Introduction

Alvstad, Cecilia; Greenall, Annjo Klungervik; Jansen, Hanne; Taivalkoski-Shilov, Kristiina

doi:10.1075/btl.137.01alv

Cited by 10 publications

(5 citation statements)

References 110 publications

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“…The goal of the study was to examine how Oeser's "textual voice" (cf. Alvstad et al, 2017) was affected by the MT. The experiment was initiated by the researchers, but Oeser selected the MT system to be used, and the data collection process was organized in a way that would correspond to Oeser's normal working methods as closely as possible, for example, by having the PE done in Microsoft Word (Kenny & Winters, 2020, pp.…”

Section: Pe and Creativitymentioning

confidence: 95%

Literary Post-editing and the Question of Copyright

Taivalkoski-Shilov,

Koponen

2024

HJLCB

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Translation poses a challenge to copyright laws, which extend protection to works based on the originality of expression rather than the ideas expressed, because translations convey the ideas of the original in a different language and therefore also use different expressions. Technologization of translation has further increased this complexity, as tools such as translation memories and machine translation and post-editing practices are starting to also emerge in literary translation, calling for a more detailed investigation of the literary post-editor’s role and ownership of the text. Post-editing of machine-translated output could give rise to copyright protection, but this depends on the level of intervention and whether the post-edited translation is deemed sufficiently original. This article aims to investigate questions of originality, creativity and textual ownership in literary post-editing. We examine two cases where a literary text was machine translated, post-edited and then published. Our research materials consist of the peritexts surrounding the published translations and three epitexts: one publisher’s website, a research article written by one of the post-editors to describe the experience, and an interview with the other post-editor. Through a qualitative content analysis of these materials, we examine how they reflect the post-editors’ approach to post-editing, personal input in the process and textual ownership of the post-edited target text. The findings suggest that the two post-editors have different approaches to post-editing, leading them to differing perceptions of their own creative input and relationship with the final text.

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Section: Pe and Creativitymentioning

confidence: 95%

Literary Post-editing and the Question of Copyright

Taivalkoski-Shilov,

Koponen

2024

HJLCB

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“…As noted above, a piece of translated fiction may include both textual and contextual voice. The former relates to the voices found within the translated texts, while the latter refers to those involved in shaping, commenting on or otherwise influencing the textual voices (Alvstad et al, 2017;Alvstad and Rosa, 2015). While the character(s)'s and narrator's voices may manifest by textual means, the translator's voice can assert itself both textually and contextually by virtue of its ability to either mingle with those of the character(s) and/or narrator or to appear exclusively in paratext.…”

Section: The Translator's Voice In Translated Fictionmentioning

confidence: 99%

‘Novelty’ through narrative and paratextual voice: The case of John Minford’s translation of ‘The laughing girl’

Zhou,

2024

Language and Literature: International Journal of Stylistics

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‘The Laughing Girl’ (‘Yingning’) is a short fictional story from Liaozhai zhiyi, a collection of uncanny and surreal stories written by the Chinese writer Pu Songling between the 1660s and 1720s. The stories have been made available for anglophone readers as Strange Tales from a Chinese Studio published in 2006, canonised by Penguin Classics and the translator John Minford, whose approach rooted in ‘nouvelle Chinoiserie’ imbues the tales with a sense of novelty or strangeness, both textually and paratextually. In this study, we will investigate how Minford foregrounds the story’s novelty with his translator’s voice in the translated text. Comparison and analysis reveal that on the textual level, Minford’s shifting focalisation and narrative voice accentuates the strangeness in ‘The Laughing Girl’ and that his additions in terms of characterisation construct Yingning an even more outlandish fox spirit. On the paratextual level, he foregrounds the text’s novelty at the expense of other themes, such as the moral edification or social critique. Minford’s unique perspective on and approach to the source text align with the publisher’s aim to appeal to a general readership, leading him to highlight the text’s exoticism in his translation. Although Minford’s translation is both accessible and stylistically deft, it appears to reduce Strange Tales to a mere anthology of the bizarre and grotesque while constructing an ‘imagined and ethereal orient’, as is clearly indicated by the corpus-assisted readers’ reception analysis.

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“…So the more the translator is invisible, the less his or her voice is obvious. The concept of voice is used metaphorically in the realm of translation studies, it refers to "how individual or collective conceptions and attitudes are expressed by publishers, translators, and others in both contextual material and translated texts" (Alvstad et al, 2017). Recently, the concept of voice in translation has been intensively discussed by many scholars and researchers, such as Venuti (1995); Schiavi (1996); Hermans (1996Hermans ( , 2014; O'Sulllivan (2003); Millán-Varela (2004) and Munday (2008).…”

Section: Literature Reviewmentioning

confidence: 99%

Manifestation of the Translator’s Voice in the Kurdish Translation of Toni Morrison’s The Bluest Eye

Rasul

Mohammed²

2023

Journal of Garmian University

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The concept of the translator's voice has not been developed in translation until the late twentieth century. This study is an attempt to explore the voice of the translator in the Kurdish translation of Toni Morrison's novel The Bluest Eye. For this purpose, the source text (ST) and the target (TT) were compared thoroughly to identify instances that manifest the translator's interference at both textual and paratextual levels. The study employs Millan-Varela's (2004) three-phase model of the translator's voice. In the data analysis, the study adopts a mixed method of qualitative and quantitative. In its qualitative method, the concepts and theories about the translator's voice are discussed. On the other hand, the quantitative method is used to analyze the translation procedures/techniques used that indicate the voice of the translator at both textual and paratextual levels. Based on the findings of the study, it was revealed that the translator has a predominant presence throughout the novel. At the textual level, it is unearthed that the voice of the translator is manifested through three specific procedures, namely: addition, expansion and paraphrase. The perceived purposes behind the additions are dramatization, expressiveness, explication and the translator's idiosyncrasy. At the paratextual level, the translator's introduction and the footnotes are two main domains where the voice of the translator is manifested. In the translator's introduction, essential facts concerning the life of the author and her novels are included. In the footnotes, however, the voice of the translator is manifested in two categories: they either give information about the linguistic items in the TT or they present cultural details related to the characters and terms solely related to the ST. In almost all cases, the translator's voice is impartial both at textual and paratextual levels.

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Introduction

Cited by 10 publications

References 110 publications

Literary Post-editing and the Question of Copyright

Literary Post-editing and the Question of Copyright

‘Novelty’ through narrative and paratextual voice: The case of John Minford’s translation of ‘The laughing girl’

Manifestation of the Translator’s Voice in the Kurdish Translation of Toni Morrison’s The Bluest Eye

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