New Voices in Translation Studies No. 8 -
New Voices in Translation Studies, an online journal published by IATIS has a new issue up. In it are a number of interesting articles, including one on Japanese translations of teen fiction, including Harry Potter.
ARTICLES
When Skopos Meets Logical Meaning in a Korean Bible Translation: implications of using clause combination as an analytic tool
Gyung Hee Choi, University of New South Wales, AUSTRALIA
1-20
Contrasting Visual and Verbal Cueing of Space: strategies and devices in the audio description of film
Maija Hirvonen, University of Helsinki, FINLAND
21-43
IPCITI 2010 Proceedings
Creating Personae: the translator’s afterword in Japanese translations of teen fiction
Isabelle Bilodeau, Nagoya University, JAPAN
44-65
Online Paratexts and the Challenges of Translators’ Visibility: a case of women translators of the Quran
Rim Hassen, University of Cambridge, U.K.
66-81
Found in Translation: Franco-Irish translation relationships in nineteenth-century Ireland
Michèle Milan, Dublin City University, IRELAND
82-98
Publishing Contemporary Foreign Poetry in Post-War Italy: a Bourdieusian perspective on Mondadori and Scheiwiller
Mila Milani, University of Manchester, U.K.
99-114
Translating the Greek Civil War: Alexandros Kotzias and the translator’s multiple habitus
Kalliopi Pasmatzi, University of Manchester, U.K.
115-131
Co-constructing Dyadic Sequences in Healthcare Interpreting: a multimodal account
Sergio Pasquandrea, Università per Stranieri di Perugia, ITALY
132-157
Chasing Ricoeur: in pursuit of the translational paradigm
Deborah M. Shadd, University of Ottawa, CANADA
158-169
Translating the Author-Function: the (re)narration of Christa Wolf
Caroline Summers, University of Manchester, U.K.
170-187
THESES ABSTRACTS
(This section contains abstracts of recently submitted PhD theses.)
Dialogue interpreting as intercultural mediation: integrating talk and gaze in the analysis of mediated parent-teacher meetings
Elena Davitti, University of Manchester, U.K.
Translation in Lydia Davis’s Work
Jonathan Evans, University of Portsmouth, U.K.
Between Irony and Humor: a pragmatic model based on textual analyses of literary works and their translations
Galia Hirsch, Bar Ilan University, ISRAEL
Translating Conceptual Metaphor from English into Indonesian: a case study of translating economics textbooks
Karnedi, Indonesia Open University, INDONESIA
Translating World-View: representational hybridity in Anglophone Nigerian narrative fiction
Susanne Klinger, University of East Anglia, U.K.
Displacing the Mask: Jorge Luis Borges and the translation of narrative
Leah Leone, University of Wisconsin, U.S.A.
Procedures and Strategies in the Translation into Malay of Cultural Elements of Rihlat Ibn Battuta
Idris Mansor, Universiti Sains Malaysia, MALAYSIA
Contrastive and Translation Analyses of Medical Texts (English-Spanish): the Case Report genre
Carlos Arturo Muñoz Torres, Universidad Autónoma de Manizales, COLOMBIA
Cultural and Textual Properties in the Translation and Interpretation of Allusions: an analysis of allusions in Dorothy L. Sayers’ detective novels translated into Finnish in the 1940s and the 1980s
Minna Ruokonen, University of Eastern Finland, FINLAND
A Comparative Study of Gender Representations in Philip Pullman’s His Dark Materials and its Chinese Translation
Wing Bo Tso, Chu Hai College of Higher Education, Hong Kong, CHINA
Translation: Unlocking the Mystique of Change – a theoretical experiment on “translation” as “postcolonial identity” in cultural globalization, with a case study on Hong Kong postcoloniality through the Infernal Affairs film series
Cynthia Sau-kuen Tsui, University of Warwick, U.K.
