Target. International Journal of Translation Studies - Volume 15, Issue 1, 2003

The article questions certain assumptions about retranslation which prevail rather unchallenged in Translation Studies, and discusses the terminological issues involved in retranslating theoretical texts. By presenting examples from two case studies, namely the reception of Roland Barthes’s work in Turkey and of Hélène Cixous’s work in Anglo-America, it examines the reasons underlying the abundance vs. rarity of retranslations in each case, respectively. Throughout the article, I contend that the factors of dominance, elasticity, tolerance, and power of the source and receiving systems involved determine whether travelling theory will be granted a multiple-entry visa to literary and cultural systems through retranslation.

The paper which follows uses a set of translations by Henry William Dulcken of stories written by Hans Christian Andersen and published in Danish between 1835 and 1866 as the object of an exercise in translational stylistic analysis. Section 1 presents the author, Section 2 discusses translational stylistics, Section 3 sets the scene for the stylistic study by outlining the impact of fairytale translations on the literary polysystem in Britain in the 19th Century and the reception in Victorian Britain of Andersen’s stories, and by introducing the translator and comparing his translations briefly with other early translations. Section 4 is devoted to the stylistic study, while Section 5 suggests that translational stylistics can be an important component in comparative cultural studies.

This paper analyses contractions in translated language, comparing the use of contracted forms by translators of fiction and biography into English with the contraction patterns of writers of similar texts in English. Significant differences are found between the English of literary translation and contemporary literary English writing, in terms of both variety of contracted forms encountered and frequency of occurrence of contractions. Qualitative analyses then focus on the functional description of some contracted and non-contracted forms, and also consider the contraction practices of different translators. The relationships between contractions and other linguistic features, explicitation in translation, translator style, discourse function and genre are touched upon, and avenues for further research of this nature are suggested.

Poems have often been turned into songs, notably as German Lieder. Classical singers use translations of these in several different ways: as cribs for themselves, in printed programmes for their audiences, as singable versions, etc. Since no single target-text is ideal for all of these purposes, the Skopostheorie of Hans J. Vermeer may help translators to match their strategy with the particular skopos (“goal or purpose”) of their translation. The author identifies five specific functions which a song-translation may serve, and proposes a range of five translation strategies intended to match these particular skopoi. A demonstration is given of how these strategies produce different English versions of a few lines from a Baudelaire poem.

The article investigates the issue of providing explanations for translational phenomena through discussion of data provided by a case study of the English translations of works by French philosopher Jean-François Lyotard. In the study four major sources of explanation are proposed: individual situations (the context of production of a particular translation and different translators’ attitudes); textuality (the conditions governing textuality implied in translation); translators’ norms; and intersecting fields (academic translation is envisaged as being situated at the intersection of three fields: academia, publishing, and professional translation). The paper makes a case for multiple causality in translation, and also considers the issue of relations between the different sources of explanation.