Die neiging in die literêre kritiek om vertaalde werke as "oorspronklike" werke te resenseer, is alreeds deur verskeie navorsers ondersoek (sien byvoorbeeld Lambert 2010, Maier 2008, Paloposki 2012, en Schulte 2015. Dit beteken dat resensies baie selde daarvan melding maak dat die teks in der waarheid 'n vertaling is. Hierdie neiging van die kritiek om vertaalde tekste as "oorspronklik" te hanteer, is problematies. Vertalers en vertalings kan sodoende gemarginaliseer word, met negatiewe gevolge vir die vertaalprofessie sowel as vir die kanonisering van vertaalde romans (Leech 2005: 12). Vertalings en vertalers word voorts aan haas onmoontlike standaarde onderwerp, omdat resensente dikwels nie vertroud met vertaling is nie, en sodoende die nie-erkenning daarvan in die hand werk.Die studies waarna reeds verwys is, is in Europa uitgevoer, sodat daar ruimte is vir 'n soortgelyke studie in die Suid-Afrikaanse konteks. In hierdie studie val die fokus op resensies van vertaalde romans wat tussen 2006 en 2015 in Suid-Afrika gepubliseer is. Die ontleding sal lig werp op die vraag na die mate waartoe die vertaler en vertaalhandelinge in resensies sigbaar raak, en derhalwe of die resensering van vertaalde werke as oorspronklikes ook binne die Afrikaanse en Suid-Afrikaanse Engelse literêre sisteem plaasvind.
This paper explores the concept of 'bilingual writing' by examining two products of André Brink's bilingual writing process, namely Praying Mantis (2005) and Bidsprinkaan (2005). After a brief overview of Brink's oeuvre, a theoretical perspective on bilingual writing is provided, along with a discussion of related concepts such as 'translation' and 'self-translation'. Following the theoretical perspective, a stereoscopic reading of the two versions of the novel aims to show how multiple possibilities of interpretation are opened up by the use of two languages of production, and how the two versions, when read together, form a total text that travels beyond traditional conceptions of both writing and translating. In Praying Mantis and Bidsprinkaan, Brink employs magical realism to challenge various traditional boundaries, such as between reality and fiction, history and myth, etc. Situating both versions of the novel in a sphere of magical realism, where boundaries are constantly transgressed and where even the ordinary is given "a sense of the extraordinary" (Brink 1998:31), Brink confronts his readers with different perspectives and provides them with an almost endless range of possibilities of interpretation that leads to various possible readings of the text. Not only is the magical as well as the real world opened up in the text, but also the magical and the real world as conceptualised in two different languages and cultural environments.During the 1970s and 1980s especially, Brink was a well-known anti-apartheid political activist, and the novels he published during this time were mostly of a political nature. In 1973, Brink published Kennis van die Aand (lit. "Knowledge of the Evening"), a novel that tells the story of Joseph Malan, a black South African man awaiting his execution after having been found guilty of murdering the white woman with whom he had a relationship. The book was banned in South Africa under the Publications Act of 1962 due to, among other things, the depiction of a sexual relationship between a black man and a white woman, which was illegal in South Africa during that time. After it was banned, Brink decided to translate the novel into English and to approach an international publisher in order to enable him to keep writing and publishing. This decision resulted in the novel Looking on Darkness (1974), Brink's own English translation of Kennis van die Aand. This translation represents a new phase in Brink's writing process, given that after translating Kennis van die Aand, he has produced an English as well as an Afrikaans version of all of his novels. Although Brink initially self-translated (in the traditional sense of the word) his works, by first completing the Afrikaans version of a novel and subsequently translating it into English, this process started to evolve into one of simultaneous bilingual writing. Brink now writes both the Afrikaans and English versions of a novel at the same time, and creating the work in both languages has become part of his writing process 2 .De Ro...
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