Translation Of Literary Texts Has Led To Both The Globalization Of Culture And The Promotion Of Inter And Intra Culture Bonding. The Book Is Divided Into Three Sections: 1. The Setting Forth Of The Theoretical Parameters Oftranslation Studies; 2. The Problematic Space Of Praxis, Representing Different Language And Text Types; 3. Interviews With Famous Creative Writers In Different Genres Who Have Done Considerable Translation Work Themselves. The Issues Discussed Pressent A Broad Spectrum Of Theoretical, Textual And Contextual Specifics In The Field Of Translation.
The present work is an interdisciplinary study cutting across the disciplines of translation studies, genre studies, literary history and cultural history. It primarily deals with a phase of transition in the socio-cultural history of Bengal but has implications for the study of Indian literature as a whole. It takes the view that “translation” does not merely relocate the text in the target language, but negotiates several sets of relationships between the two cultures involved, altering the nature of relations between them. The study considers the mediating and shaping agency of “genre” in this context. Not only are works translated but genres are translated too, and assume striking and unprecedented shapes in the linguistic culture of the target audience.
The book explores aspects of self-translation, an all but exceptional phenomenon which has been practised, albeit on the quiet, for nearly two thousand years and has recently grown exponentially due to the increasing internationalisation of English and the growing multilingualism of modern societies. Starting from the premise that self-translation is first and foremost a translational act, i.e. a form of rewriting subject to a number of constraints, the book utilises the most valuable methods and findings of translation studies to account for the variety of reasons underlying self-translation processes and the diversity of strategies used by self-translators. The cases studied, from Kundera to Ngugi, and addressing writers like Beckett, Huston, Tagore, Brink, Krog and many others, show that the translation methods employed by self-translators vary considerably depending on their teloi. Nonetheless, most self-translations display domesticating tendencies similar to those observed in allograph translations, which confirms the view that self-translators, just like normal translators, are never free from the linguistic and cultural constraints imposed by the recontextualising of their texts in a new language. Most interestingly, the study brings to light certain recurring features, e.g. a tendency of author-translators to revise their original during the self-translation process or after completing it, which make self-translators privileged authors who can revise their texts in the light of the insights gained while translating.
This concise and well-written text provides a deeper insight into the discipline of translation and discusses all the complexities involved in translation. The book discusses in detail the process of translation, different types of translation, and theory and principles of translation. It also deals with different interdisciplinary subjects such as semiotics, linguistics, lexicography and socio-linguistics that contribute to effective translation. Finally, it explains the problems of translation and the techniques for evaluating translation. The book provides plenty of examples to make the concept clear. The book is intended as a text for the undergraduate students of translation studies and postgraduate students of English, Applied Linguistics, and English and Comparative Literature.
This book uses the framework of cultural translation to explore the work of six significant modern writers from Ireland, India, Australia and the Caribbean. Written in an accessible and approachable style, it will be of interest not only to specialists in postcolonial literatures, but also readers of modern and contemporary poetry more generally.
This introductory chapter explains the different translations theories in India and the world. It also narrates the short history of translations in India and abroad. Though it is difficult to define translation in specific words, one can give various definitions to show the different ideas related to translations. Oxford dictionary of English language defines translation as “The action or process of into turning something from one language to another”. It is true that dictionary is not basically meant to define terms like translation. Yet the dictionary has used the word ‘something’ which needs to be explained here. According to this definition anything from a simple word to a work of art can be covered under this term translation. This covers a vast area and may mislead the basic concept of translation as we view it generally.
Philosophical exploration of the Yogasutra, looking at themes of freedom, self-identity, time and transcendence, and translation - between languages, cultures and eras.
Post nineteen eighties, what made English translation from Indian languages a culturally desirable activity? This question leads Kothari to examine the changing cultural universe of urban, English-speaking middle class in India. She examines in detail readership patterns, attitudes to English, and the course of translation studies in general. The comfort with which English is used with an Indian language as in "Yeh Dil Maange More" or "Hungry Kya" reflects a sense of familiarity that has been made with English. From this broader context of bilingualism in the first part of the book, Kothari moves on to the state of Gujarat. Taking up the case of Gujarati, she demonstartes the micro issues involved in translations and politics of language. Kothari asks new questions in translation studies and makes the production, reception and marketability of English translation her chief concern. Translating India brings amultidisciplinary perspective to literature and translation, authenticity and representation.
This book, based on my doctoral work, makes a modest attempt to study the processes and the problems involved in translating these texts mainly with regard to the all important task of achieving communicative and/or semantic equivalence proposed by Peter Newmark.
Writing Resistance is the first close study of the growing body of contemporary Hindi-language Dalit (low caste) literature in India. The Dalit literary movement has had an immense sociopolitical and literary impact on various Indian linguistic regions, yet few scholars have attempted to situate the form within contemporary critical frameworks. Laura R. BrueckÕs approach goes beyond recognizing and celebrating the subaltern speaking, emphasizing the sociopolitical perspectives and literary strategies of a range of contemporary Dalit writers working in Hindi. Brueck explores several essential questions: what makes Dalit literature Dalit? What makes it good? Why is this genre important, and where does it oppose or intersect with other bodies of Indian literature? She follows the debate among Dalit writers as they establish a specifically Dalit literary critical approach, underscoring the significance of the Dalit literary sphere as a ÒcounterpublicÓ generating contemporary Dalit social and political identities. Brueck then performs close readings of contemporary Hindi Dalit literary prose narratives, focusing on the aesthetic and stylistic strategies deployed by writers whose class, gender, and geographic backgrounds shape their distinct voices. By reading Dalit literature as literature, this study unravels the complexities of its sociopolitical and identity-based origins.
