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Translation Right or Wrong - Abstracts of FRIDAY papers

TRINITY COLLEGE DUBLIN, FRIDAY 6th & SATURDAY 7th MARCH 2009
Organizers: The Trinity College Dublin Translation Studies Group
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FRIDAY 6 MARCH 2009

Ireland, Translation, Literature 1 - 3.30 pm, Room 3027

Debora Biancheri, NUI Galway d.biancheri2@nuigalway.ie
Mediating the Táin to an Italian audience

The paper gives an account of the translation strategies employed by Melita Cataldi for La Grande Razzia , the Italian translation of the Táin Bó Cuailnge published by Adelphi in1996. Cataldi was the first person to translate the complete Irish original text into Italian. My primary object is to analyse and explore the procedure entailed in presenting such a tale to a foreign audience (probably without any or little knowledge of the whole Irish epic tradition). The instances of 'mediation' in her work will be discussed both at the level of premises governing the translation, and at the level of minute textual choices. The introduction and the footnotes to the edition will be addressed, and subsequently linked to practical examples emerging in the main body of the translation. Aspects such as the structure, the language and the style of the Italian translation will be taken into consideration. These will be contrasted with Thomas Kinsella's English translation The Táin , in order to emphasise the necessary differences between a translation that intends to make the great Irish epic available to a foreign audience, and a translation dictated by a language shift within a national cultural context in post-colonial Ireland. The juxtaposition between the Italian and the Irish context serves to illustrate how the exigencies of the target audience contribute to shape the final outcome of a text. At the same time the outsider's look informing Cataldi's work will be examined as a possible vantage point, since, devoid of any preconceptions, she is able to experience, and therefore present the text, not as something necessarily calling for a ‘national role', but more simply as a great epic story demanding an emotional response. Arguably, the most original contribution of her approach is precisely to have cast a new delicate light on Cú Chulainn, a hero who emerges from her pages as unusually human and compassionate.

Peter Flynn: Lessius University College peter.flynn@lessius.eu
Truth to Genre: the case of Dutch-speaking Translators of Irish Poems

The purpose of this paper is to examine the notion of ‘truth to genre' by drawing on findings gleaned from ethnographic research into the practices of Dutch-speaking literary translators of Irish literature, more particularly Irish poetry, working in the Netherlands and Flanders. While not ignoring poetry as a genre as such, the term genre is understood here in more general sense as ‘an expressive resource' (Bauman in Duranti and Goodwin 1992:127) that extends beyond sets of discourse features to include ‘orienting frameworks, interpretive procedures, and sets of expectations' (Hanks, 1987:670). Next to the identification of discourse features, such frameworks, etc. all form part of the process of meaning making in a given genre and hence have a direct impact on translational practices. It is argued that truth to genre can be better understood by also inquiring into the various perceptions, including those of genre, brought into play by translators in their translational practice. Such perceptions are tacitly acknowledged in functional approaches to literary translation, as Nord's notion of instrumental homologous translation illustrates (Nord 1997:50-52), a translation in which ‘ a homologous, degree of originality' is required or expected. The research findings suggest that this ‘degree of originality' stems not only from the translator's awareness of a literary work's worth in the source language and culture but also from how it ‘should' sound or read in the target culture or language. In translational terms, truth to genre, therefore, encompasses genre perceptions or standards in both source and target cultures.

Susanne Ghassempur, DCU susanne.ghassempur@dcu.ie
How Roddy Doyle's The Commitments Lost Their Soul in German: A Descriptive-Explanatory Study of the Translation of ‘Jesus' in the Two German Versions

