Representation of translators and interpreters

Kaindl, Klaus

doi:10.1075/hts.3.rep1

Cited by 12 publications

(10 citation statements)

References 2 publications

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“…This increasing attention led Vieira (1995) to coin the term fictional turn in Translation Studies (cited in Gentzler 2001). However, according to Kaindl (2012), silent films such as The Dragoman (1916) and The Greek Interpreter (1922) indicate that the narrative potential of translation had been discovered much longer ago. Kaindl (2012, 146) also states that "authors or directors use the humorous as well as the dramatic, but in any case the sociopolitical potential which is related to translational actions or to the character of a translator".…”

Section: Representation Of Translators In the Filmsmentioning

confidence: 99%

Translators’ image in Iranian feature films

Khoshsaligheh

Kafi

Noorani

2018

FORUM

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Drawing on the significant influence of audiovisual media on people’s conceptions of any given phenomenon, the current qualitative study was an attempt to identify the social dimensions of the Iranian translator, represented in feature films in Iran. Specifically, the study aimed to explore the identity, socioeconomic status and lifestyle of the translator characters depicted in Iranian feature films. Therefore, 16 Iranian films, involving interlingual translation, were selected. The thematic analysis revealed five sociological aspects of the Iranian translator reflected in Iranian films: identity of the translator, socioeconomic status of the translator, lifestyle and attitude of the translator, attitudes of other characters towards the translator, and the role of translation in the turn of events. The results indicated that translators are generally shown as self-disciplined and dissociable individuals who are devoted to their work. The translator characters mostly had minor roles in the plot and turn of events.

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Section: Representation Of Translators In the Filmsmentioning

confidence: 99%

Translators’ image in Iranian feature films

Khoshsaligheh

Kafi

Noorani

2018

FORUM

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“…Interpreters in movies and fiction are often depicted as unreliable, manipulative, hybrid beings with double loyalties (e.g., Ben-Ari, 2010;Cronin, 2009;Kaindl, 2012;O'Sullivan, 2011). Dong Hanchen, the Chinese interpreter in Guizi lai le, may also fit into such a characterization.…”

Section: Multiple Faces Of the Interpretermentioning

confidence: 99%

The interpreter as traitor: Multilingualism in Guizi lai le (Devils on the Doorstep)

Takeda

2013

LANS-TTS

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This paper discusses ways in which multilingualism is represented in an award-winning Chinese film, Guizi lai le, and its subtitling. Known as Devils on the Doorstep in English, the movie approaches its multilingual setting realistically: Chinese villagers speak in Chinese, Japanese soldiers in Japanese, and interpreters mediate their communication. In examining the Chinese, Japanese and English subtitles of the film, the study focuses on the different strategies used by the translators to represent multilingualism and to subtitle offensive language. The behavior and fate of the Chinese interpreter in the film is also explored, with special attention to the power interpreters possess for controlling and manipulating information and the notion of the interpreter as traitor and war criminal in the context of conflict. Findings of this research invite further investigation into how the audience views multilingualism in cinema and how the identity and loyalty of interpreters is depicted in war-themed movies. Collaborative work by researchers from different language and cultural backgrounds should also be encouraged.

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“…Several scholars have recently contributed to this exciting field. Julio César Santoyo (1984) assesses how translation is used as a narrative technique; Jon Thiem (1995) sees fictional translators as heroic figures; Adriana Pagano (2002) examines the work of Julio Cortázar and his uses of translation and translators in his fiction; Beverly Curran (2005) analyzes the use of fictional translators in Anglophone literatures; Judy Wakabayasi (2005) investigates representations of translators and translation in Japanese fiction; Eva Lavric (2007) explores the figure of the interpreter in the Spanish novel A Heart so White by Javier Marías; Rita Wilson (2007) scrutinizes fictional translators in contemporary Italian novels; Edwin Gentzler (2008) takes up translators in Latin American's fictional turn and fictional translators; Michael Cronin (2009) and Klaus Kaindl (2012) showcase how translators and interpreters are represented in literature and film; Nitsa Ben-Ari presents a fictional translator/interpreter typology; Ingrid Kurz (2014) looks into the (in)fidelity of fictional interpreters; Monika Wozniak (2014) explores the treatment of translators and interpreters in science-fiction novels and films; Rosemary Arrojo (2018a), one of the most prolific researchers in this field, examines how fiction can be used as a source to approach translation theory using Latin American fiction. 3…”

Section: Introductionmentioning

confidence: 99%

Dragomans Gaining Footing: Translators as Usurpers in Two Stories by Rodolfo Walsh and Moacyr Scliar

Miletich

2018

Hikma

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Fictional texts focusing on translators and translation have proliferated in world literature during the last fifty years. Thanks to the recent and commonly named "fictional turn" in Translation Studies, fictional translators have been studied and analyzed much more and made ever more visible. This visibility serves to consider translators not as mere interlingual photocopiers but as social beings that operate in particular sociocultural contexts. Two stories from Latin America, "Notas al pie" (Footnotes) by Rodolfo Walsh (1967) and "Notas ao pé da página" (Footnotes) by Moacyr Scliar (1995), introduce translators who are uncomfortable with having to occupy a second-rate space. The fictional translators' footnotes utilize whole pages (effectively taking over in each of the stories) and usurp a space that is conventionally assigned only to writers/authors of a text. The translators in these stories have found a way to use these explanatory comments to their advantage. Since footnotes are often not well-received by many readers, who consider them temporary interruptions and/or a nuisance, they are usually kept to a minimum. Our fictional translators, however, increase the size and number of footnotes dramatically. The clear-cut hierarchical relationships between writer/author and translator are reversed in these stories to unveil the struggle for power that exists between the figures of author and translator. Both stories can also serve as pedagogical tools to discuss the exciting world of Translation Studies.

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Representation of translators and interpreters

Cited by 12 publications

References 2 publications

Translators’ image in Iranian feature films

Translators’ image in Iranian feature films

The interpreter as traitor: Multilingualism in Guizi lai le (Devils on the Doorstep)

Dragomans Gaining Footing: Translators as Usurpers in Two Stories by Rodolfo Walsh and Moacyr Scliar

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