288 research outputs found
LIPIcs, Volume 251, ITCS 2023, Complete Volume
LIPIcs, Volume 251, ITCS 2023, Complete Volum
LIPIcs, Volume 261, ICALP 2023, Complete Volume
LIPIcs, Volume 261, ICALP 2023, Complete Volum
The Politics of Racial Translation : Negotiating Foreignness and Authenticity in Russophone Intersectional Feminism and Timati's Hip-hop (2012-2018)
Hva skjer med rase-, kjĂžnns- og seksualitetspolitikk i interseksjonell feminisme og hiphop nĂ„r de forflytter seg Ăžstover til postsovjetiske, russisksprĂ„klige kontekster? Denne avhandlingen utforsker oversettelsens betydning i sirkulasjonen av det amerikanske, engelsksprĂ„klige idiomet ârase som motstandâ i russisksprĂ„klige tilpasninger av hiphop og interseksjonalitet i perioden 2012-2018. Ved hjelp av digital etnografi, diskursanalyse og nĂŠrlesing av et utvalg musikkvideoer, analyseres to oversettelsesprosjekter empirisk: en russisksprĂ„klig grasrotside for interseksjonell feminisme, FIO (Feminist Intersectionality Against Oppression), og den â i Russland kontroversielle â tatarisk-jĂždiske hiphop-entreprenĂžren Timati. Denne avhandlingen, som befinner seg i skjĂŠringspunktet mellom kjĂžnns- og seksualitetsstudier, rase- og etnisitetsforskning og postsovjetiske kulturstudier, framhever oversettelse bĂ„de i sitt teoretiske rammeverk og i metodologisk forskningsdesign. Teoretisk er avhandlingens tilnĂŠrming til oversettelse inspirert av feministisk teori, feministisk antropologi og oversettelsesstudier, samt av transnasjonale perspektiver pĂ„ rasialisering og den voksende forskningen pĂ„ rase i Russland. Metodologisk trekker avhandlingen pĂ„ verktĂžy fra oversettelsesstudier og sosiolingvistikk. Ved Ă„ begrepsligjĂžre oversettelse som en forutsetning for geografisk forflytning av ideer, som et sted for forhandling der ting produseres som âfremmedeâ, og som en generativ snarere enn imiterende prosess, spĂžr den hva raseoversettelse frambringer og hvorfor noen oversettelsesprosjekter framstilles som mer fremmede enn andre. Metoden er Ă„ spore hvordan fremmedhet tilskrives ulike objekter, samt Ă„ undersĂžke de oversettelsesstrategiene som brukes i de to nevnte empiriske tilfellene nĂ„r de gjengir engelsksprĂ„klige rasekategorier som âwhiteâ, âblackâ, âpeople of colorâ og âwomen of colorâ. I tillegg til Ă„ undersĂžke hvilke generative effekter oversettelsene har, bruker studien en multimodal tilnĂŠrming som overskrider de semantiske grensene til etnorasekategorier og muliggjĂžr utforsking av rasemessig oversettelse pĂ„ tvers av flere semiotiske moduser. Avhandlingen begrepsligjĂžr rasemessig oversettelse som gjennomsyret av kjĂžnns- og seksualitetsdynamikk, innebygd i geopolitiske konfrontasjoner og informert av russisk imperial arv, og argumenterer for at rasemessig oversettelse er generativ pĂ„ flere sentrale mĂ„ter. Den rasemessige oversettelsen skaper nye og moderne formsprĂ„k (russofon interseksjonell feminisme og russisk kommersiell hiphop), kronotopisk plasserte former for personlighet knyttet til bestemte oversettelsesstrategier eller motstand mot dem, samt affektive responser og bestridelser av oversettelsesvalg og oversettelsesprosjekter som stigmatiseres eller verdsettes som âfremmedeâ. De som oversetter, tilnĂŠrmer seg det engelsksprĂ„klige formsprĂ„ket ârase som motstandâ som âfremmed og moderneâ, og indekserer en avansert tid og et avansert sted, USA, for Ă„ styrke, reparere og modernisere russisksprĂ„klig feminisme og russiske musikkscener. Begge oversettelsesprosjektene posisjonerer fremmedgjĂžring som en kilde til modernisering, noe som forklarer predisposisjonen for fremmedgjĂžrende oversettelsesstrategier. FremmedgjĂžrende
oversettelsesstrategier og motviljen mot bokstavtrohet i postsovjetiske, russisksprÄklige kontekster, kan imidlertid gjÞre oversetterne selv fremmede, noe som fremmer jakten pÄ originalitet, forsÞk pÄ Ä forhandle oversettelsens stigma og Ä reparere kronisk inautentisitet.