Doyle's The Commitments (first translated in 1990 and re-translated in 2001) is written in a working-class Irish sociolect, which is characterised by an extensive use of swearing. The language used by the characters mainly serves to assert their identity and solidarity in an underprivileged Dublin working-class community. Speakers of the Dublin working-class vernacular repeat expletives to the point of desensitisation. This seems to happen very often in colonial contexts where the indigenous population incorporates extensive swearing in the language that is foisted upon them to distinguish themselves from the colonial rulers. The significant differences in swearing behaviour between Irish English and German pose potential problems for translators of literature.
This paper takes a descriptive-explanatory approach to the translation of swearing in the two German translations of The Commitments with a particular focus on the word shit . The swearwords have been categorised according to their three main functions in the novel: catharsis, aggression and social connection. By establishing the functions of the expletives in the source text and comparing them with the two translations I draw conclusions about how two different translators deal with expletives in the dialogue of an Irish-English literary work and detail the results of their decisions. I also seek to provide explanations as to why certain strategies were adopted by the two translators.
My hypothesis is that the first translator had a more source-text oriented approach compared to the second translator when translating swearwords in the novel. The first translator did not consider the functions of expletives in Irish-English colloquial speech, which led to the production of a German text that sounds shocking and very obscene and was therefore not very well received in German-speaking countries. This eventually led to the German publisher's decision to have the novel retranslated.

Ireland, Translation, Literature 2 - 5.00 pm, Room 3027

M. Ángeles Conde Parrilla: Universidad Pablo de Olavide macondep@upo.es
Joyce's Voices: Geography And Heteroglossia In Translation

James Joyce's works disrupt the linguistic expectations of the reader through use of non-standard varieties and other forms of deviation from the norm, thus presenting a multifaceted, all-encompassing and hybrid place: Ireland. Closely associated with political coercion and cultural hegemony, the ‘authoritative word' of standard English is challenged by the hybrid dialect of the Irish in a dialogical tension that is truly essential to the understanding of Joyce's texts. The presence of such voices is, therefore, central to the reader's perception of Joyce as an Irish writer immersed in and concerned with the historical and cultural milieu of his country at the turn of the twentieth century.
However, if literary language is the message as well as the medium, how can literary translators re-create such texts? How can they expose their target audience to the alterity of the source text and culture in a different language? The aim of the proposed paper is to analyse the various strategies that can be employed by translators in the recreation of the original heteroglossia and the attendant polyphonic interaction between the voices of the narrator, characters, other texts, and social and ideological discourses.

Giulia Totò : University of Edinburgh to.giulia@gmail.com
Translating and retranslating stream-of-consciousness narrative techniques from English into Italian: the case study of Joyce's Ulysses and A Portrait of the Artist as a Young Man.

In my paper I will examine the narrative techniques and linguistic devices specific to translating stream-of-consciousness fiction from English into Italian, as well as its acceptability as it is determined by cultural and social factors in the Italian context. The revolutionary techniques employed in the stream-of-consciousness novels to depict the flux of the characters' inner lives make enormous demands on translators. Not only must they face the challenge of deal ing with stream-of-consciousness writing linguistically and stylistically; they are also bound to the socio-cultural constraints (norms) that to a large extent determine the acceptability of this new literary trend ‘imported' in to the Italian literary system, which practically has an impact on translation strategies. On the basis of these assumptions, I will select relevant passages from Joyce's A Portrait of the Artist as a Young Man (1916) and Ulysses (1922) in the original English, and their Italian translations and retranslations published in Italy from 1933 to 1995. I will first map out the linguistic features (repetitions, verbs of perception) embedded in the different types of stream-of-consciousness techniques (interior monologue, free indirect speech) employed in the source texts . By compar ing the source texts with the target texts in terms of the detected linguistic feature s, I will then identify whether and to what extent the translation strategies employed have conveyed the function of the stream-of-consciousness works to the target texts. By so doing, I will investigate how the literary norms in the specific social and historical contexts work for the acceptance of stream-of-consciousness fiction at a given point in time. The study of retranslations will also allow me to look at the different translation strategies employed in the various translations across the time span. This diachronic analysis will allow me to examine how the different norm systems affect the way the stream-of-consciousness texts are translated, and influence the acceptability of both narrative techniques and linguistic devices that have survived and been adapted in the Italian context.

