This dissertation examines the intertextual references in eighteenth-century German author Johann W. Goethe's epistolary novel Die Leiden des jungen Werther. coming to terms with the past (Vergangenheitsbewältigung) of German film Plenzdorfs Die neuen Leiden des jungen Ws (), Volker Braun's. My colleagues in the Johnny Carson School of Theatre and Film, Ulrich Plenzdorf's Die neuen Leiden des jungen W. (The New Sufferings of Young W.) is. I HAVE NEVER FORGOTTEN YOU TORRENT Skills : 4 months. The iPhone cloud solution poor graphics Show hidden. Out in the previous recipients to. They will just wanted.
Buying options eBook EUR Hardcover Book EUR Learn about institutional subscriptions. Table of contents 19 chapters Search within book Search. Page 1 Navigate to page number of 2. Front Matter Pages i-xviii. Contemporary Trends Front Matter Pages Hooked… Nina King Pages Mountains and Caverns Alan Sillitoe Pages Nagy Pages Sine Qua Non Frances H.
Bachelder Pages Future Concerns Front Matter Pages Literature without Books? Laurence Lerner Pages About this book Leading writers and critics, including Margaret Drabble, Alan Sillitoe and Ferdinand Mount, share their passion for books and the joys of reading in an inspiring collection of essays and writings. That seems imbalanced to me, though the publisher found it reasonable. This in turn erases the sense of a text as a translation and imagines it as a new, original text which makes the translator an invisible entity and elevates the original author and his or her work.
This can also flatten a text, smoothing out its many potential idiosyncrasies, which is a complaint in regards to poetry which I have heard among my course mates. Venuti calls for a translation that to some degree foreignizes a text. Or so goes the idea. This has all given me something to think about in relation to my dissertation project, which I intend to be a translation of German poetry.
By no means do I intend to write a half German translation, one abound with foreign references and my own flights of fancy. Cole Konopka was born in In addition to translation, Cole also enjoys writing original works and painting. Labels: translation theory. The preface is not something I had spent much time considering in my literary studies until now.
It is true that authors do not have exclusive ownership of the meaning of their work, nor are they always best placed to comment on it. A magnificent novel might be preceded by a pretentious or less-than-insightful preface, like a once-aloof film star posting inanities on Twitter. Perhaps for good reason, then, prefaces to literary works are relatively rare today. However, there is a school of thought that says translations should be an exception to this rule. Why, then, might a translator write a preface?
A preface can be a way of pre-empting some of those questions; and it is hardly surprising if they sometimes come across as somewhat defensive. We could also look at it in a more positive way: prefaces are a way for translators to explain their approach. They allow us a glimpse of the translation process. Most significantly, though, they make the translator visible. Translators speak to the reader in the texts they translate, but it is only in a preface that they can speak entirely in their own voice.
However, this is not as straightforward as it sounds. No translation stands alone; it always bears the trace of its source. Any text is a palimpsest of influences and allusions, and is completed by a reader in a particular cultural context. It does not exist out of context. A non-translated text, however, is interpreted directly by the reader. In the case of a translation, the source text is interpreted by the translator, who then inevitably brings this interpretation to bear on his or her translation; reading translation is a more intertextual experience than reading a non-translated text.
Why, then, pretend that the need to explain is a weakness? We too often expect reading a translation to be like reading any other text; as a result, we do not want to hear the voice of the translator. Olivia Hanks translates from French to English, with a particular interest in poetry. Labels: reflection. Thursday, 12 December Translation and Resistance.
Translation can be a wonderful means of resistance in all sorts of ways. Many of their speeches and court hearings have been translated, raising their profile in the West and perhaps hopefully, with the whole world watching, ensuring a certain amount of their safety in Russia. Interestingly Nadezhda states:. Through translation, we have an opportunity to bring such views to the world stage, and potentially as a result to constrain our own government to take action. It is important that we continue to support these brave actions and to keep them in the spotlight.
It is however necessary to try to understand why Pussy Riot has become so widely recognised and someone like Anna Politkovskaya, a Russian journalist who dedicated her life to human rights and because of her actions was assassinated in her own apartment, barely acknowledged. Simpatico will therefore also lead us to choose to translate works of foreign literature that embody this particular style. Secondly, as a feminist punk-rock group, Pussy Riot appeals to many young individualistic adults and teenagers in the West.
We may conclude then, that through translation and the close analysis it requires, we can come to recognise how we relate to other cultures, and in turn we can learn to pay attention to narratives which do not necessarily have an initial impact on us, to recognise a plurality of outlooks and world-views, rather than ones which instantly appeal to our own. Her email address is Hannah. Collins uea.
Labels: music , translation theory. Thursday, 5 December Fear of Theory. During the final year of my undergraduate degree I wrote a dissertation on translation. It grew from a need for more engagement with poetry in my course and a suspicion that long essays need enjoyment and interest behind them, as well the impetus of a deadline. Little did I know how far from my previous life this particular long essay would take me. I threw myself into a reading list provided by my supervisor, hoovering up whatever I could get my hands on.
I had already translated some poetry by the French poet Pierre Alferi and it seemed to have gone well. However, what I found in books by Lawrence Venuti , Basil Hakim and Susan Bassnett, among others, was a new world opening up before me. Sometimes alarming, always exciting, this discipline of literary translation theory presented challenges I had never envisioned, much less been prepared to tackle. Imagine this - you are standing over a chasm, toes gripping the surrounding cliff edges like a cartoon bird, desperate not to plummet into the darkness.
In black clothes and holding a duffle bag in which the entire culture of a country is hidden, you creep towards a large building. These are strange metaphorical situations to find yourself metaphorically in. These images arose in my mind from the apprehension of how little I felt I really knew about other readers, other writers and the way others think, how essential this had suddenly become.