H.D. and the Translation of Classical Greek Literature
Jennifer Varney, University Rovira i Virgili, SPAIN
Lu Xun’s Fiction in English Translation: the early years
Baorong Wang, Zhejiang University of Finance & Economics, CHINA
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This poster shows one of Riga’s most famous public monuments, the statue of Lenin’s riflemen. The monument is controversial since it commemorates a group of soldiers who fought on the side of the Bolsheviks, tried to establish Soviet rule in Latvia, and eventually became Lenin’s personal bodyguards. Today, some Latvians think the monument should be removed because of its Soviet links, but some think it should stay. Ironically, the Museum of the Occupation of Riga, which documents Nazi and Soviet wrongdoings in Latvia, is right next door.
The reason I like it so much is the homosocial, perhaps even homoerotic quality of the strong, tall, powerful, bold men standing together in camaraderie—qualities so often repeated in Soviet propaganda. When I visited Riga last year, I was surprisingly touched by this statue and spent quite a while looking at it.
Here is another photo from Flickr, taken in 2006 by Swishphotos.
Roland Barthes, by Roland Barthes
Here Barthes anticipates queer theory before the word “queer theory” ever came into existence.
(Source: homo-online)
[video]
Japanese Poetry on Big Bridge -
The online poetry journal Big Bridge has in its May 2012 issue a special selection, edited by Jane Nakagawa-Joritz, of contemporary Japanese poetry. Among them are a number of Japan’s most interesting, avant-garde poets. Among them are two of expatriate poets living in Japan (Phillip Rowland and Jane Joritz-Nakagawa) and two Japanese poets (Yoko Danno and Goro Takano) who live in Japan but write and publish exclusively in English.
Arai Takako 新井高子, trans. Jeffrey Angles
Danno Yōko 團野葉子
Sekiguchi Ryōko 関口涼子, trans. Eric Selland
Takagai Hiroya 高貝弘也, trans. Eric Selland
Takano Gorō 高野吾郎
Tanaka Atsusuke 田中宏輔, trans. Jeffrey Angles
Torii Shōzō 鳥居昌三, trans. Taylor Mignon
Tsukagoshi Yūka 塚越裕佳, trans. the author and Judy Halebsky
Philip Rowland
Jane Joritz-Nakagawa
Thanks to the folks at Big Bridge for bringing more work from Japan into English.
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MIYOSHI Tatsuji 三好達治 "Household"「家庭」 -
三好達治 MIYOSHI Tatsuji (1900-1964)
「家庭」Household
家庭
息子が学校へ上るので
親父は毎日詩(うた)を書いた
詩は帽子やランドセルや
教科書やクレイヨンや
小さな蝙蝠傘になった
四月一日
桜の花の咲く町を
息子は母親につれられて
古いお城の中にある
国民学校第一年の
入学式に出かけていった
静かになった家の中で
親父は年とつた女中と二人
久しぶりできくやうに
鵯どりのなくのをきいてゐた
海の鳴るのをきいてゐた
From YOTSUMOTO Yasuhiro’s introduction for Poetry International Web
To many Japanese baby-boomers who were born within a decade or so after the end of World War II, Tatsuji Miyoshi was the national poet, and his works appeared in their textbooks almost every school year. Those poems were perfect for classroom teaching: short and handsome, simple yet profound…Those were the days shortly after the poet’s death in 1964 at the age of 64. Nowadays, unfortunately, Tatsuji Miyoshi is not heard about so often, although his collected poems are still in print in several editions and there is even a poetry award commemorating his work. Most contemporary poets seem to consider him a poet of the past, whose poems might have played fine emotional tunes at the time, but lacked social and historical awareness. The fact that, during the war, Miyoshi wrote poems in moral support of the soldiers on the frontlines, if not for the regime itself, must have been partly responsible for such a view.But if you set aside the ideological judgments and appreciate the landscapes of Tatsuji Miyoshi’s poetry as they are, you will find an extraordinarily wide range of styles and extremely sophisticated techniques, which few poets today can match…The reader of his work feels as though they had known him personally, and it is his compassion more than anything else that is so touching. Tatsuji Miyoshi is a poet of attachment as opposed to detachment: he reduces the distance between himself and his object, whether it be a human being or nature, until they become one. His songs are born in that moment of togetherness. And yet, “being a poet”, as he wrote in ‘The Shore of the Sky’, he is also a traveller at heart: he moves on, trying to see beyond, “blinking it eyes at the scent of the tides, chasing after clouds that fly away” (from ‘The Lamb’). Tatsuji Miyoshi travelled rather hastily through the most violent and tragic period in the Japanese history. But he has left behind him the songs which are to stay with us for a long time.
