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Translation In A Global Context; Translation And World Literature

Following Moroccan writer and theorist Abdelkebir Katibi, Ungar reminds us that "all of us who study and teach literary translation are corporatists and even professional foreigners of sorts, in deed if not always by title". Our classroom discussions of translations of texts from a variety of national and historical traditions led naturally into debates about the status of non-English-language literature, from the classics to the contemporary. All of us who have taught or taken courses in Links Of London Bracelets(http://www.linkslondon4lover.com/bracelets-c-141.html) which literature is read in translation are well aware of the way in which a text's translated status is all too often invoked only to address inconsistencies or perceived flaws, thus sidelining vital questionsmlb jerseys cheap about the task and status of translation. Traduttore traditore, the saying goes, but if translators do necessarily betray, we can nevertheless profit from a study of their particular form of infidelity.

The course we propose provides students with essential conceptual tools for furthering their acquaintance with foreign-language writers who lie outside the traditional boundaries of the English department. For this reason, we believe that it would transition well into courses in foreign-language literature (in translation or not), as well as world literature courses, whether they are wide-ranging "great books" courses or era-specific courses (on the contemporary world novel, for example). At some point, Moretti suggests, our reading of foreign-language literature must "yield to the specialist of the national literature, in a sort of cosmic and inevitable division of labour". We have found it useful to ground our thinking about contemporary world literature in the questions raised by our translation studies course. Why is Paul Auster, although critically acclaimed domestically, still less known in his native United States than in Links Of London(http://www.linksgiftstore.com) continental Europe, where he is translated into French and German, among other European languages Why do we read so little foreign-language literature in the United States What do we read when we do read foreign-language literature, and why How do books journey from their original language and country of origin to "universal recognition" on the  global stage (Casanova 354) Do we read foreign literature with different expectations Put bluntly, do we read to confirm or enrich Who are the judges for contemporary non-English-language literatures; who, that is, determines the "evolving criteria" by means of which these literatures are judged and rewarded (English 305).

Of ncaa jerseys course, we cannot merely append world literatures to the English department. Something has to happen to English first. Cultivating the necessary changes means pursuing the fundamental questions and debates that surround the contested field of world literature, questions that necessarily involve issues of translation. In her Manifesto for Literary Studies, Marjorie Garber counsels readers that "the future importance of literary studies and, if we care about such things, its intellectual and cultural prestige both among the other disciplines and in the world will come from taking risks, and not from playing it safe". We propose our course in this spirit. T.S. Eliot believed that a work's survival in foreign markets depends on its universality; although it is the foreignness that first attracts the reader, "it will not survive unless the foreign reader recognizes, perhaps unconsciously, identity as well as difference".

Literary And Cultural Values And Their Sense Of Their Reader's Expectations

Damrosch likewise affirms that "comparing even brief passages can reveal a host of choices that different translators have made," including, in particular, insight into their "literary and cultural values and their sense of their reader's expectations". Even without knowledge of the source language, "we can use translations to triangulate our way toward a better sense of the original than any one version can give us on its own". Katrina's presentation on Ezra Pound's Cathay translations involved just such a triangulation, comparing his poems with competing translations and with two source texts the original poems themselves and the Ernest Fennellosa-annotated Japanese cribs that facilitated Pound's translations. Fair and educated judgments require considering not just a translation itself, but its conditions, competitors, and context. Our comparative work in class was most effective when we Links Of London Charms(http://www.linksukstore.com/charms-c-181.html) replaced initial, and perhaps inevitable, "it works/it doesn't work" judgments with evaluative discussions about how specific translations work, or do not, as the case may be.

Venuti emphasizes that choosing a "suitable" translation means choosing one that "offers an efficient articulation of the issues raised by translation, but also one that works productively with the critical methodologies applied to other texts in the course" ("Translation and the Pedagogy" 341). As we studied literal translations, homophonic translations, and the kind of experimental and risk-taking translations that correspond discount mlb jerseysto Philip Lewis's concept of abusive fidelity, we learned that an awkward or uneven translation is not necessarily a bad one, that accuracy is not the only legitimate goal for a translation. Steven Ungar, nodding to George Steiner, writes, "The terms 'failure' and 'incompletion' imply the persistence of Links Of London Bracelets(http://www.links-of-london.org/S-Bracelets-5.html) a model of translation whose virtues would entail precisely overcoming failure and incompletion".

The criteria by which we judge a translation would therefore "be of less interest to Steiner than what nhl jerseys wholesale a 'close hearing' of translation's failures and incompletion might disclose concerning the nature of cultural difference". We should thus be as attentive to translations that read painfully as we are to those that "tell it lovely." Nabokov's resolutely literal and fiercely protective translation of Alexander Pushkin's Eugene Onegin is not easy reading, but it offers a foreign element that a translation privileging the sensibilities of the target audience might not. We are convinced that it would be instructive for the class to formulate its own evaluative criteria after advancing in the theoretical readings and discussing some of the key debates in translation studies.

Students might well adopt different criteria for different kinds of texts, possibly for different genres, for religious or secular works, or for different source languages. We thus propose that the professor distribute a rubric for evaluation prior to such sessions in order to direct focus on the studied theories and bring the class one step closer to Steiner's "close hearing." Students could then modify this rubric and ncaa jerseys hone their evaluative criteria over the course of the semester as they advance in knowledge. Katrina's rubric, developed after the course (see Appendix 1), is intended as a guide not for every reading of translation, but for a close evaluative reading, as conducted in a classroom.