Anne Markey: TCD amarkey@tcd.ie
The rights and wrongs of translating Patrick Pearse

Patrick Henry Pearse (1879-1916) is chiefly remembered today as a political activist who was executed for his leading role in the abortive Easter Rising that took place in Dublin in 1916. Because of this, it is easy to forget that he was a cultural nationalist, dedicated to the revival of the Irish language and the rejuvenation of Irish-language literature, for decades before he became involved in the armed struggle for Irish sovereignty. At the age of sixteen, he joined the Gaelic League, the organisation founded in 1893 for the purpose of keeping the Irish language alive at a time when it was in rapid decline. A s editor of An Claidheamh Soluis , the League's bi-lingual journal, Pe arse argued in 1907 that ‘literature which is in Irish is Irish literature; literature which is not in Irish is not Irish literature'.
Eager to demonstrate the primacy and possibilities of Irish-language writing, Pearse set about writing prose fiction himself. In 1907, the Gaelic League published Íosagán agus Sgéalta Eile , a collection of four Irish-language short stores written by Pearse, which met with a mixed critical reception. In 1916, Dundalgan Press published his second collection of Irish-language fiction, An Mháthair agus sgéalta eile , containing a further six short stories. Following the Rising and Pearse's subsequent execution, Dundalgan Press published The Mother and other Tales , by P. H. Pearse; done into English by Rev. T. A. Fitzgerald, a volume which contained translations of five of Pearse's later stories. The following year, in 1917, the Dublin firm of Maunsell published Joseph Campbell's translations of all ten of Pearse's short stories, as part of the Collected Works of Padraic H. Pearse , in the volume entitled Plays, Stories, Poems.
Because language is never opaque, no translation is ever an exact replica of the original and not two translations are ever the same. My paper will compare and contrast the two translations of Pearse's work, highlighting some significant differences in idiom, accuracy, and tone. Both appeared in the aftermath of Pearse's execution and both intended to bring the work of a man who was increasingly seen as an heroic figure to a wider, English-speaking audience who had not access to the original Irish-language stories. Nevertheless, these English-language translations undermined Pearse's attempt to create a modern prose literature in the Irish language so they raise questions about the ethical and political dimensions of translation, and I. will address these issues in some detail. Finally, I will argue that the choices made by Campbell and Fitzgerald provide significant insights not only into the complexities of the particular historical moment during which their versions of Pearse's stories emerged but also into the charged cultural practice of translation itself.

Judging Translation 1 - 3.30 pm, Room 4053

Annjo Klungervik Greenall: Norwegian University of Science and Technology annjo.k.greenall@hf.ntnu.no
The knowledgeable audience as critic: an empirical study of folk perceptions of good and bad translation in subtitles

Often when translations are studied, the tacit assumption seems to be that recipients of translations are generally not proficient in the source language, and hence that he or she is at the mercy of the translator and his or her translation. History shows that this is not necessarily the only typical situation: in ancient Rome, for instance, the educated reader was able to read texts in the most common source language (Greek) and to ‘consider the translation as a metatext in relation to the original' (Bassnett 2002:50). Today, we are witnessing a similar phenomenon of overwhelming proportions: when it comes to translations from English into almost any target language, translators have to contend not only with the task of translating in itself, but also with an audience increasingly confident in the source language. I say ‘contend with', because the audience's confidence in the source language seems to be accompanied by a growing confidence in themselves as translation critics: both on the Net and elsewhere, published lists of translation ‘errors' can be found that are designed to (humiliate members of the translation profession? and) amuse co-sufferers of ‘bad' translations. This critical tendency becomes most obvious when it comes to subtitling, since audiovisual media present a situation where source and target texts are co-present and hence easily available for simultaneous observation. The focus of this paper is precisely folk perception of ‘good' and ‘bad' translations in subtitles, and how these may inform our knowledge of what norms govern the reception , as opposed to the production , of translations in general, and subtitles in particular. The study is relatively small-scale; 10 native speakers of Norwegian are asked to pass judgment on the Norwegian translation of selected segments of the film The Commitments (1991). The subjects are simply asked to identify instances of good and bad translation in the subtitles, and in case of the latter, they are asked to supply an alternative translation. The expected diversity of the answers in the final category will serve as a reminder of the fact that all utterances harbour a multitude of meaning potentials, and that translation, for better or for worse, consists in the selection of one (or a set) of these potentials (i.e. an interpretation), bringing it into contact with the possibilities for expressing these potentials in the target language and culture.

Paule Salerno-O'Shea: TCD psalerno@tcd.ie
‘Where did I go wrong?': a case study approach.

