Always in Translation

Leung, Helen Hok‐Sze

doi:10.1215/23289252-3545143

Cited by 10 publications

(5 citation statements)

References 21 publications

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“…Por otro lado, son 3 estudios los Hikma 20 (2) (2021), 95 -126 que trabajan con la combinación chino-inglés (Bowman, 2010;Jiang, 2020;Guo & Evans, 2020), 1 estudio sobre el par indonesio-inglés (Boellstorff, 2003) y 1 estudio sobre el par griego-inglés (Asimakoulas, 2012). Un estudio incluye análisis contrastivos entre varias lenguas con el inglés (Lewis, 2010), mientras que otro aborda procesos de traducción mediante una lengua franca (Leung, 2016).…”

Section: Figura 4 Periodo De Publicaciónunclassified

Revisión sistemática de bibliografía sobre traducción audiovisual y estudios LGBTQ+ (2000-2020): dimensiones epistemológica y metodológica

Villanueva-Jordán¹,

Varela

2021

hikma

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El artículo presenta los resultados de una revisión sistemática de bibliografía sobre estudios de traducción audiovisual y estudios LGBTQ+. Según el modelo de metasíntesis, se han reunido 28 estudios empíricos publicados entre 2000 y 2020. Los ejes del análisis de dichas fuentes han sido epistemológicos y metodológicos. Los resultados de la sistematización permiten conocer los supuestos de base en torno a la visión del mundo (pospositivista, constructivista o transformadora) del que parten las investigaciones. Asimismo, revelan oportunidades de mejora en el diseño metodológico considerando que los estudios de caso son una estrategia recurrente en las investigaciones. El propósito de esta metasíntesis es proponer un diagnóstico sobre la intersección entre dos miradas teóricas (TAV y LGBTQ+), que constituyen un campo de investigación en crecimiento constante.

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Section: Figura 4 Periodo De Publicaciónunclassified

Revisión sistemática de bibliografía sobre traducción audiovisual y estudios LGBTQ+ (2000-2020): dimensiones epistemológica y metodológica

Villanueva-Jordán¹,

Varela

2021

hikma

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“…Both episodes reminded me of an incident at the 2009 Netherlands Transgender Film Festival recounted in Leung (2016). During the screening of the documentary Transvestites Also Cry (2007), which follows the lives of two Ecuadorian migrant sex workers in Paris, several audience members walked out of the theater in protest.…”

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confidence: 99%

“…Yet, the dominance of Anglo-centric perspectives in public and academic discourses surrounding queer and trans issues has led to the widespread assumptions about the universal applicability of English terminologies and identity categories. As a result, local ways of understanding and articulating diverse gender identities and embodiment-which emerged out of historical, social, cultural, and political contexts that may differ significantly from those of the Anglo-West-may become overshadowed or replaced entirely by the ostensibly more "correct" terminology and the associated notions of trans identity that they convey (Leung, 2016).…”

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confidence: 99%

“…They were also offended by the term “transvestite,” which the filmmaker used as the translation for the Spanish term travesti , a term that the subjects in the film used to refer to themselves and others in their community. As Leung (2016) rightly observed, the filmmaker could have avoided controversy by titling the film more “correctly,” albeit somewhat awkwardly, as Transgender People Also Cry . However, even with a more accurate title, the subjects’ use of pronouns was never consistent, and they also employed terms like “homosexual” and “ tercer sexo ” (third sex) alongside “ travesti ” to describe themselves and their friends.…”

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confidence: 99%

“…Not only does it hinder TLA's goal of achieving sociolinguistic justice, but it can also perpetuate other forms of marginalization, such as the devaluation of Black language, as highlighted by Zimman. Furthermore, it can (re)produce a “hierarchy of experiences and subjectivities” (Leung, 2016), which privileges Euro‐American understandings of gender non‐normativity as modern and progressive while dismissing other (local) ways of imagining and expressing gender non‐normativity as traditional and outdated (Leung, 2016; Grewal & Kaplan, 2001).…”

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confidence: 99%

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Beyond “correctness”

Yuen

2024

Journal of Sociolinguistics

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While browsing my Facebook feed on an early summer day in May 2017, a post with the trigger warning "inconsistent use of pronouns" grabbed my attention. The post, shared within a private Facebook group for (foreign) LGBTQIA+ individuals and allies living in Japan, featured an article recently published in The New York Times. Titled "Japanese Transgender Politician is Showing 'I Exist Here'," the article focuses on Hosoda Tomoya, a Japanese trans man who recently won a seat in the local city council in a suburb just outside of Tokyo (Rich, 2017). Hosoda made history as the first trans man in the world to be voted to public office, and the near-full-page article delved into Hosoda's life history, his journey into politics, and the challenges that he faced as a trans person living in Japan. What the author and the subsequent commenters of the Facebook post found "baffling" about the article was the use of the pronoun "she" when referring to Hosoda's childhood years as a girl named Mika, whereas throughout the remainder of the article, "he" was used to refer to Hosoda. This inconsistency was deemed by some as "poor etiquette," particularly from a reputable outlet like The New York Times. What the readers were not aware of, however, was that Hosoda himself had approved the use of the pronoun "she" in that specific section of the report. The reason he provided was that it is an undeniable fact that he had "publicly lived as a woman before chiryo" (transition, literally medical treatment) and therefore did not see anything wrong with using the feminine third-person pronoun (private communication). If Hosoda himself did not find the pronouns "inconsistent" or offensive, should the general readers take issue with them?In the middle of 2020, I received an email from a graduate student based in the United States who had recently read one of my articles. The student took issue with my use of the term "FTM," pointing out that by using it to refer to my research informants, I am perpetuating the "linguistic violence" associated with the term. In that article, I drew on my fieldwork in what I term the Japanese FTM community in Tokyo to show how seemingly mundane social events, such as drinking parties that are organized by and for trans men, can function as a site for my informants to negotiate inclusion and belonging as transThis is an open access article under the terms of the Creative Commons Attribution-NonCommercial-NoDerivs License, which permits use and distribution in any medium, provided the original work is properly cited, the use is non-commercial and no modifications or adaptations are made.

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The body center stage

Montesi

2020

TIS

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This article examines Marie Chouinard’s choreography Jérôme Bosch: Le Jardin des délices (2016) as an intermedial translation of Bosch’s homonymous painting. Taking the concepts of distribution of the sensible and esthetic regime developed by Rancière (2004) as groundwork, I consider how dance and translation participate in the political by challenging traditional hierarchal author–translator relationships, by introducing new corporealities and discourses in the realm of the visible and by exploiting the slippage of meaning that can be produced in the reiteration of discourse and citationality that characterize these two disciplines. I conclude by arguing that in engaging with these three lines of thought, Jérôme Bosch: Le Jardin des délices offers a model of translation as an embodied and situated practice that combines the esthetic and the political by bringing a dialogue between equally participating subjects to bear upon a specific context.

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Always in Translation

Cited by 10 publications

References 21 publications

Revisión sistemática de bibliografía sobre traducción audiovisual y estudios LGBTQ+ (2000-2020): dimensiones epistemológica y metodológica

Revisión sistemática de bibliografía sobre traducción audiovisual y estudios LGBTQ+ (2000-2020): dimensiones epistemológica y metodológica

Beyond “correctness”

The body center stage

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