By Sherry Simon
Gender in Translation is a broad-ranging, resourceful and vigorous examine feminist concerns surrounding translation stories. scholars and lecturers of translation reports, linguistics, gender reports and women's stories will locate this unparalleled paintings necessary and thought-provoking examining. Sherry Simon argues that translation of feminist texts - so that it will selling feminist views - is a cultural intervention, trying to create new cultural meanings and produce approximately social swap. She takes a detailed examine particular concerns which come with: the background of feminist theories of language and translation stories; linguistic concerns, together with a severe exam of the paintings of Luce Irigaray; a glance at ladies translators via heritage, from the Renaissance to the 20th century; feminist translations of the Bible; an research of the ways that French feminist texts equivalent to De Beauvoir's the second one intercourse were translated into English.
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Additional resources for Gender in Translation: Cultural Identity and the Politics of Transmission (Translation Studies (Routledge))
1995:64). Were Harwood’s translations affected by the different subject positions which she has adopted? Certainly they were. Especially as she takes on the writing of self-consciously transgressive feminist writers, Harwood feels increasingly authorized (or, in her vocabulary, autherized) to valorize the signs of the feminine in the translated text–even if this involves some infractions to normative grammar. INTERNATIONAL COMMUNITIES It is a feature of contemporary feminist literary transmission that increased attention is being given to the politics of translation.
From the opposite sides of the track, we met through rock & roll/the american dream, we are the pepsi generation, wired for sound and vision, we are the white niggers of america, rock is our culture, elvis, jerry lee, eddy, hank, gene, roy, johnny, black roots/red-hot rhythm, stopped anapestic: magnetic, marginal, subversive, rebel music, urban guerilla music. historically, we ARE that. (de Lotbinière-Harwood 1995:57) Harwood’s total identification with Francoeur and with the nationalist rebellion against the imperialism of the English language is superbly described in the poetic introduction she provides for Neons in the Night (Francoeur 1981).
The editors of the volume show how these texts, though progressive in their time, are nourished by what we now recognize as Western condescension and by exoticizing forms of cultural imperialism. None of these women, in their political lives or in their fiction, argued for the total abolition of slavery, but only militated for the attenuation of the cruelty associated with it. Their texts use what we today consider derogatory epithets for describing foreign cultures. Is it sufficient, asks Massardier-Kenney, to acknowledge this distance in the preface, or should a recognition of the progressive nature of the text in its time become part of the texture of the translation(ibid.