The aim of this paper is to share the experience of assessing translation samples (English into French) within the framework of the translation grant programme set up by the Ireland Literature Exchange (ILE).
This paper will adopt a case study approach, illustrated with many examples. It will highlight the pitfalls which even experienced translators may encounter.
The paper will address the question which students and translators might ask: ‘Where did I go wrong?' by focusing both on the evaluation criteria proposed by the ILE and on reports produced for the translation of various novels, ( Redemption Falls , Track and Field, The Vanishing Act of Esme Lennox, Grace and Truth.
It is hoped that identifying problems in ‘real life' (i.e. not in academic settings) translation products and suggesting solutions will be beneficial to students and teachers of translation. An awareness of such difficulties might indeed serve to redirect or intensify teacher and student's efforts in relevant areas during academic exercises.

Elisabeth Gibbels: Humboldt-Universität Berlin elisabeth.gibbels@rz.hu-berlin.de
Wrong for ever and ever?

‘Awful, this translation!' This exclamation is very common whenever new translations of famous books appear. In spite of the lack of clearly defined criteria in the theory, the reading public, the critics and the publishers seem to agree easily in their sets of standards of what is right or wrong. A recent example in Germany was the ‘bible in fair language' (Bibel in gerechter Sprache, 2007), which created an outcry and was generally dismissed by the feuilleton as ‘sacrificing accuracy for political correctness'. However, more than 40 experts, including theologians, feminists and historians, had worked on it.
The paper will look at famous mistranslations in film, science, literature and religion and investigate why they persist or are even preferred. Examples include Freud, de Beauvoir, Shakespeare and Casablanca. The paper will use the concept of Cultural Texts as suggested by Assmann to examine how translations develop a life of their own in their host cultures, which texts tend to be most resistant to re-translation and why the academically correct version may not be the one a culture finds ‘right'.

Judging Translation 2 - 5.00 pm, Room 4053

Francesca Savoia: University of Pittsburgh savoia+@pitt.edu
Theatre, poetry and the genius of language: Giuseppe Baretti's translation of Racine's Andromaque

Unable to secure employment in his own country, Baretti, a native of Turin, left Italy in 1751, and went to live in London. There he worked as an Italian teacher and consultant, and was probably briefly employed as a poet librettist by the King's Theatre. He also became acquainted with Samuel Johnson and other eminent figures of the literary and cultural circles of that time and engaged in a feverish editorial activity which continued until his death in the British capital in 1789. Both during his first years in London, as well as later upon his definitive return to England after a five-year hiatus, Baretti kept the journal that is the object of my study, a sort of personal scrapbook, which he filled with items of various kinds (quotes from plays, novels, essays and newspaper articles; letters, poems, proverbs, mottos and sayings, prayers, and lyrics from ballads and popular songs etc.). The first part of this 270-page Commonplace Book contains Baretti's translation/adaptation of the first two acts of Racine's tragedy Andromaque . This translation has been only cursorily examined by Alan McKenzie and Franco Fido (who have written each a couple of articles about Baretti's commonplace book in the 1970s and 1980s), and no portion of it has been viewed and/or discussed even by scholars who have concerned themselves with Baretti's 1747-48 translation of Corneille's tragedies and, more in general, with the debate over literal vs. paraphrastic translation in the 18 th century.
This paper illustrates the major features of this partial translation, and investigates the factors which may have given rise to Baretti's selection of Andromaque for this experiment, which he conducted in ottava rima . Among them are his recognition of the many shortcomings of his translation of Corneille's tragedies; in particular his regret for having used Italian blank verse; his literary approach to theatre, as a reader and a publisher rather than as a spectator; his saturation in the Italian tradition in literature and opera; his activity as a linguist, lexicographer, language teacher and language learner, which made him consider the interrelationship of translation and language above all.

Catherine O' Brien: NUI Galway catherine.obrien@nuigalway.ie
Translating poetry from Italian into English: choices, decisions, solutions, errors.

This paper examines the objectives of literary translation and the translation of poetry in particular. It focuses on English translations based on the work of poets such as Margherita Guidacci, Mario Luzi, Giovanni Giudici, Paolo Bertolani, Massimo Morasso, Francesco Macciò and Lucetta Frisa, and attempts to highlight the different problems faced by translators and the solutions arrived at in English translation.