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夏宇 Hsia Yü 「腹語術」 "Ventriloquy" -
腹語術VentriloquyI walk into the wrong room
And miss my own wedding.
Through the only hole in the wall I see
All proceeding perfectly: The groom in white
The bride with flowers in her hand, the rites
The vows, the kiss
Turning my back on it: fate, the ventriloquy
I’ve worked so long and hard at
(tongue, that warm aquatic creature,
squirms domestic in its tank)
And the creature says: I do.
[video]
[video]
TANAKA Atsusuke 田中宏輔 is a Japanese poet, born and raised in the ancient capital of Kyoto, where he still lives and works as a high school mathematics teacher. Tanaka has published seven volumes of poetry in Japanese, including an ongoing experimental series of postmodern poems called The Wasteless Land, which draws inspiration and quotations from wide array of sources ranging from pop music to classical Western and Japanese literature.
Sadness
1/2 + 1/4 + 1/8 + 1/16 + 1/32 + 1/64 + …… ＝ 1
1 ＝ 1/2 + 1/4 + 1/8 + 1/16 + 1/32 + 1/64 + ……
1/2 + 1/4 + 1/8 + 1/16 + 1/32 + 1/64 + …… ＝ 1
1 ＝ 1/2 + 1/4 + 1/8 + 1/16 + 1/32 + 1/64 + ……
Half+half of a half+half of a half of a half+half of a half of a half of a half+…… ＝1
1＝half+half of a half+half of a half of a half+half of a half of a half of a half+……
Half+half of a half+half of a half of a half+half of a half of a half of a half+…… ＝1
1＝half+half of a half+half of a half of a half+half of a half of a half of a half+……
Therefore, take half of sadness and treat it not as sadness.
Treat the half of the sadness that remains as something else.
The half of the half of the sadness that remains is something else yet again.
Repeat this, and sadness becomes something else again, ad infinitum.
Yet even so, the thing that remains is the same as at the start,
The same single sadness from which it all began.
— Translation by Jeffrey Angles
Published in Inventory, No. 2 (2011)
悲しみ
1/2 + 1/4 + 1/8 + 1/16 + 1/32 + 1/64 + …… ＝ 1
1 ＝ 1/2 + 1/4 + 1/8 + 1/16 + 1/32 + 1/64 + ……
1/2 + 1/4 + 1/8 + 1/16 + 1/32 + 1/64 + …… ＝ 1
１ ＝ 1/2 + 1/4 + 1/8 + 1/16 + 1/32 + 1/64 + ……
半分+半分の半分+半分の半分の半分+半分の半分の半分の半分+…… ＝ １
１＝半分+半分の半分+半分の半分の半分+半分の半分の半分の半分+……
半分+半分の半分+半分の半分の半分+半分の半分の半分の半分+…… ＝ １
１＝半分+半分の半分+半分の半分の半分+半分の半分の半分の半分+……
だから、悲しみの半分を悲しみではないものにする。
残った半分の悲しみの半分をほかのものにする。
さらに残った半分の半分の悲しみの半分をほかのものにする。
これを繰り返して、悲しみを限りなくほかのものにする。
それなのに、残ったものは、最初にあったものと同じもの、
同じひとつの悲しみであった。
「The Wastleless Land VI」(2011)より
In celebration of National Poetry Month 2012