Target. International Journal of Translation Studies - Volume 21, Issue 1, 2009

The present paper explores the contribution of the Slovak scholar Anton Popovic (1933–1984) to translation studies from the end of the 1960s until the beginning of the 1980s. It mentions the theoretical and methodological underpinnings of Popovic’s work (particularly Jirí Levý and František Miko), briefly analyzes Popovic’s most important publications within the field of translation studies, and discusses criticisms as well as inspirations of his conception of translation. The paper concludes with an evaluation of Popovic’s role in developing the field of Czechoslovak and international translation studies, most importantly of descriptive translation studies and the manipulation school.

The paper offers a comprehensive overview of the Polish metaphorics of translation. It starts by examining the Polish linguistic image of translating, followed by a survey of metaphorical descriptions of the translator and translation from the 18th century, representing the pre-scientific era in reflection on translation. Most attention is devoted to metaphors found in contemporary Polish discourse on translation, centered around: (1) the nature of translation; (2) the relationship between the source and target text, and between the author and translator; and (3) the role of the translator. It is demonstrated that the Polish context offers a rich repertoire of metaphorical depictions of translating, which reflects its distinctive historical and cultural setup.

Though there are no clear-cut boundaries between the philosophy of translation and translation studies, they are obviously not the same. They differ not only in how they address their subject matter but also in that they occupy different “niches” in the culture. In the terminology of Bourdieu, they partake in different, though possibly partly overlapping cultural fields. This article attempts to create a meeting place for two representatives of these disciplines: Paul Ricoeur, a leading figure in French hermeneutics of the 20th century, and Gideon Toury, a prominent researcher in the field of translation studies. Ricoeur’s concept of the (non-existing) “third text” is compared with Toury’s concept of “the adequate translation as a hypothetical construct”, which was proposed in the 1980s and negated in the 1990s; and Ricoeur’s view of translation as “equivalence without adequacy” is compared with Toury’s stand on this issue. The possibility of working with both and reading each of them in light of the other is examined by applying their ideas to a test case — three Hebrew translations of Kipling’s “If”. The underlying assumption is that establishing links between translation studies and the philosophy of translation can contribute to the understanding of the phenomenon, which is the subject matter of both.

The present paper comprises a corpus-based study of translator style, comparing two German translations of the novel The Beautiful and Damned by Francis Scott Fitzgerald. The translations, by Hans-Christian Oeser and Renate Orth-Guttmann, were both published in 1998. The study isolates the linguistic feature of modal particles in which the individual styles of the translators manifest themselves on the textual level and investigates the influence the translators’ microlevel linguistic choices have on the macrolevel of the novel. An electronic corpus was compiled, comprising The Beautiful and Damned and its two translations, both entitled Die Schönen und Verdammten. A quantitative analysis was carried out to discover potential patterns of the use of modal particles by the translators, and the results showed that while both translators use modal particles to the extent and in the general context one would expect, they differ considerably in their choice and use of individual modal particles. The subsequent qualitative analysis takes a pragmatic approach, and discusses the selected modal particle wohl according to its communicative function, its role in speech and thought acts and in the narrative, and in the context of the respective narrative points of view. Finally it is argued that the two translators differ in their translation styles to an extent that affects the novel’s macrolevel in that one translator provides a character study while the other focuses on societal issues.

While asyndeton between finite clauses within the sentence may be considered a marginal construction, compared for example to coordination or subordination, it is more frequent in French than in English, in which it is limited with respect to genre. Particularly interesting examples, both quantitively and qualitively, can be found in French literature, notably in the fiction of Marguerite Duras, who made asyndeton her hallmark. This study documents the choices made by English translators of Duras, and of three other French writers who exploit asyndeton. Literature aside, asyndeton in French texts is not carried over into English, in what can be qualified as norm-governed translation. However, asyndeton in literary texts is carried over into English in up to fifty percent of cases, reflecting a certain compromise between norms in the source language and those in the target language. Apart from describing Duras’ specific use of asyndeton, and illustrating the difficulty of translating any element that is an essential ingredient of a writer’s style, which, by definition, represents a departure from an accepted norm, this study brings to light certain aspects governing clause combining in English. Certain linguistic parameters that favour the exploitation of asyndeton in English are systematised, specifically concision, rhythm and isotopy. Semantic, temporal and/or aspectual constraints are also highlighted.