The new issue of the Spanish translation journal Quaderns.Revista de traducció (number 16) focuses on self-translation. Here is an overview about the articles relating to our subject:
Dossier. L’autotraducció
p. 107-122 Helena Tanqueiro, Patricia López L.-Gay, Francesc Parcerisas
(Universitat Autònoma de Barcelona. Facultat de Traducció i d’Interpretació): Translating, self-translating, being translated. A lecture series on literary translation at NYU in Paris.
p. 123-134 Rainier Grutman (Universitat d’Ottawa. Facultat d’Art. Escola de Traducció i d’Interpretació) : La autotraducción en la galaxia de las lenguas.
p. 135-142 Valentina Mercuri (Universitat Autònoma de Barcelona. Facultat de Traducció i d’Interpretació): Autotraducción, libertad de autor y mediación cultural: El caso del italiano Carlo Coccioli.
p. 143-156 Xosé Manuel Dasilva (Universidade de Vigo. Facultade de Filoloxía e Traducción) Autotraducirse en Galicia: ¿bilingüismo o diglosia?
p. 157-164 Patricia López López-Gay (Universitat Autònoma de Barcelona. Facultat de Traducció i d’Interpretació - New York University) Conversación con Jorge Semprún. Sobre autotraducción. De los recuerdos y sus formas de reescritura.
p. 165-168 Muguras Constantinescu (Universitatea «Stefan cel Mare» Suceava. Facultatea de Litere si Stiinte ale Comunicarii) Irina Mavrodin sur l’autotraduction.
The issue is not yet available online, but I hope this will change soon:
http://ddd.uab.es/record/40
Sunday, September 6, 2009
Saturday, September 5, 2009
New research on Nancy Huston
The recent grown interest in self-translation is also reflected by the publication of several articles and book contributions this year which discuss self-translation issues by Nancy Huston:
Brownlie, Siobhan (2009): Translation and the Fantastic: Nancy Huston's Instruments des ténèbres French Forum 34:1, Winter 2009, pp. 67-83
Chatzidimitriou, Ioanna (2009): Self-Translation as Minorization Process: Nancy Huston's Limbes/Limbo. In: SubStance 38:2 , pp. 22-42.
Shread, Carolyn (2009): Redefining Translation through Self-Translation: The Case of Nancy Huston. In: French Literature Series 36, pp. 51–61.
Sigrist, Ilona (2009): The Stakes of Self-Translation as Authorship in Nancy Huston’s Dolce Agonia and Instruments des ténèbres. In: A. Fidecaro, H. Partzsch, S. van Dijk et V. Cossy (éds.): Femmes écrivains à la croisée des langues, 1700-2000, pp.199-212.
Brownlie, Siobhan (2009): Translation and the Fantastic: Nancy Huston's Instruments des ténèbres French Forum 34:1, Winter 2009, pp. 67-83
Chatzidimitriou, Ioanna (2009): Self-Translation as Minorization Process: Nancy Huston's Limbes/Limbo. In: SubStance 38:2 , pp. 22-42.
Shread, Carolyn (2009): Redefining Translation through Self-Translation: The Case of Nancy Huston. In: French Literature Series 36, pp. 51–61.
Sigrist, Ilona (2009): The Stakes of Self-Translation as Authorship in Nancy Huston’s Dolce Agonia and Instruments des ténèbres. In: A. Fidecaro, H. Partzsch, S. van Dijk et V. Cossy (éds.): Femmes écrivains à la croisée des langues, 1700-2000, pp.199-212.
Thursday, September 3, 2009
Francesca Duranti
In a recently published article on the Italian writer Francesca Duranti, Rita Wilson analyzes how self-translation becomes an integral part of the creation process of her work. In the short presentation of previous works by Duranti, it becomes clear that literary translation is a main concern for the writer as it is also one of the main themes of her literary oeuvre.
The translation of Sogni mancini (1996) into his English version Left-handed Dreams (2000) was the first time Duranti chose to self-translate one of her works: "Duranti, the writer as translator, draws on her own experience as a migrant from one culture (Italian) to another (North American) to reflect on what it means to be ‘translated’ both geographically and textually." (p.191). Wilson considers Duranti to be a "semi-expatriate" (Wilson, p. 187), because she lives only part of the year in New York. "Living and writing between two different cultures" (p.188) such became an important stimulus for her literary work. Because of various elements of hypertextuality in her work, "each version of a novel enters into secret dialogue with the others." (p. 190) This is of course also the case with the two versions of Sogni mancini: "both versions function simultaneously as hypotext and hypertext. Neither can be pointed to as the original one, or they both can" (p. 190).
For further reading:
Wilson, Rita (2009): The Writer's Double. Translation, Writing, and Autobiography. In: Romance Studies 27:3, p. 186–198.
The translation of Sogni mancini (1996) into his English version Left-handed Dreams (2000) was the first time Duranti chose to self-translate one of her works: "Duranti, the writer as translator, draws on her own experience as a migrant from one culture (Italian) to another (North American) to reflect on what it means to be ‘translated’ both geographically and textually." (p.191). Wilson considers Duranti to be a "semi-expatriate" (Wilson, p. 187), because she lives only part of the year in New York. "Living and writing between two different cultures" (p.188) such became an important stimulus for her literary work. Because of various elements of hypertextuality in her work, "each version of a novel enters into secret dialogue with the others." (p. 190) This is of course also the case with the two versions of Sogni mancini: "both versions function simultaneously as hypotext and hypertext. Neither can be pointed to as the original one, or they both can" (p. 190).
For further reading:
Wilson, Rita (2009): The Writer's Double. Translation, Writing, and Autobiography. In: Romance Studies 27:3, p. 186–198.
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