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Jirí Levý's seminal work, The Art of Translation, considered a timeless classic in Translation Studies, is now available in English. Having drawn on adjacent disciplines, the methodology of Czech functional sociosemiotic structuralism and the state-of-the art in the West, Levý synthesized his findings and experience in the field presenting them in a reader-friendly book, which combines the approaches of a theoretician, systemic analyst, historian, critic, teacher, practitioner and populariser. Although focused on literary translation from theoretical, descriptive and historical perspectives, it presents a conceptualization of a general theory, addressing a number of issues discussed today. The 'practical' mission of the book as a theory extending to practice is based on the same historical-dialectic affinity of methods, norms, functions and values, accounting for the translator's agency and other contextual agents involved in the communication process. The book will be useful to translators, researchers, students and teachers in Translation and Literary Studies.
This book looks to expand the definition of translation in line with Susan Bassnett and David Johnston’s notion of the “outward turn”, applying this perspective to contemporary art to broaden the scope of how we understand translation in today’s global multisemiotic world. The book takes as its point of departure the idea that texts are comprised of not only words but other semiotic systems and therefore expanding our notions of both language and translation can better equip us to translate stories told via non-traditional means in novel ways. While the “outward turn” has been analyzed in literature, Vidal directs this spotlight to contemporary art, a field which has already engaged in disciplinary connections with Translation Studies. The volume highlights how the unpacking of such connections between disciplines encourages engagement with contemporary social issues, around identity, power, migration, and globalization, and in turn, new ways of thinking and bringing about wider cultural change. This innovative book will be of interest to scholars in translation studies and contemporary art.
Drawing from more than two hundred examples representing twenty-two languages of wide genetic and typological variety, the author guides the reader through a broad collection of situations encountered in the analysis and practice of translation. This enterprise gains structure and rigor from the methods and findings of contemporary linguistic theory, while realism and relevance are served by the choice of "naturalistic" examples from published translations. Coverage draws from a variety of genres and text-types (literary works, the Bible, newspaper articles, legal and philosophical writings, for examples), and addresses a thorough selection of structural-functional aspects. These range from discrepancies between source and target languages in sentence construction, to dfiferences between source and target poetic traditions with respect to meter and rhyme.
Part-essay and part-memoir, 'This Little Art' is a manifesto for the practice of literary translation.
Performing Without a Stage is a lively and comprehensive introduction to the art of literary translation for readers of foreign fiction and poetry who wonder what it takes to translate, how the art of literary translation has changed over the centuries, what problems translators face in bringing foreign works into English and how they go about solving these problems. This book will also be of interest to translators, writers, editors, critics, and literature students, dealing as it does, often controversially, with such matters as the translator's fidelity to the author, the publishing and reviewing of translations, the nearly nonexistent public image of the stageless translator, and the value for writers and scholars of studying and practicing translation.
"When outcasts b and Rang's friendship ends they are completely alone until a mysterious man, Book, introduces them to the part of town where lunatics live--the End."--
In Some Kind of Beautiful Signal, the widely lauded Two Lines World Writing in Translation series continues its 17-year history of bringing readers essential international voices unavailable anywhere else. Edited by National Book Critics Circle Award-winner Natasha Wimmer and acclaimed poet Jeffrey Yang, this volume delivers dozens of poets and fiction writers working in 18 distinct languages, each representing a unique voice and perspective. The collection is headlined by poetry from China's Uyghur ethnic minority. Though thousands of years old and incredibly diverse, Uyghur culture is increasingly threatened by geographic isolation and political oppression. Here, Westerners have a rare chance to hear from this culture in its own words. Also included in this anthology is a broad selection of vital voices: an excerpt from Lydia Davis's new translation of Gustave Flaubert's seminal Madame Bovary; a taste of a never-before-seen essay by Roberto Bolano, translated by Natasha Wimmer; and Susanna Fied's newest translations of poems by Danish master Inger Christensen. From Zapotec to Indonesian, Hindi to Portuguese, this testament to the expanse of voices in the world shows readers how universal the themes and struggles of humanity really are.
'NDiaye is a hypnotic storyteller with an unflinching understanding of the rock-bottom reality of most people's life.' New York Times ' One of France's most exciting prose stylists.' The Guardian. Obsessed by her encounters with the mysterious green women, and haunted by the Garonne River, a nameless narrator seeks them out in La Roele, Paris, Marseille, and Ouagadougou. Each encounter reveals different aspects of the women; real or imagined, dead or alive, seductive or suicidal, driving the narrator deeper into her obsession, in this unsettling exploration of identity, memory and paranoia. Self Portrait in Green is the multi-prize winning, Marie NDiaye's brilliant subversion of the memoir. Written in diary entries, with lyrical prose and dreamlike imagery, we start with and return to the river, which mirrors the narrative by posing more questions than it answers.