Tradução e lógica empresarial na viragem para o séc. XX.
Ensaiando metodologias que aproximam os Estudos de Tradução da História do Livro e da Leitura, partimos da análise do catálogo de editoras portuguesas de grande projecção no período em apreço, para caracterizar o circuito das (para)literaturas traduzidas, nas suas fases de produção, distribuição e consumo.
Mediante um estudo de caso, procuramos entender como as relações de procura e oferta no mercado cultural contribuiram para condicionar a selecção de autores, géneros e formas, susceptíveis de maior êxito e popularidade, além de imporem normas translatórias específicas e configurações tipográficas adequadas.
Showing posts with label Guest speakers. Show all posts
Showing posts with label Guest speakers. Show all posts
Thursday, April 8, 2010
Tuesday, February 2, 2010
Martha P. Y. CHEUNG (Hong Kong Baptist University, China)
Academic Naval-gazing or a Postcolonial Imperative? – Pages from the Notebook of a Translation Anthologist
What are the excitement, burden and responsibilities of a postcolonial translator and/or translation scholar? The excitement, I believe, lies in a heightened awareness of what we can do and achieve as a translator/translation scholar. We now have a lot more roles to play than the traditional ones of an efficient cross-lingual cross-cultural communicator, or a dispassionate, professional manufacturer of cultural products. We can choose to be a cultural mediator, an innovative image-maker, or an architect-cum-builder of a project of political and or ideological import, to name but just a few of the new possibilities open to us. Of course, possibilities carry with them the burden of choice, of divided loyalties. We might have been freed from the confines of a mentality dictated by slavish loyalty to the source text, and we might have been rid of the naïve belief in translation as an innocent activity, but we often find ourselves pulled in different directions by conflicting values, and having to make difficult value judgments. The agency of a translator, something of which no postcolonial translator is ignorant, entails responsibilities, the first and foremost being the responsibility to know why one is doing certain things in the first place, and to be articulate about it.
In this presentation, I shall explore the burden and responsibilities of a postcolonial translator and translation scholar by analyzing how positionality and agency function in a specific translation project. In particular, I will give an account of how I initiated and brought to completion a translation project aimed to serve an agenda of cultural activism. The project is the compilation of an anthology of texts (most of which are translated into English for the first time) registering the views, reflections, and thoughts about translation in China, from ancient times to the early twentieth century. Volume one of this anthology, entitled An Anthology of Chinese Discourse on Translation, Volume 1: From Earliest Times to the Buddhist Project, was published in 2006, and the sequel, entitled An Anthology of Chinese Discourse on Translation, Volume 2: From the 13th Century to the Beginning of the 20th Century, is under preparation. Discussion is focused on a single project because it telescopes many of the ethical, ideological and political issues which a postcolonial scholar has to handle. Reflections on this project therefore would teach about larger issues of representation, mediation and intervention that are of common concern to anyone interested in compiling translation anthologies.
What are the excitement, burden and responsibilities of a postcolonial translator and/or translation scholar? The excitement, I believe, lies in a heightened awareness of what we can do and achieve as a translator/translation scholar. We now have a lot more roles to play than the traditional ones of an efficient cross-lingual cross-cultural communicator, or a dispassionate, professional manufacturer of cultural products. We can choose to be a cultural mediator, an innovative image-maker, or an architect-cum-builder of a project of political and or ideological import, to name but just a few of the new possibilities open to us. Of course, possibilities carry with them the burden of choice, of divided loyalties. We might have been freed from the confines of a mentality dictated by slavish loyalty to the source text, and we might have been rid of the naïve belief in translation as an innocent activity, but we often find ourselves pulled in different directions by conflicting values, and having to make difficult value judgments. The agency of a translator, something of which no postcolonial translator is ignorant, entails responsibilities, the first and foremost being the responsibility to know why one is doing certain things in the first place, and to be articulate about it.
