Translation & Literary Studies

This paper challenges static notions of a 'source text', fixed in language and time, and serving as the prototype for a translation that is always and inevitably seen to take place in a cultural 'elsewhere'. It explores instead the source and the target not as binaries separated by cultural and linguistic borders, but as a spectrum, one conflating into the other. This model of thought is particularly helpful in the context of the Gujarati writer Jhaverchand Meghani (1897-1947) who was a prolific writer, critic and journalist. This paper limits itself to the context of his pioneering work in Gujarati folk literature, especially a collection of lokavarta or folk stories about the Rajput life and valour in medieval Saurashtra called Saurashtrani Rashdhar. This context raises interesting questions about the relationship between translation, language and mobility and deconstructs a sense of linguistic and regional homogeneity.

This paper examines the early 20th century period known as ‘Gandhi Yug’ (1915-1945) in Gujarati literature. It revisits and delineates important historical and political events that shaped the ethos of its nationalist times such as the creation of a new public sphere with the arrival of Gandhi from South Africa; the salience of the peasant both in politics and literature; the establishment of the Gujarat Vidyapith in 1920; the  first comprehensive dictionary in Gujarati in 1929, and the emergence of the ‘folk’ as a cultural category. This paper argues that although Gandhian thought was increasingly influential in early 20th century Gujarat, this was a contested age with a multiplicity of voices, competing imaginations and an array of conflicting intellectual positions often homogenised under a label like ‘Gandhi Yug’. The paper also examines the question of violent resistance and the competing conceptions of region and nation that shaped the politics of these writers and thinkers. Through these examinations, the paper attempts to complicate the canon of ‘Gandhi Yug’ and also show that 'Gandhianism' itself was assimilated in complex ways, not always uniformly, not always unanimously.

This paper attempts to trace instances of multilingualism in contemporary Pondicherry examining  various sites, movements and slippages in the city’s topography, in the use of language in public space, in its predicaments of colonialism, ‘nation’ and citizenship, and its chequered history with French and Tamil. It argues that multilingualism in this city is inherently shaped out of acts of everyday translation-cultural, linguistic, spatial and identitarian.

As a classic for readers familiar with Gujarati literature, "Khemi," written by Ramnarayan Vishwanath Pathak (1887-1955) in the late 1920s, is a story about a feisty and compassionate woman called Khemi from the scavenger caste who battles against various odds in order to live a life of dignity and is eventually widowed. This paper discusses salient aspects around “Khemi.” Firstly, in the early decades of the twentieth century, “Khemi" can be located at a moment when the category of ‘untouchable’ came to be linguistically marked through a politics of naming and renaming from various quarters. Secondly , this paper discusses salient aspects of Gandhi’s views on untouchability and caste which animate "Khemi" as an early twentieth century text and lastly, goes on to perform a close reading of various instances of the text itself. I argue that “Khemi” reflects a specific kind of articulation of caste shaped out of contexts of social reform in Gujarat of the nineteenth century and also the interventions made by Gandhi, both of which find a recurring echo in Gujarati literature almost until the 1950s. Although it foregrounds the subject of caste and untouchability in an early literary treatment, it is paradoxical in its formulations, orienting itself at reforming upper caste-readership rather than the socio-economic conditions of the lower castes themselves.

This paper challenges the static notions of a 'source text', fixed and 'bordered' in language and time, and serving as the prototype for a translation that is always and inevitably seen to take place in a cultural 'elsewhere'. It explores instead the source and the target not as binaries separated by cultural and linguistic borders, but as a spectrum, one conflating into the other. This model of thought is particularly helpful in the context of the Gujarati writer Jhaverchand Meghani (1897-1947) who was a prolific writer, critic and journalist. This paper limits itself to the context of his pioneering work in Gujarati folk literature, especially a collection of lokavarta or folk stories about the Rajput life and valour in medieval Saurashtra called Saurashtrani Rashdhar. Meghani travelled far and wide in Saurashtra over a period of several years collecting and documenting repositories of oral culture through folk stories, songs, ballads and various other popular forms. His sources were people from various occupations, castes, gender and class. Sometimes there was more than one version of the same tale and sometimes the same story contained idioms of two languages of regions that were linguistically similar, like Kutch and Krupa Shah 2 Kathiawad. How does one think of borders and sources in these contexts? This paper looks at a number of such consequences in the context of Meghani's folk stories and examines sites of translational borders and exchanges in order to propose a new way of thinking about sources and targets.