I asked myself, what did this mean for the translation I had just done? What had I got myself into? Translation theory and much historical thinking about translation makes liberal use of metaphor to explain the sometimes mysterious act of making one text into another one. It was the first thing which struck me about the discipline and the aspect that still interests me now, as a wiser, more experienced MA student.
There are so many sites of activity in any one translation, so much happens! Anything which can bring the complications of language difference, cultural difference and historical changes in society into one neat package is very valuable. Metaphor does this. But what about the similarities, what about the need to explore the literature of other languages from sheer curiosity, from respect?
There are metaphors for that too, different from the figures I mentioned before, though no less important. Language, he says, shouts into the forest and waits to hear its own echo, transformed yet familiar. This is beautiful, and expresses the reason why the potential mistakes and dangers the previous metaphors entail are worth it in the end.
Here at the university, in the controlled environment of the seminar, I no longer feel the vertigo I once did when faced with the metaphors for translation. In fact, I have learned to look behind them to the many truths about the practical considerations of translating literature. Not only that, but I have learned to live with the risks of translating.
I trust my languages and my instinct; I trust theory to keep my mind open. Can you think of a metaphor for that…? Anna Bryant is from County Meath, Ireland. She translates from French into English, and also occasionally from Irish. She is currently enjoying studying on the MA in Literary Translation course at the University of East Anglia and can be contacted at anna.
Thursday, 21 November The surgeon, il chirurgo and la cirujana: gender in translation. I had never come across the issue before starting the MA in Literary Translation and I found out that for me dealing with gender and translation is more complicated than I thought.
What I had never considered is how much this affects the way I think. As a teenager I was really into riddles and I remember being told a very clever one which in English would sound more or less like this: A man is driving his son to school, when a terrible car accident happens. The father dies, while the boy is in very critical conditions and needs surgery.
My first attempts at resolving the riddle included miraculous resurrections on the ambulance and soap-opera finales, and it took me years until I finally got it right. Presuming that the original version of the riddle is in English, the ambiguity of the language genderless, with few exceptions makes the riddle work very well, but in Italian it works even better. The general rule that helps you distinguish a masculine noun from a feminine one is that nouns ending with —o are masculine and nouns ending with —a are feminine.
As a final consideration, I wondered whether this riddle could work in Spanish as it does in Italian. I can be reached at elena. Labels: gender , Italian , Spanish. After two pages I chucked the thing across the room. Even with the best will in the world. Either I wanted to read till the early hours or not at all. Guys — I was majorly pissed off. The bloke in the book, this Werther, his name was — he commits suicide at the end. Just gives up the ghost. He likes painting abstract pictures, listening to jazz and inventing things, none of which are very compatible with being a factory apprentice in small-town East Germany.
Edgar therefore abandons his apprenticeship and runs away to Berlin to become an artist. It consists of a series of letters written by an emotional young man called Werther, whose verbose, effusive style Edgar initially finds somewhat ridiculous.
Eventually, though, Edgar comes to see Werther as a kindred spirit. Both problems turned out to be hugely enjoyable to try to solve, and both involved some fascinating research. Werther, for instance, falls in love with Charlotte, and Edgar with Charlie. Both women are already engaged when Werther and Edgar meet them, and both end up marrying sensible older men.
While living in Berlin, Edgar records several messages to his best friend Willi onto cassette tapes. I decided to lift the Werther quotes from an existing translation of Goethe rather than translating them myself, so that English-speaking readers of my translation might have a chance of recognising them given that they would be recognisable to many German-speaking readers of the original text.
The question was, which of the existing English translations of The Sorrows of Young Werther could supply the antiquated-sounding language I was after? I was thrilled to discover the following passage in a translation by R. Boylan from Because, on either side of this stream, cold and respectable persons have taken up their abodes, and, forsooth, their summer-houses and tulip-beds would suffer from the torrent; wherefore they dig trenches, and raise embankments betimes, in order to avert the impending danger.
Compare this with a translation of the same passage by David Constantine:. Friends, on both banks are the dwelling places of placid gentlemen whose summer-houses, tulip beds, and vegetable plots would be destroyed and who therefore in good time ward off the future danger by damming and diverting. Slang that was in vogue in the s, I felt, would not sound very fresh or improvised today. I had decided when to locate my slang, then — knowing where it should come from was slightly more difficult.
I tried to use slang and colloquialisms that were not strongly identifiable with any particular place so Cockney rhyming slang was out, unfortunately! Firstly in the sense that I could work on this project for years — reading and comparing the many English versions of The Sorrows of Young Werther , consulting secondary literature on Plenzdorf and Goethe, researching the historical context of the GDR, poring over slang dictionaries, referring to books and articles on translation theory — without knowing everything there is to know.
And secondly in the sense that, as I have realised over the past few months, different people could translate this book or any book over and over again forever, and each version of it would always be new, and would never be definitive. Language is always evolving and slang evolves particularly rapidly.
A text can be renewed in translation with each new generation of language users — with each new translator, in fact, since every translator will produce a different interpretation of a given text. The New Sorrows — and Joys! Adams, M. Boylan, R.
Coleman, J. Constantine, D. Ghassempur, S. Plenzdorf, U. Labels: dissertation , German , slang. Sunday, 25 August Letting Go. At the end of this one-year course, we have to write a dissertation. I have chosen to write a translation with a commentary. In this book, he shares his thoughts, and reflects on moments of his life influenced by authors he has read, encounters he has had and approaches to life, religion, relationships and love.
Because of his disability, Alexandre Jollien cannot physically write anymore but talks through a recording machine, which gives a distinct oral quality to the book.
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