Alberto Fuertes: Universidad de León alberto.fuertes@unileon.es
Judging Translation: in Search of Plagiarism

In Translation Quality Assessment, anchor phenomena (grammatical resources which appear to be cross-linguistically equivalent but in fact convey partially divergent meanings, e.g., progressive forms in English and Spanish) are particularly useful indicators of the degree of success in cross-linguistic transfer. This paper sets out to explore the suitability of using anchor phenomena for applied purposes other than translation quality assessment, i.e., the detection of plagiarism. The transfer of the meaning of grammatical resources from one language into another can prompt a multiplicity of translation solutions for expressing the meaning conveyed in the source text. Some of these solutions are less used than others, some are not used at all, and this can result in inappropriate or unacceptable target language use. Studies conducted in Spain show that contemporary Spanish translators have often resorted to previous translations of a given source text in English as a way of ‘rendering' their texts. To date little has been published on the subject, although more and more attention is being paid to this phenomenon in the fields of Translation Studies and Forensic Linguistics. This growing interest is leading to the development of a number of tools which can help linguists determine whether or not a given translation has been produced as a result of plagiarism. This paper provides an outline of plagiarism detection in English-Spanish translations, and shows how, by taking into account identities in the choice of translation solutions for the rendering of cross-linguistically problematic areas, anchor phenomena can be used to illustrate evidence of plagiarism.

Politics and Censorship 1 - 3.30 pm, Room 5039

Simone Schroth: UCD Simone.Schroth@ucd.ie
Editing Germany's Nazi Past in German Translations of Anne Frank's Het Achterhuis and Daniel Jonah Goldhagen's Hitler's Willing Executioners

At first sight, the choice of source texts for this paper might seem arbitrary as Anne Frank's writings about life in hiding and Daniel Jonah Goldhagen's analysis of potential motives behind the atrocities committed by Germans under the Nazi regime belong to different periods as well as genres. However, both texts have been the subject of controversial debates in Germany and elsewhere, and in both cases their translations into German have been part of these debates. There has been criticism of mollifying changes made when translating Anne Frank's Het Achterhuis in the late forties and Goldhagen's book nearly half a century later (see for example Lefevere 1992, House 1997).
This paper will present a comment on some of the existing analyses as well as an original comparison of the source and target texts and an analysis of the translators' methods. For instance, it can be said that the euphemistic representation of Germans and Nazis in the 1950 translation of Het Achterhuis is not as straightforward or radical as previously stated (see Schroth 2006).
The paper will also aim to set the translations in the context of the conditions they were produced in, thus taking into consideration the historical and political background.

Victoria Ríos Castaño: University of Ulster v.rios-castano@ulster.ac.uk
An inadequate approach to the study of cultural translation in colonial Mexico.

This paper seeks to shed some light upon a text on the Mexican Nahuas, Historia universal de las cosas de Nueva España (ca. 1577), which was composed first in Nahuatl and then translated into Spanish by the Franciscan missionary Fray Bernardino de Sahagún. In his Spanish version Sahagún suppressed, abbreviated and amended data. Historians and ethnographers, fascinated by the original description on the world of the Nahuas in their own language, have branded Sahagún's translation partly superficial partly unfaithful. My own interpretation endeavours to arrive at an understanding of Sahagún's translation not as ‘right or wrong' but as a cultural phenomenon. His Spanish version is the end product of a process of cultural translation. Both the Nahuatl and the Spanish texts, bound together in the Florentine Codex , belong to a continuum, and are translation products constructed according to Sahagún's cultural presuppositions and the circumstances under which he wrote them. In my analysis of Sahagún's Spanish translation I will concentrate on how his translation constraints, namely, his ideology, his patron, audience and purposes acted upon and are finally reflected in the Spanish text. I will try to demonstrate that Sahagún behaved as a translator who was re-writing his text according to the norms, making it acceptable and interesting for his Spanish target culture.

