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Translating Emotion

Studies in Transformation and Renewal Between Languages


Edited By Kathleen Shields and Michael Clarke

This collection of essays can be situated in a development that has been underway in translation studies since the early 1990s, namely the increasing focus on translators themselves: translators as embodied agents, not as instruments or conduits. The volume deals with different kinds of emotion and different levels of the translation process. For example, one essay examines the broad socio-cultural context, and others focus on the social event enacted in translation, or on the translator’s own performative act. Some of the essays also problematize the linguistic challenges posed by the cultural distance of the emotions embodied in the texts to be translated.
The collection is broad in scope, spanning a variety of languages, cultures and periods, as well as different media and genres. The essays bring diverse questions to a topic rarely directly addressed and map out important areas of enquiry: the translator as an emotional cultural intermediary, the importance of emotion to cognitive meaning, the place of emotion in linguistic reception, and translation itself as a trope whereby emotion can be expressed.


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KATHLEEN SHIELDS - Auditory Images as Sites of Emotion: Translating Gerard Manley Hopkins into French -87


KATHLEEN SHIELDS Auditory Images as Sites of Emotion: Translating Gerard Manley Hopkins into French In this essay I make a case for the importance of auditory images as initia- tors and carriers of meaning in translation. Such images are part of the inescapable dif ferences between languages and cultures that are inevita- bly encountered in the translation process. However, in the discipline of translation studies and in translation practice itself these images are often ignored in the interests of cognitive content which is regarded as the trans- fer of ideas as opposed to feelings. For instance, an obvious challenge to translators is the use of puns in the source text and an obvious solution is to quietly ignore such puns. Further on we shall see an example of this where a translator ignores puns in an ostensibly neutral scientific text in favour of a blander, abstracted meaning. Taking the example of one particularly challenging writer, Gerard Manley Hopkins, I propose to explore the two following questions. How has the matter of auditory imagery in transla- tions been treated to date? How could it be incorporated more fully and usefully into translation studies now? Within the confines of poetic and literary translation, attention is given to auditory images but, for reasons explored here, translators and critics are often awed by the formal properties of whole languages and the prestige of the original author. The consequence of this is that poetic trans- lations can be viewed as being either highly wrought formal...

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