Translation and the trials of the foreign

Berman, Antoine; Venuti, Lawrence

doi:10.4324/9780429280641-28

Cited by 26 publications

(27 citation statements)

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“…The few examples listed in the previous section show how the new version was carefully translated, and how much effort and research Cannarsi employed to produce the closest adaptation possiblebut then, the closest possible does not necessarily equal to the best in absolute terms. Antoine Berman (1985), for example, considers the practice of translating a vernacular language into another vernacular something that should be avoided, as:…”

Section: Principessa Mononoke: All That Glisters Is Not Goldmentioning

confidence: 99%

Can Faithfulness to the original text betray the target public? The adaptations of Mononokehime (Princess Mononoke) in Italy

Pizzuto¹

2022

Preprint

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Over the past few years audio-visual translation in ‘dubbing countries’ has been experiencing a significant shift from the traditional domesticating approach to a foreignizing approach that focuses more on faithfulness towards the source text rather than to the target readership. The Italian rendition of anime is a case in point: while appreciated by an increasing number of viewers, both serial and stand-alone anime, have either suffered a limited distribution or a highly homogenizing adaptation, in many cases through the employment of English as vehicular language. The first Italian dubbed version of the popular Studio Ghibli masterpiece Mononokehime (Princess Mononoke) (Miyazaki, 1996) is a clear example of the latter. The version distributed by Buena Vista International in 2000 as Princess Mononoke was adapted from the North American version, which included radical modifications aimed at providing a context with which the spectators would be more familiar. A second version, distributed by Lucky Red in 2014 under the title Principessa Mononoke, was re-adapted from the original Japanese script in order to improve fidelity to the original and was re-dubbed with a new voice cast. However, numerous viewers have criticized the unintelligibility of most of the dialogue. This article analyses the differences between the two versions and investigates whether the visibility of the translator can be seen as an obstacle for the understanding and enjoyment of films for the target viewership.

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Section: Principessa Mononoke: All That Glisters Is Not Goldmentioning

confidence: 99%

Can Faithfulness to the original text betray the target public? The adaptations of Mononokehime (Princess Mononoke) in Italy

Pizzuto¹

2022

Preprint

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“…The opposite of "domestication" is "foreignisation", namely, the highlighting of the linguistic and cultural differences of the original and thus bringing the reader closer to the country native to the writer through revealing its "exoticism" (Venuti, 2008). The term "foreign" with reference to the translated text is also a key category in the famous essay by Antoine Berman, "La traduction comme l' épreuve de l' étranger", published in 1985 (Berman, 2012). In line with this concept, translation itself is a deforming act, characterised by twelve tendencies, which he describes in detail.…”

Section: Author -Translator -Literary Genrementioning

confidence: 99%

The Paradigm of Finnish Reviews of "Without Dogma" by Henryk Sienkiewicz: Observations on the Issue of Intercultural Communication and the Functioning of Common Motifs of European Culture

Stępnik

2021

abs

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The Paradigm of Finnish Reviews of Without Dogma by Henryk Sienkiewicz: Observations on the Issue of Intercultural Communication and the Functioning of Common Motifs of European CultureThe translation of Henryk Sienkiewicz’s novel Without Dogma into Finnish, entitled Anielka (1913), generated considerable interest in the Finnish press, evidenced by as many as twelve reviews of the work. The article analyses these reviews, describes them in terms of a paradigm and presents their functioning on the book market. Taking into account cultural distance between Poles and Finns, the reviews are approached as a testimony to intercultural communication, which was enabled thanks to community – the paradigm of European culture and its common motifs, such as the mal du siècle or l’improductivite slave, the latter highlighted by Sienkiewicz and particularly interesting for Finnish reviewers. Cultural distance turns out to be a factor that reveals new aspects of interpretation of Without Dogma and, more broadly, the specificity of Finnish thinking about Poland. Paradygmat fińskich recenzji Bez dogmatu Henryka Sienkiewicza. Obserwacje dotyczące kwestii komunikacji międzykulturowej i funkcjonowania wspólnych motywów kultury europejskiejPrzekład powieści Henryka Sienkiewicza Bez dogmatu na język fiński pod tytułem Anielka (1913) spotkał się z widocznym zainteresowaniem prasy fińskiej, czego poświadczeniem jest aż 12 recenzji tego dzieła. Przedmiotem zainteresowania autora artykułu są te właśnie recenzje, które poddał analizie i opisał w ramach paradygmatu oraz przedstawił ich funkcjonowanie na rynku księgarskim. Biorąc pod uwagę odległość kulturową Polaków i Finów, autor opracowania potraktował te recenzje jako świadectwo komunikowania międzykulturowego, umożliwionego przez wspólnotę, jaką stanowi paradygmat kultury europejskiej i jego obiegowe motywy, jak motyw choroby wieku czy wyeksponowany przez Sienkiewicza motyw l’improductivite slave, szczególnie interesujący dla recenzentów fińskich. Odległość kulturowa okazała się czynnikiem odsłaniającym nowe aspekty interpretacji Bez dogmatu i – szerzej – specyfikę fińskiego myślenia o Polsce.

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“…Translation and Loss-Aversion universals of deformation inherent in translating" (Berman, 2000(Berman, [1985, p. 296) and are strongly imbued with the idea of destruction and loss. 5 Moreover scholarly materials dealing with the status of translated literature as well as specific resources produced for teaching literary texts translated into English contain discussions where the asym metry between source and target languages and cultures is foregrounded and provide a long list of what is lost in translation.…”

Section: Lost-in-translation Talkmentioning

confidence: 99%

“…The loss rhetoric 5. Berman (2000Berman ( [1985) speaks in terms of "lexical loss", "the destruction of rhythms", "the destruction of linguistic patterning", "the effacement of the superimposition of languages", etc. reveals in fact the extent to which equivalence-as a central defining concept in translation-is far from dead and actually intensely present.…”

Section: Lost-in-translation Talkmentioning

confidence: 99%

Translation and Loss-Aversion1

Goldfajn

2020

ttr

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This paper is about the inflation of loss talk in a certain discourse on translation and how translation is often presented as a disaster or even an emblem of what is always missing. My guiding questions will be: Why has the notion of loss become such a dominant concept when talking about translation? Where does this rhetoric of loss-in translators' reflections, in translation reviews as well as in scholarly material of theoreticians-come from? What are some of the assumptions that underlie this loss discourse on translation products? Can we go beyond a descriptive perspective of the phenomenon and try to come up with a few explanations for this loss talk on translation? I shall furthermore explore the concept of loss-aversion from economics and decision theory (Kahneman, 2011), and argue that loss-aversion may help us to better understand how the notion of loss, and more generally the gain-loss equation, operate in the field of translation. Finally looking at translation discourse through the losingglass, I will briefly discuss a few "unlosables" from the field of biblical Hebrew translation.

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Translation and the trials of the foreign

Cited by 26 publications

References 0 publications

Can Faithfulness to the original text betray the target public? The adaptations of Mononokehime (Princess Mononoke) in Italy

Can Faithfulness to the original text betray the target public? The adaptations of Mononokehime (Princess Mononoke) in Italy

The Paradigm of Finnish Reviews of "Without Dogma" by Henryk Sienkiewicz: Observations on the Issue of Intercultural Communication and the Functioning of Common Motifs of European Culture

Translation and Loss-Aversion1

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