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This research focuses upon how the translation of certain types of literature in China evolved historically: from ‘non-translations' (i.e., ‘translations' unmade as well as made and yet strictly forbidden under given censorship conditions) to ‘partial' or ‘full/near-full' translations set against the backdrop of changing practices required by the country's censorship policies. My analysis begins with an overview of the multi-faceted interface between censorship and translation, followed by the conceptualization of a typology of translations under censorship. This initial discussion, in turn, allows me to resituate specific translations, including the once absented translations of earlier times (i.e., prior to the 1949 Revolution or prior to the Cultural Revolution), which were initially taken at face value as ‘non-translations' and yet which, later on, became ‘partial' or ‘full/near-full' translations under the country's subsequently more relaxed censorial operations. I attempt to illustrate such shifts by means of in-depth discussion of the dynamic nature of translational commitment in connection with the change-resistant properties and evolving priorities of censorship. In illustrating my arguments, I will draw specific examples from case studies of three well-known censorship-affected translations – i.e., On China (Kissinger 2011), Lolita (Nabokov 1991) and The Good Earth (Buck 1960), which, I argue, epitomise the shifting degrees of translational commitment (‘non-,' ‘partial' and ‘full/near-full') as they occurred in the Chinese context.
Keywords: censure, autocensure, non-traduction, traduction partielle, traduction complète, dynamique, contexte chinois, censorship, self-censorship, non-translation, partial translation, full translation, dynamics, Chinese context, censura, auto-censura, no traducción, traducción parcial, traducción completa, dinámica, contexto chino
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AbstractThis meta-theoretical inquiry tries to demonstrate that criticizing structuralism may seek to improve its efficiency, rather than lead to a dismissal of the method as such. Indeed, our internal critique is basically positive, as its aim is to legitimate the use of the prefix “ post ” in the expression “ post-structuralism ”. This article, based on the examination of works by Céline, Genet, Nabokov, Borges and Bioy Casares, thus deals with the various difficulties within the framework of structuralist analysis, especially when studying narrative voice (author / narrator, narratee / reader) — in relation to genre and the status of texts —, intertextuality, hypertextuality, irony, affects and values. This overview of the aporis of internal structuralist analysis ends on a call for a form of diversified post-structuralism ; this methodological variety is necessary because of the esthetical peculiarities of the literary texts : it is these particularities which must determine our critical and theoretical approaches, and not the other way around.
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This article is a reflection on how narratives of Canadian music scholarship have shifted since the late 1980s, generally moving toward an array of “diversity narratives.” It questions how government policy, academic institution building, increased interdisciplinarity, new configurations of individual and collective experience, and new regional or nationalist discourses have played a role in this shift. It suggests that Canadians may be particularly well poised to lead in the study of how multiple narratives and “sovereign aesthetics” can coexist.
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AbstractIn this paper I would like to explore the work of five bilingual writers focusing on the different narratives they develop in their use of (self-)translation as a textual strategy to fashion a sexual persona. Julia(e)n Green's Le langage et son double/The Language and its Shadow and Louis Wolfson's Le Schizo et les langues create narratives of severance and disjointing. The self-translational activity is used here to create perfectly separated spheres of (sexual) identity. Raymond Federman's A Voice within a Voice and Christine Brooke-Rose's Between, on the other hand, develop narratives of merging and mixing. The self-translating activity is viewed as a constant shifting and moving of sexual roles taking place in a sphere outside the conscious control of the writer. The final part of the paper will be dedicated to a discussion of Abdelkebir Khatibi's Amour bilingue that fictionalizes the functioning of bilingualism and self-translation in terms of sexual roles, introducing, this way, a post-colonial dimension missing in the other texts.
Keywords: bilingualism, self-translation, sexual identity, post-colonial theory, body and language, bilinguisme, auto-traduction, identité sexuelle, théorie post-coloniale, corps et langage