TranscUlturAl (Journal)
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Awkward Betweenness and Reluctant Metamorphosis: Eileen Chang’s Self-Translation
No full textThis article studies Eileen Chang’s (1920-1995)’s self-translation as a cultural mediation between two worlds. Different from the previous studies which either focus mainly on a single work or interpret from the perspective of Sinophone studies, this article presents a relatively inclusive view of Chang’s self-translation by contrasting her practices in the 1940s with that of the post-1950s, examining the changing Skopos that dictates how she conducted and metamorphosized her self-translations and the paradoxical relationship between her writings and her self-translations. In today’s heterotopic world where cultures converge, intersect, and interact in a multitude of ways and places, Chang’s self-translation and rewriting presents less as a study of the schizophrenically divided world but more as a study of metamorphosis, transition, and hybridity across borders
Role of the Postcolonial Translator: Meditations upon the Translation of “The Management of Grief”
No full textThis essay consists of a meditation upon the emotions, affects and ethical compromises which surround the translation of texts as complex and delicate as Bharati Mukherjee’s short story “The Management of Grief”. This well-known piece of fiction offers a very painful account of how the families of the victims of the Air India Flight 182 attack in 1985 managed to survive the enormous grief of losing their loved ones in such abrupt, violent and unjust manner. The essay author, who decided to translate this story into Spanish so that it could be enjoyed by a wider readership, shares her thoughts regarding the demands of such painful yet necessary task. The whole area of Postcolonial Studies, where she develops her scholarly career, is unfortunately rife with such testing moments, and she wonders about the convenience or even the pertinence of such scholarly/textual interventions
A Language of Grief and Body in Translation: Maria Negroni’s The Annunciation
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Argentina’s 1976-1983 military dictatorship was, in the words of scholar Marguerite Feitlowitz, "an intensely verbal takeover" (Feitlowitz 22). The language of the military junta was one that spun an illusion of reality out of abstractions and absolutes, while in fact, it cloaked real events to produce a culture of denial. I discuss my translation of María Negroni’s lyric novel about The Dirty War, The Annunciation, which enters the dysfunctional language of dictatorship as a site of poetic play. Negroni dramatizes how this language prohibits, above all else, grief. Specifically, it deploys a language of melancholy as a radical gesture in a linguistic-political context where the body, and the embodied, have disappeared. Drawing from passages in my translation I highlight translation as it participates in problems of loss, silence, and absence, and ultimately, as it performs the recuperative work of mourning.
 
Register in Samuel Beckett’s Writings in English and French: : Vocabulary, Punctuation, and Grammar
No full textAbstract
Samuel Beckett, the Irish author and playwright was born in 1906 in County Dublin, Ireland and died in 1989, in Paris, France. From 1929 to 1989, Beckett wrote letters through which his life is depicted. His letters were published in the form of four volumes entitled as follows: volume I: 1929-1940 (published in 2009), volume II: 1941-1956 (published in 2011), volume III: 1957-1965 (published in 2014), and lastly, volume IV: 1966-1989 (published in 2016). These letters were later translated in French by the publishing house of Gallimard between 2014 and 2018. Within a morpho-semantic framework of analysis, one may wonder to what extent there exists stylistic affinities between his letters and his famous tragicomedy entitled Waiting for Godot (published in 1952). In other terms, are there constant, and/or shared stylistic units? To what extent has the register been changed from his letters to his play? How may the vocabulary, punctuation, and grammar differ from the English version of Waiting for Godot to the French version? Do these stylistic changes from English to French affect the notions of 20th-century man in the society in France?
By drawing on certain theories of theoreticians in linguistics and translation studies such as Brian T. Fitch, Anthony Uhlmann, and Saeid Rahipour, this research seeks to present a linguistic and translation analysis of Beckett’s register in his four volumes of letters and English, and French versions of his play Waiting for Godot. Hence, this study aims to investigate the extent to which the Irish writer’s register has been differentiated in the corpus under study by the passage of time to suit the stylistic norms of 20th century in France and England