Carol O'Sullivan: University of Portsmouth carolmosullivan@btinternet.com
‘The Battle of the Translation': Croker vs. Hayward on the Political Future of England

In April 1856 there was a lively controversy on the letters page of the Times about a recent translation of the political essay De l'avenir politique de l'Angleterre (1855) by the Comte de Montalembert. The correspondence involved four people: Montalembert, his self-declared representative Abraham Hayward, the Irish politician and reviewer John Wilson Croker, who had edited the translation, and the translator of the text, identified only by the initials H.B. The fifth agent in the affair was the publisher John Murray, who had withdrawn the first edition of the book out of misgivings about Croker's editorial approach. In his letters to the Times Hayward declared Croker to be himself the translator and accused him (with examples) of comprehensively betraying the source text, with whose politics Croker openly disagreed. Croker vigorously refuted Hayward's examples and insisted that ‘H.B.' was the only translator. The debate took up the pages of the periodical press for several weeks, and a question was even asked in Parliament. This paper outlines the progress of the controversy and draws on the unpublished correspondence of Croker with his publisher John Murray to illuminate the true extent of Croker's involvement with the translation and his motivations in bringing it out. Reading the translation as an example of the ‘ironic discourse' theorised by Hermans (2007), the paper then asks to what extent we can link the translators' political stance to the text of the translation itself.

Politics and Censorship 2 - 5.00 pm, Room 5039

Kathleen Shields: NUI Maynooth kathleen.m.shields@nuim.ie
The right to translation and the English language in France

The Loi Toubon (1994) was passed to protect the right of people in France to use French rather than English in the workplace. The law also requires translation into French of advertisements and instruction leaflets for the French-speaking consumer. At the time opinion was divided between those in favour and those against the law, while some thought it did not go far enough. In this paper I propose to use this controversy in order to study the more slowly unfolding debate about English as a world language and how French situates itself in relation to it. Much language policy comes about not as a result of overt legislation or planning but rather as a result of ‘bricolage' (J. Blommaert) or ad hoc arrangements deriving from unspoken assumptions about language and nation. These assumptions can be explored by looking at some of the actors in the debate (journalists, language activist groups, scientists, directors of multinationals) and what they say about the two languages.
The controversy reveals a clash between two varieties of linguistic nationalism. The French ‘nation form' (E. Balibar) a complex of ideas (or myths) about the French language dating back to before the Revolution, locks horns with the ‘banal nationalism' of the US regarding its own English. Both varieties are tested in their claims to universality, claims which render translation unnecessary. The French demand for the right to translation is equivalent to accepting a situation of bilingualism, and perhaps even diglossia, (in scientific publications, in the E.U., in finance and computing). Yet defenders of the symbolic values of French continue to preserve its universality in modified ways. It would appear that the French nation form is changing.

Jacqueline Anne Hurtley Grundy: University of Barcelona jahurtley@ub.edu
‘A Post-Pacific Pursuit: Manuel Bosch Barrett's Travelling into Translation in
1940s Spain.'

The paper seeks first to identify and subsequently to focus on the post-war novelist, prose writer and translator of a wide range of authors in English, from Ben Jonson to P.G. Wodehouse, passing through Bevin and Winston Churchill, namely Manuel Bosch Barrett, some of whose translations continue to be marketed in Spain today. The paper will refer to his writing in the 1940s before examining some of his translating work and will take into consideration the impact of censorship on his production both as a writer and translator.

Richard Glyn Roberts: UCD Richard.Roberts@ucd.ie
The panacea and its side effects: Translation and the undermining of conceptual and intellectual autonomy

Historically it is language activists that have campaigned for the equitable managing of diglossia through translation. In recent times, as the principle of linguistic parity came to be conceived in terms of a sovereign right, rather than a practical necessity, sociolinguists and traductologists have also espoused the cause. Unsurprisingly, little thought has been given to the disadvantageous consequences of a language policy that relies wholly on translation. These are twofold. First is the effect on the language itself: constructions without a direct counterpart in the source language become redundant in the target language; in terminology both the compass of the corpus and the coining of its individual elements are based exclusively on the source language, curbing organic innovation in the target language; when the terminologists have recourse to the existing lexis of the target language, the pursuit of a direct corresponding term results in the alignment of its lexis with that of the source language. Secondly the obscuring of distinction: the target language is drawn into the intellectual milieu of the source language. Outwardly independent and vigorous, the world fabricated through translation is implicitly dependent and empty.

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Some light editing has been done on these abstracts, but they have not been reduced to a uniform style and length. Our keynote speakers were not asked to supply abstracts. We apologize for any errors in the editing, and for the possible loss of accented characters in some languages.

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The organizers gratefully acknowledge the support of ILE, the Ireland Literature Exchange.

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