In this presentation, I shall explore the burden and responsibilities of a postcolonial translator and translation scholar by analyzing how positionality and agency function in a specific translation project. In particular, I will give an account of how I initiated and brought to completion a translation project aimed to serve an agenda of cultural activism. The project is the compilation of an anthology of texts (most of which are translated into English for the first time) registering the views, reflections, and thoughts about translation in China, from ancient times to the early twentieth century. Volume one of this anthology, entitled An Anthology of Chinese Discourse on Translation, Volume 1: From Earliest Times to the Buddhist Project, was published in 2006, and the sequel, entitled An Anthology of Chinese Discourse on Translation, Volume 2: From the 13th Century to the Beginning of the 20th Century, is under preparation. Discussion is focused on a single project because it telescopes many of the ethical, ideological and political issues which a postcolonial scholar has to handle. Reflections on this project therefore would teach about larger issues of representation, mediation and intervention that are of common concern to anyone interested in compiling translation anthologies.
Patricia Anne Odber de BAUBETA (University of Birmingham, UK)
Treachery and double crossings: when adult fiction is translated for children
This paper will consider the intersection of translation, frequently viewed as a form of betrayal, with crossover literature or works originally written for one set of readers and read by another. The treachery lies in the way the translations are often made, resulting in a version that is ‘faulty, unfaithful and mutilated’, in the words of Carmen Bravo Villasante (1978: 46). The terms ‘cross-writing’ and ‘crossover’ are now taken for granted by theorists of children’s literature:
Cross-writing includes authors who write sometimes for children and sometimes for adults, as well as writers (or intra-textually, narrators) who address more than one age of reader/viewer in the same text (Falconer, 2004: 558)
Cross-writing or dual-audience authors address adults and children in the same work. Daniel Defoe is sometimes offered as an example (because of his Robinson Crusoe, though, not Moll Flanders), while crossover is normally used to describes a book that crosses age boundaries – in either direction.
In the context of the present study, I would argue for the existence of a further category, a kind of double crossing, namely the translation of novels or short stories that belong to an adult canon in one language, for inclusion in children’s anthologies in another. As Sandra Beckett has pointed out:
Novels published for one audience quite often are released later for the other in another context, either another time period or in another country and/or cultural setting. N ovels published for adults in one country are sometimes marketed for a juvenile audience in another, or occasionally, the reverse. (Beckett, 1999: xv)
Here I am thinking particularly of stories by Sir Arthur Conan Doyle and Edgar Allan Poe, both of whom appear in volumes of Verbo’s Série 15, published between 1970 and 1985, as well as the respective French, Spanish and French 15s. This paper will examine the way these authors and their works fare, in translation and in collections destined for a juvenile readership.
This paper will consider the intersection of translation, frequently viewed as a form of betrayal, with crossover literature or works originally written for one set of readers and read by another. The treachery lies in the way the translations are often made, resulting in a version that is ‘faulty, unfaithful and mutilated’, in the words of Carmen Bravo Villasante (1978: 46). The terms ‘cross-writing’ and ‘crossover’ are now taken for granted by theorists of children’s literature:
Cross-writing includes authors who write sometimes for children and sometimes for adults, as well as writers (or intra-textually, narrators) who address more than one age of reader/viewer in the same text (Falconer, 2004: 558)
Cross-writing or dual-audience authors address adults and children in the same work. Daniel Defoe is sometimes offered as an example (because of his Robinson Crusoe, though, not Moll Flanders), while crossover is normally used to describes a book that crosses age boundaries – in either direction.
In the context of the present study, I would argue for the existence of a further category, a kind of double crossing, namely the translation of novels or short stories that belong to an adult canon in one language, for inclusion in children’s anthologies in another. As Sandra Beckett has pointed out:
Novels published for one audience quite often are released later for the other in another context, either another time period or in another country and/or cultural setting. N ovels published for adults in one country are sometimes marketed for a juvenile audience in another, or occasionally, the reverse. (Beckett, 1999: xv)
Here I am thinking particularly of stories by Sir Arthur Conan Doyle and Edgar Allan Poe, both of whom appear in volumes of Verbo’s Série 15, published between 1970 and 1985, as well as the respective French, Spanish and French 15s. This paper will examine the way these authors and their works fare, in translation and in collections destined for a juvenile readership.