Montréal. Il a pour mission la promotion et la valorisation de la recherche. Érudit offre des services d'édition numérique de documents scientifiques depuis 1998. Pour communiquer avec les responsables d'Érudit : [email protected] Article « Les motifs sonores dans la littérature africaine europhone : exemple et jalons théoriques dans une perspective traductive » Laurence Jay-Rayon TTR : traduction, terminologie, rédaction, vol. 23, n° 1, 2010, p. 95-122. Pour citer cet article, utiliser l'information suivante : URI: http://id.erudit.org/iderudit/044930ar Note : les règles d'écriture des références bibliographiques peuvent varier selon les différents domaines du savoir.

Montréal. Il a pour mission la promotion et la valorisation de la recherche. Érudit offre des services d'édition numérique de documents scientifiques depuis 1998. Note : les règles d'écriture des références bibliographiques peuvent varier selon les différents domaines du savoir.

Montréal. Il a pour mission la promotion et la valorisation de la recherche. Érudit offre des services d'édition numérique de documents scientifiques depuis 1998. Note : les règles d'écriture des références bibliographiques peuvent varier selon les différents domaines du savoir.

Montréal. Il a pour mission la promotion et la valorisation de la recherche. Érudit offre des services d'édition numérique de documents scientifiques depuis 1998. Note : les règles d'écriture des références bibliographiques peuvent varier selon les différents domaines du savoir.

On lit souvent que le génie de la langue française explique certaines intolérances, aux répétitions par exemple. Beau témoignage du génie du traducteur, la traduction française (Ancêtres 2000) que Jean-Pierre Richard nous livre de la fiction poétique de Chenjerai Hove (Ancestors 1996) nous prouve exactement le contraire. Cet article remet en question l'affirmation voulant que les répétitions représentent une figure étrangère aux littératures en langue française. Prenant comme point de départ le troisième roman de l'écrivain zimbabwéen Chenjerai Hove et sa traduction en français, je montre que l'enchâssement des répétitions dans Ancestors est en effet perçu par Richard comme la principale figure du texte hovien et constitue son axe traductif. À cet effet, la poétique de Hove et le rapport à la langue et à l'écriture de Richard sont contextualisés pour faire valoir comment leurs approches scripturales respectives entrent en dialogue dans la traduction française. Enfin, je conclus que la réactivation de la mélopée de Hove sous la plume du traducteur Richard participe d'un continuum en matière de modalités littéraires.

https://www.faraxabooks.com/product/snow-in-amman

Translated by I. Rida Mahmood and edited by Alexander Haddad.
Filled with deeply nuanced storytelling and vividly drawn, often heartbreaking human characters, Snow in Amman: An Anthology of Short Stories From Jordan is a rich selection of contemporary Jordanian fiction which stands in stark contrast to many of the prevailing stereotypes of Arabic culture. Outside the archaeological lens, very little is known about life in Jordan, particularly in the English-speaking world. Such lack makes it more susceptible to falling into the soup of widespread generalizations about the Middle East. The 11 stories in Snow in Amman, published in their original Arabic in Jordan and appearing in this book for the first time in English, depict a wide array of social and feminist issues through a lens at once familiar and surprising, commonplace and yet intensely different.

Literary and narrative discourses hold an inherent correspondence between themselves and the
social, economic, national, and political issues that govern the atmosphere in which they emerge,
including those concerning the war of the classes and of the sexes. Using the erotic as a
parameter, this paper analyzes three novels by three contemporary women novelists from Egypt,
Lebanon, and Syria: Nawāl el-Sa’dāwī, Ḥanān al-Shaykh, and Samar Yazbek, respectively. An
analysis of the combination of language, culture, and space can lend itself to an examination of
the relationships of power and social hierarchies that govern societies, in a fashion that follows
the Foucauldian power/knowledge social theory. Adopting the Lacanian perspective of language
as an inherently sexist utility, this paper examines the approaches found in these three novels to
the objectification of the female body; the yearning to reclaim agency; and the success – and
failure – in regaining and retaining autonomy.

https://themarkaz.org/tmr-weekly/on-american-democracy-and-empire-a-corrective

The next US Secretary of State Antony Blinken prefers to think of the past four years as an “aberration and not representative of what America is and aspires to be.” However, the riot at the Capitol Building in Washington D.C. and its aftermath might have exposed a deep-seated authoritarian, anti-democratic mindset among Republicans—one that predates Trump.