From 19th Century Femininity in Literature to 20th Century Feminism on Film: Discourse Translation and Adaptation
(Sprache: Englisch)
Aiming at both identifying the representation of femininity as a social construct and analysing the way in which it can be translated into film adaptations of novels, this work focuses on the interpretations of a famous and, at the same time, problematic...
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Aiming at both identifying the representation of femininity as a social construct and analysing the way in which it can be translated into film adaptations of novels, this work focuses on the interpretations of a famous and, at the same time, problematic literary work, namely the 1994 film Little Women (dir. Gillian Armstrong), reworking the classic nineteenth-century American best-seller "Little Women" by Louisa May Alcott. In particular, drawing on the critical apparatus of feminism(s), the paper lays emphasis on the way in which the metafictional texture of the novel captures instances of reality into fiction, glimpses of autobiography and, of course, femininity at the level of the filmic text. Such aspects are then considered from the perspective of adaptation and translation theories: contrasting the literary translation with the audio-visual one, the undertaking means to highlight the losses in the latter mode of expression and the extent to which the defining elements aforementioned are preserved in the Romanian language.
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Text Sample:Chapter 1.2.,Views on translation: from equivalence to skopos theory in translating literary texts:
Equivalence may be defined as a relationship of overlapping identification between the ST and the TT, presupposing, as Mona Baker (1992) observed, four levels: the word level, the grammatical level, the textual level, and the pragmatic level.
The first approaches to equivalence, e.g., that of Catford (1965) were more preoccupied with the textual interchangeability and completely dismissed the cultural, contextual and textual factors. From among the early translation theorists, it was Eugene Nida who made a major step ahead in defining equivalence. He identified two types of equivalence: formal and dynamic. Formal equivalence focuses on the message itself, in both form and content. The primary aim is that of conveying the message in the TL following all elements of the SL as closely as possible. Thus, formal equivalence is mainly oriented towards the ST structure, which strongly influences both accuracy and adequacy. Dynamic equivalence is based upon what Nida defines as the equivalent effect, in which the relationship between the message and its receiver must be essentially similar to that between the message and its initial receivers. The purpose of dynamic equivalence is that of identifying the closest and most natural equivalent in the TL. It is an approach oriented towards the receiver, which presupposes adaptations in terms of grammar, lexis and cultural references, in order to acquire naturalness.
Frequently, the form of the original text is changed; but as long as the change follows the rules of back transformation in the source language, of contextual consistency in the transfer, and of transformation in the receptor language, the message is preserved and the translation is faithful (Nida and Taber 1982:200).
The factors to be considered in acquiring an adequate and natural translation in Nida and Taber's view are: the translator must aim
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primarily at reproducing the message, with grammatical and lexical adjustments; the translator must strive for equivalence rather than for identity (i.e., reproduction of the message rather than the conservation of the form of utterance); the best translation does not sound like a translation; a conscientious translator will seek for the closest equivalent; meaning must be given priority; though secondary to content, style is also important. One should not translate poetry as if it were prose, nor expository texts as narratives (1982: 12).
Equivalence at the discourse level is a problematic issue in the field of translation studies. There are three reasons why an exact effect is difficult to attain. As Hervey, Higgins and Haywood (1995: 14) have asserted, a text can have variable interpretations even for the same person on two different occasions; translation is a matter of subjective interpretation of translators of the ST, and translators cannot determine how audiences responded to the source text when it was first produced. This aspect has led to the development of new theories that find their applicative use in literary translation and that have the merit of encompassing 'the bigger picture'.
One of the more recent theories is that of skopos, outlined in 1984 by the German theorists of translation studies Hans Vermeer and Katharina Reiss. In their view, the purpose of the text imposes the strategies and methods used in translation. They consider that communicative or instrumental translation is oriented towards the target culture, using its conventions and idioms. The text function typically remains unchanged and the text is not immediately recognised as a translation (Snell-Hornby (2006: 52-53). The translation of literary texts needs prior investigation primarily with respect to the cultural, social and historical contexts of the source -text, but one cannot omit the same features for the target text.
It is important to note that the translator performs more t
Equivalence at the discourse level is a problematic issue in the field of translation studies. There are three reasons why an exact effect is difficult to attain. As Hervey, Higgins and Haywood (1995: 14) have asserted, a text can have variable interpretations even for the same person on two different occasions; translation is a matter of subjective interpretation of translators of the ST, and translators cannot determine how audiences responded to the source text when it was first produced. This aspect has led to the development of new theories that find their applicative use in literary translation and that have the merit of encompassing 'the bigger picture'.
One of the more recent theories is that of skopos, outlined in 1984 by the German theorists of translation studies Hans Vermeer and Katharina Reiss. In their view, the purpose of the text imposes the strategies and methods used in translation. They consider that communicative or instrumental translation is oriented towards the target culture, using its conventions and idioms. The text function typically remains unchanged and the text is not immediately recognised as a translation (Snell-Hornby (2006: 52-53). The translation of literary texts needs prior investigation primarily with respect to the cultural, social and historical contexts of the source -text, but one cannot omit the same features for the target text.
It is important to note that the translator performs more t
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Autoren-Porträt von Oana-Celia Gheorghiu
Oana-Celia Gheorghiu is a literary translator who has translated and published works of Jane Austen, Louisa May Alcott, Maude Parkinson, John Wray, Michael Morpurgo or Tom Rob Smith into Romanian. She is currently completing her PhD studies in English and American Literature with a thesis on political and media discourse in Anglo-American post-9/11 fiction. She has also published many scientific articles and a book on film adaptation, "William Shakespeare's 'Macbeth' on Film: From Interpretation to Revision (2015).
Bibliographische Angaben
- Autor: Oana-Celia Gheorghiu
- 2015, Erstauflage, 256 Seiten, Masse: 15,5 x 22 cm, Kartoniert (TB), Englisch
- Verlag: Anchor Academic Publishing
- ISBN-10: 3954894602
- ISBN-13: 9783954894604
Sprache:
Englisch
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