Lieven D’HULST (K.U.Leuven, Belgique)
Formes et fonctions des anthologies et collections de traductions en langue française (1800-1850)
La présentation s’ouvre sur un bref état des lieux sur le statut des notions d’anthologie et de collection. Ensuite, surtout en puisant dans le Grand dictionnaire universel du XIXe siècle de Pierre Larousse, nous passerons en revue les principales catégorisations et définitions dix-neuviémistes des deux notions, qu’il convient d’aborder comme des prototypes : elles possèdent un caractère interdisciplinaire et plurifonctionnel qui explique leur variation conceptuelle, leur profusion terminologique ainsi que leur adaptabilité à un faisceau de pratiques traductives. Enfin, nous examinerons les différentes modalités anthologiques des traductions en volume parues en France entre 1810 en 1840 : elles s’adaptent souplement à une pluralité de disciplines, de langues, de genres et d’éditeurs et s’imposent ainsi comme l’une des voies majeures d’acclimatation des traductions à la culture adoptive.
La présentation s’ouvre sur un bref état des lieux sur le statut des notions d’anthologie et de collection. Ensuite, surtout en puisant dans le Grand dictionnaire universel du XIXe siècle de Pierre Larousse, nous passerons en revue les principales catégorisations et définitions dix-neuviémistes des deux notions, qu’il convient d’aborder comme des prototypes : elles possèdent un caractère interdisciplinaire et plurifonctionnel qui explique leur variation conceptuelle, leur profusion terminologique ainsi que leur adaptabilité à un faisceau de pratiques traductives. Enfin, nous examinerons les différentes modalités anthologiques des traductions en volume parues en France entre 1810 en 1840 : elles s’adaptent souplement à une pluralité de disciplines, de langues, de genres et d’éditeurs et s’imposent ainsi comme l’une des voies majeures d’acclimatation des traductions à la culture adoptive.
Raquel MERINO ÁLVAREZ (University of the Basque Country, Vitoria, Spain)
Publishers vs. Censors under Franco: a view from the TRACE project
This contribution will analyse the role of publishers and publishing houses under Franco (1938-1975) from the perspective of narrative and theatre catalogues, as compiled and studied by various researches who have worked in the context of the TRACE (Translations Censored) project (www.ehu.es/trace, http://trace.unileon.es/).
Spanish publishers, in this period, had to negotiate all potential publications with censorship authorities and, thus, a huge amount of documents were left as traces of that process of negotiation. In TRACE we have been studying all kinds of information held in censorship archives for a few years now. Every research project and dissertation has been planned and coordinated so that catalogues of translations have been completed and case studies analysed for the whole period under study. Drawing on such studies, the role played by anthologies and collections will be dealt with from a comparative perspective. Questions related to the amount of native vs. translated/imported narrative or to the type of readers targeted by publishing houses will be addressed.
The catalogue of translations of Washington Irving’s Tales of the Alhambra, compiled from censorship files, will serve as a starting point to delve into the multifaceted relationships established between the publishing industry and the authorities.
This contribution will analyse the role of publishers and publishing houses under Franco (1938-1975) from the perspective of narrative and theatre catalogues, as compiled and studied by various researches who have worked in the context of the TRACE (Translations Censored) project (www.ehu.es/trace, http://trace.unileon.es/).
Spanish publishers, in this period, had to negotiate all potential publications with censorship authorities and, thus, a huge amount of documents were left as traces of that process of negotiation. In TRACE we have been studying all kinds of information held in censorship archives for a few years now. Every research project and dissertation has been planned and coordinated so that catalogues of translations have been completed and case studies analysed for the whole period under study. Drawing on such studies, the role played by anthologies and collections will be dealt with from a comparative perspective. Questions related to the amount of native vs. translated/imported narrative or to the type of readers targeted by publishing houses will be addressed.
The catalogue of translations of Washington Irving’s Tales of the Alhambra, compiled from censorship files, will serve as a starting point to delve into the multifaceted relationships established between the publishing industry and the authorities.
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