text and the translator's invisibility, I opt for alternative discourses on translation which encourage translators to articulate their experience. A first section discusses context and its role in the production of translations with a feminist orientation, with special attention paid to the emergence of women poets in Ireland since the 1980s and the favourable conditions for the reception of this poetry in the Galician literary market. A second section presents various possible strategies to make the woman visible in translation, whether in the use of paratexts or in the introduction of gender marks in those passages where the English language seems to neuter the feminine (adjectives, pronouns, certain nouns and images). The purpose of this study is both to expose the translated text as woman-handled and to challenge the metaphorical language that ranks translation and woman in an ancillary position. Rather than engaging in an essentialist project that constructs a universal feminine identity, I focus on aspects that interrogate the notion of identity with regard to gender, nation and language.
RESUMEN Este trabajo sienta las bases para analizar y estudiar en mayor profundidad la aportación de las novelistas inglesas del siglo XX. En él se aborda un estudio del trasvase y recepción traductológicos de dichas novelistas en lengua española. Son cuatro las hipótesis de partida de esta investigación: la existencia de una serie de cuestiones en torno al género y la traducción, la presencia de un aparato censor franquista muy activo entre 1939 y 1975 que afectó a algunas de las novelistas estudiadas en este trabajo, la existencia de un conjunto de herramientas o estrategias de traducción cuyo uso o no inclusión puede afectar al producto final, y, por último, la evolución de los conceptos de traducción y traductor a lo largo del siglo XX. El capítulo primero examina los estudios previos y aspectos teóricos en los que se apoya la investigación: El siglo XX en la novela inglesa, La Traducción en el siglo XX, Mujer y Traducción y La Traducción de la novela de autoras inglesas. El capítulo segundo detalla el material y método adoptados. El capítulo tercero analiza el propio corpus formado por las traducciones al castellano de las novelistas inglesas del siglo XX, y, por último, el capítulo cuarto expande el apartado práctico con un análisis comparativo de las cuatro versiones al castellano de la obra To the Lighthouse (1927) de Virginia Woolf. En cuanto a los resultados, de las 111 autoras incluidas, 39, es decir, un 35%, no han sido traducidas al castellano, mientras que la mayoría de las obras de estas novelistas han sido publicadas y reeditadas varias veces en lengua inglesa. Al menos tres textos fueron objeto de censura total y otro de censura parcial, siendo suprimidos y corregidos varios fragmentos del texto. Existe un paralelismo entre el subgénero literario y el volumen de traducción publicada, el número de textos meta por texto original y el lapso entre original y traducción. Existen autoras cuyos textos en castellano siguen reeditándose hoy en día, pese a los muchos años que les separan del texto original y también novelistas cuya repercusión es mayor en lengua inglesa que en lengua española y viceversa. Se observa una recurrencia de traductores y editoriales que se han dedicado a una novelista en particular. El uso del paratexto está determinado por dos factores esenciales: la modernidad del texto y el tipo de novela. También, se destaca la aportación de muchas de las novelistas inglesas estudiadas a la industria cinematográfica y la estrecha conexión entre novelistas inglesas y españolas. Finalmente, las cuatro versiones de To the Lighthouse serían un claro ejemplo de la evolución del concepto de traducción. A modo de conclusión, se podría afirmar que existe una relación entre género y traducción, evidente en lo negativo para las mujeres en lo que se refiere a las oportunidades de dar a conocer sus obras literarias, pero, en contraposición, también positiva, pero escasa, en lo que tiene que ver con una mayor proximidad y capacidad afectiva y emocional entre autora y traductora. La literatura y la traducción no deberían entenderse sin la difusión de las aportaciones de las escritoras y de las traductoras, editoras y prologuistas de las escritoras, y por ello, su historia debería rescribirse en parte, incluyendo sus obras e incorporándolas al ámbito académico, a fin de estudiarlas y comentarlas dentro de cada periodo literario y no como un colectivo aparte, priorizando, por encima del sexismo, la calidad y la creatividad como criterios fundamentales. __________________________________________________________________________________________________ This thesis lays the foundations with which to analyse and study the contribution of the translations of 20th Century female English novelists into Spanish. Four initial hypothesis help us tackle a study of the translation transfer and reception of these novelists into Spanish: the issues underlying the association between gender and translation, censorship in Francos Spain between 1939 and 1975 which affected the translation of some of the novelists dealt with here, the translation strategies whose use or omission can affect the translation product, and finally, the evolution of the theory of translation throughout the 20th Century. While the first chapter examines the existing literature organised around three main axes: women, translation and the novel, the second describes the methodology and corpus. The third analyses the translation of English female novelists into Spanish and finally, the fourth consists of a comparative study of the four Spanish translations of Virginia Woofs To the Lighthouse (1927). Out of the 111 authors analysed, 39 that is, 35% have not been translated into Spanish. However, most of these writers were and still are published and reedited in English. Three texts suffered complete or partial censorship, resulting in the suppression and correction of several extracts. There is a parallelism between literary sub-genders and the volume of published translations, the number of target texts per source text and the lapse between source text and translation. Other results show a tendency towards certain translators and publishing houses being used for certain novelists and suggested that the use of paratext is determined by the modernity of the text and the type of novel. This dissertation concludes that gender and translation are linked, negatively for women as far as the opportunities to bring to light their literary works is concerned but nevertheless positive in the greater affective proximity between writer and translator. Neither literature nor translation should be understood without the contribution of women writers, translators and editors.
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