Translating Patrick Whites nov.PDF

A discussion of the way that translation figures constitutively in the formation and history of Greek Imperial fiction. A much fuller version will appear in Ramus shortly.

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scripta classica israelica 2015

eds.), Greek into Latin from Antiquity until the Nineteenth Century. [Warburg Institute Colloquia, 18]. London -Turin: The Warburg Institute -Nino Aragno Editore, 2012. xiii + 226. ISBN 978-1-908590-41-1.

The Iliad is about "klea andron", the glorious and terrible deeds of men in relation to other men, the raw content of the soul of man, but not of woman. It is a vast lagoon of dream fragments of the male unconscious, haunted with eternal shadows that compete, strut, fight, kill and rape, and above all seek the approval of other men. In this book, I have traced the history of the Iliad from papyrus, to parchment, to paper, to e-book. Next, I have looked critically into the first ten lines of Book 1 of the Iliad in the Latin, French, Greek (vernacular), and lastly English translations, beginning with the first translations of Hall, and Chapman. New translations of passages recovered from papyri and parchment, done by the present author, are included. Lastly, a theory of translation of poetry is attempted.

The debate surrounding the theory and practice of translation has existed nearly as long as written language itself. As the field of linguistics has continued to evolve, so too have the principles and accepted norms of translation. By Alexander Pope's day, there were three competing ideals in the marketplace of translation theory: metaphrase (word-for-word), paraphrase (idea-for-idea) and imitation (adaptation). In this paper, I evaluate Pope's translation style by examining his rendition of Homer's Odyssey, Book 6, lines 223-238 (6.265-286 in Pope's translation) in light of the linguistic theories of his day.

The Routledge Handbook of Intralingual Translation, ed. L. Pillière and Ö. Berk Albachten, 2024

Putting the spotlight on one of the earliest documented instances of intralingual translation worldwide – the practice of rendering the Homeric epics into different forms of ancient Greek – this chapter aims to establish the central hermeneutic function of intralingual translation in the premodern period. By studying pedagogical, rhetorical, and literary rewordings produced by Greek speakers in antiquity, I argue that translations of the Iliad and Odyssey dating from the seventh century BCE onward were the direct result of the poems’ unique combination of cultural prestige and linguistic obscurity. Moreover, a fresh analysis of ancient commentary on textual transformations reveals that classical writers applied terms such as hermēneuein (“interpret”) and metaphrazein (“reformulate”) to acts of translation occurring both within and across languages. Consequently, my chapter not only antedates the practice and theorization of intralingual translation by a millennium, but also demonstrates that ancient texts can advance the study of translation today by challenging the very distinction between intralingual and interlingual textual practices.

Routledge Handbook of Translation History, 2020

This chapter outlines the theoretical and practical issues involved in compiling and analyzing the translation histories of literary classics from a socio-historical perspective. Starting from an overview of the theoretical framework (distant reading and sociological theory), I then move on to the practicalities of how and where to locate translations, both online and in print. Subsequently, I focus on one case study, namely Dante’s Divine Comedy, and analyzse its translation history. I give concrete data about the worldwide reception of this work – when and in which languages it was translated (and where it wasn’t was not translated) –- and then address specifically its translations into English. I show how often it was translated into specific forms – such as terza rima, blank verse, and free verse – and I additionally present examples of when it was censured in translation (in both Arabic and English). I address three other aspects of translation history as well: the nationalities of translators (focusing especially on the difference between UK and USA translators),; the age of translators;, and the gender of translators. I demonstrate that the vast majority of English translators of Dante’s Divine Comedy are male translators, even to the present day.

Translation Today, 2018

This paper seeks to uncover the politics surrounding the selection and elimination in the process of translation by presenting instances of the translation of classical masterpieces supported by contemporary postulations. Translation is not a mechanical transposition of words across languages but a cognitive activity that demands active participation of the translator as the individual identity of the translator is not isolated from the process. Most of our acquaintance with the Western and Greek epics has been through English translations and it will not be naive to say that many of these translations have themselves become classics by virtue of various translation strategies. There are multiple manners in which a translation can be approached but none provide a universal model or blueprint for translation as it is not free from the translator’s ideology and intervention. Besides cultural appropriation and maintaining equivalences (grammar, style, vocabulary), untranslatability is one of the major challenges for the translators of ancient epic romances such as the Ramayana, the Iliad or the Dastan-e Amir Hamza.