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Add links, pictures and videos to make your explanation more appealing. Here are some actually new issues that we can add to the theory of translation: the act of translating is a penetration in another's culture, but a dialogic penetration in which the " creative understanding does not renounce itself," but retains its peculiarities, its individuality as a mark of its own culture, which uses its infinite ways of saying to recreate the spirit of the original, to bring as close as possible to the original ways of being of the other, giving it the specific colors of its national culture.
I will name a few. In the translation of Crime and Punishment p. What crime? That I killed a vile noxious insect, an old pawnbroker woman, of use to no one? Killing her was atonement for forty sins! Literally, the sentence "Killing her was atonement for forty sins! In Portuguese, the phrase "atonement for forty sins" would sound like translation, whereas "has one hundred years of forgiveness" is similar to saying "a thief that steals from a thief has one hundred years of forgiveness.
What weighed in my translation was the decision was to give the spirit of the original the corresponding spirit in Brazilian Portuguese, guiding myself by Bielinski's aforementioned statement: "the inner life of the expression translated must correspond to the inner life of the original. Let us see another example of translation of the spirit rather than of the letter. In The Brothers Karamazov p. In Brazilian Portuguese, "stand up with four stones in hand" means to stand up with an aggressive attitude or words.
The interpretation I gave to Gruchenka's sentence is semantically consistent with the Russian original, but the form is ours, it is Brazilian. It is therefore the creative interpretation to which Bakhtin refers. When widely used they give the idea of reiteration of a recurring event in the discourse of the narrator or of one or more characters in a narrative, and seek to covertly involve the reader in a kind of dialogue with the narrator.
Not translating the particle would mean leaving a serious gap in the text; using the repellent " dir-se-ia " as seen in some translations would only distort the meaning of the discourse. Let us see an example. Desperate with the success of his imaginary double, which occupies on the bureaucratic scale and in social life all the positions which he, Mr.
To say something or other to explain Announce me, my friend, say something or other, explain. Here, what is at stake is the spirit and not the letter of the discourse, which can only be solved by creation. In the text mentioned Bakhtin raises another issue that seems essential to me. He says: «In order to understand, it is immensely important for the person who understands to be located outside the object of his or her creative understanding - in time, in space, in culture.
In fact, interpreting a nineteenth century text in the twenty-first century is a challenge quite difficult to be overcome, given that the translator is a man of his time and cannot escape a considerable degree of updating. The translator who translates directly from the original is a mediator between the author and his readers in the language of the translation. Doing so requires being guided by the good old adage: to meet somewhere in the middle.
One can neither "over-archaize" the language, at the risk of forcing his readers to constantly refer to the dictionary, nor over-modernize it, at the risk of losing sight of the context of the work.
A more accurate translation would be "to speak like a machine gun. It would be an over-modernization of the language and a distortion of the context of the work. In this case, the solution rests with a creative interpretation of the work and its context. The first issue to be taken into account by the translator who intends to translate a work of fiction is: the translation of fiction does not operate with signified but rather with meaning, as occurs with literature itself as art.
The translation belongs to the field of discourse, it is an operation with language, and this, in turn, "is a representation of meaning" Meschonnic, , p. That being said, one of the greatest and sometimes more harmful dangers for the translation of fiction - the illusion of literalness - is eliminated from the outset. Translation as art is the product of a particular subjectivity which, even in the translation of the work of others seeks to give life in the target language, making the original an independent work in another language, in another culture, giving it a new historical existence.
It is the production of a dissimilarity of the similar, for even though the work is the same, with the original title and original name of its author, it is not a copy of the original, because the translation makes it a work in motion, subject to different interpretations, living on equal foot with works written in the target language and being read in the light of other cultural values, another psychology of reception, as well as of the traditions of the literature of that other language.
This new condition - that of work in motion, maintains the unity of the work, which according to Meschonnic p. XXXI , "is of the order of the continuum of the rhythm and prosody," enriches the translated work with the values inserted in it by the interpretation of the other who reads it. This is what gives life to a translated work. Here the creative individuality of the translator is of the essence. His creative potentials are mobilized to create the appropriate form for the realm of the senses that bring the work together, neglecting from the outset the illusion of "two plus two equals four," the simplistic illusion of literalness.
What is important to understand is that the translation of literature, whether poetry or prose is, first and foremost, art. Therefore, translating a work is not repeating it in another language, but creating a dissimilarity of the similar, in which the work is the same being different and vice versa, recreating the set of values that consolidated the original in the form most suitable for the best aesthetic standard possible of the target language literature, shaped in the discourse used by the translator.
In short, translating an original worthy of its aesthetic qualities entails finding the poetic appropriate to maintaining it in the order of the continuum, in the open order of the discourse. The translation of poetry or prose is a form of interliterary reception, of knowledge of peoples. It is also one of the forms of survival of the work in another language, in another culture, and especially in another era, which has its own way of conceiving literature and art and a specific reception of literature as art.
Translation is a dialogue of cultures, an interaction of what is "mine" with what belongs to "the other", a harmonious exchange in which the target language, transformed into discourse by the translator, lends itself to the work of "the other" to turn it into aesthetic reality in a "strange" context, where it becomes a two-faced Janus: first it belongs to the art of the word common to the literary system of the source language, then to the art of the word common to the literary system of the target language.
Then the translated work takes on a life of its own, gains autonomy in relation to the system that generated it. It becomes part of the translation language system and through it also part of the universal literature system.
The art of translation enables a work to transcend its space, its time and its culture, to become universal in the language of the other, transcending its space and its time. When starting the translation of a work, the translator has to be aware that one does not translate idioms, but what a creative individuality - the author - makes of it, that is, one translates language, or rather languages, to the extent that each speaker is a sliver of the socio-cultural universe and his language marks him as part of a particular social segment and expresses his education, cultural level and even mental health or lack thereof.
Therefore, in a novel language modalities vary according to the number of speakers and their respective peculiarities, and each of these has his own language pattern. Special mention should be made of the narrator, who is usually someone who uses the classical and universal language standard, which "facilitates" the life of the translator, who masters the refined norm of the language and uses it in his translational craft. But not everything is a bed of roses in the translation of the language of the narrators, as there are narrators who mix one or more language patterns in their discourses.
In this sense, there are huge challenges to be faced and I mention two only in the field of novelistic prose so as not to over-extend the subject: Riobaldo, from The Devil to Pay in the Backlands , who blends classical and popular language patterns in his speech, and many of Dostoevsky's narrators.
In the latter, the fluidity or sinuosity of the language depends on the degree of closeness or distance between the narrator and the speaking character: when the character of the universe becomes blurred, his language is also blurred and that contaminates the discourse of the narrator. There are also nearly extreme cases like that of Mr. Bakhtin , p. This alerts the translator to an essential aspect of literary translation, especially in a work with many speakers: each of them has his characterological marker, his language pattern, his own way of speaking, his tone, in short, his diction.
Translating the discourse of each speaker according to his diction, his syntax, is the biggest challenge for the translator. Overcoming this challenge means preventing all characters in a novel from speaking the same way.
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