Voices in Translation: Bridging Cultural Divides
In choosing to render dialect and vernacular speech into Scots, Bill Findlay, to whose memory this volume is dedicated, made a pioneering contribution in safeguarding the authenticity of voices in translation. The scene of the book is set by an overview of approaches to rendering foreign voices in English translation including those of the people to whom Findlay introduced us in his Scots dialect versions of European plays. Martin Bowman, his frequent co-translator follows with a discussion of their co-translation of playwright Jeanne-Mance Delisle. Different ways of bridging the cultural divide in the translation between English and a number of plays written in a number of European languages are then illustrated including the custom of creating English versions, an approach rejected by contributions that argue in favour of minimal intervention on the part of the translator. But transferring the social and cultural milieu that the speakers of other languages inhabit may also cause problems in translation, as discussed by some translators of fiction. In addition attention is drawn to the translators' own attitude and the influence of the time in which they live. In conclusion, stronger forces in the form of political events are highlighted that may also, adversely or positively, have a bearing on the translation process.
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Scotland has no national drama because she has failed to provide her writers
with a national medium for the release of Scottish genius in terms of drama .
There is no Scottish theatre : there are merely obstructionists who delay its
coming by ...
There are of course fundamental differences between fiction and drama . Part of
the legitimate thrill of the fiction that Apter discusses is allowing its language to
calibrate the mind - style of a social outsider with your own : as long as the spell
Drama of course lacks the intimacy of this kind of fiction ; the audience always
observes rather than inhabits the characters on display . And yet the language
used in drama can trigger powerful feelings of identification , as Neil Gunn
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The Vernacular Journey
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