PĂ„ nettsidene til det russisksprĂ„klige, interseksjonelle feministiske digitale fellesskapet, skaper moderatorenes tilbĂžyelighet til translitterasjoner en form for uro, beskyldninger om uforstĂ„elighet og en slags motvilje for sprĂ„kblanding. Moderatorenes rolle som en kosmopolitisk, tosprĂ„klig, feministisk elite skiller seg fra vanlige russisksprĂ„klige lesere. Interseksjonalitet sirkulerer som en feministisk kronotop, som FIO ser for seg som en feministisk fremtid, et botemiddel mot den russisksprĂ„klige feminismens rasisme, homofobi og transfobi. Feministiske kronotoper blir brukt i diskusjoner rundt oversettelse og blant annet utnyttet i lokale kronotopiske forestillinger om russisk bakstreverskhet og slavofil trangsynthet. Den bokstavelige oversettelsen av kategorien âhvitâ genererer figurer som âhvit mannâ og âhvite kvinnerâ og inngĂ„r i det russisksprĂ„klige interseksjonelle feministiske formsprĂ„ket. Produksjonen av modererende antirasistisk hvithet-i-oversettelse mobiliserer kronotopiske figurer av tilbakestĂ„ende rasistiske andre som komparativ kontrast til mer moderne kunnskap. Den driver ogsĂ„ frem spĂžrsmĂ„l om grensene for oversettbarheten til kategorien âhvitâ for den situerte antirasistiske post-sovjetiske praksisen i kommentartrĂ„dene, inkludert den skiftende kategorien ĐĐ°ĐČĐșĐ°Đ·ŃŃ/Kaukasiere. Manglende oversettelse av kategoriene âpeople of colorâ og âwomen of colorâ genererer blant annet sĂžken etter en postsovjetisk âwoman of colorâ som et russisksprĂ„klig interseksjonelt feministisk subjekt. Slik kanoniseres ârĂ„â oversettelse, den transsprĂ„klige spredningen av etno-rasistiske kategorier og instrumentaliseringen av figuren âtrans woman of colorâ av russisksprĂ„klige radfem som et tegn pĂ„ den russisksprĂ„klige interseksjonalitetens totale fremmedhet. Begrepet realia brukes i materialet som en sĂžken etter Ă„ lokalisere det amerikanske raseidiomet og for Ă„ belyse sĂŠrtrekkene ved den post-sovjetiske etnorasiske maktdynamikken.
I undersĂžkelsen av raseoversettelse i Timatis hiphop, vises det hvordan Timati, ved Ă„ kombinere amerikansk svart hiphop-estetikk med russisk glamour pĂ„ 2000-tallet, brukte uoversatt amerikansk svarthet som en kosmopolitisk kulturell kapital for Ă„ motvirke volden i den post-sovjetiske rasialiseringen. Ved Ă„ nĂŠrme seg amerikansk svart estetikk gjennom direkte erfaring med âkildenâ, fikk Timati transnasjonal suksess med sin etnorasiale formbarhet og evne til Ă„ formidle mellom postsovjetiske markeder, lokale Ăžkonomiske eliter, amerikansk raseautentisitet og amerikanske hiphop-kjendiser. Han bidro derimot neppe til Ă„ avhjelpe hiphopens kroniske inautentisitet i Russland. ForsĂžk pĂ„ Ă„ hĂ„ndtere stigmaet fremmedhet og imitasjon, og Ă„ oppnĂ„ sterkere hiphop-autentisitet pĂ„ hjemmebane, markerte en reorientering av Timatis prosjekt for rasemessig oversettelse. Fra 2012-2013 figurerer Kaukasus og kaukasiske maskuliniteter som âregionale originalerâ, noe som gjĂžr det mulig for Timati Ă„ oversette den amerikanske svarte maskuliniteten som ligger til grunn for amerikansk hiphop-autentisitet. Han tar i bruk ulike strategier, som âvikarierende autentisitetâ, memetikk og hiphop-homofobi, og skaper en homofobisk hiphop-meykhana-cipher og visuelle, imperiale troper av et kaukasisk sublim. Skjegget som rasemessig/seksuell metonymi er sentralt for Ă„ forstĂ„ Timatis prosjekt for rasemessig oversettelse i 2014-2015, som er involvert i seksuell geopolitikk mellom Ăžst og vest. Gjennom hiphop-modernitet og tvillingfantasien om etnisk raseblanding og sentralasiatiske migranters Ăžkonomiske oppsving i Russland, oppvurderes den etniske andre fra Ă„ vĂŠre symbol pĂ„ en sikkerhetstrussel (skjeggete terrorister) til Ă„ bli moderne, homofob og kul â og slik i stand til Ă„ sikre Russlands organiske og multinasjonale fremtid mot et angivelig korrupt og seksuelt perverst Europa. HĂžydepunktet i Timatis prosjekt for rasemessig oversettelse i 2014-2016 resulterte i oppfinnelsen av en bevisst memetisk karakter, Teymuraz, som iscenesetter rasistiske klisjeer av kaukasiske og sentralasiatiske menn. Teymuraz, som en del av Russlands hybridkulturelle trend med estetisk populisme, resirkulerer elementer fra New East gopnik-stil, sovjetiske og postsovjetiske komedier om menn fra Kaukasus og Sentral-Asia, blander elementer av samfunnskritikk og tilegner seg de subalternes stemmer. Han utgjĂžr med dette et sĂŠregent patriotisk, antirasistisk prosjekt med motstridende implikasjoner. Timatis lekne fremfĂžringer av patriotisme og performativ disidentifikasjon fra USA som kilde til hiphop i 2015 forstĂ„r hiphop-patriotisme som en strategi for Ă„ lokalisere hiphop i den skiftende geopolitiske konteksten av Russlands vending bort fra Vesten. Russiske diskurser om hiphop-autentisitet, som er opptatt av Ă„ oppdage og avslĂžre plagiat i Timatis arbeid, gir stemme til et sĂŠregent arbeid med Ă„ skille âekteâ hiphop fra âfalskâ hiphop. Dette arbeidet bygger pĂ„ rasistiske diskurser om handel og umoral, og markerer Timati som âfremmedâ - bĂ„de utenfor sjangerens og den russiske nasjonens grenser â og avslĂžrer en russisk etnonasjonal skjevhet som ligger til grunn for russiske diskurser om hiphop-autentisitet.
NĂžkkelord: oversettelse, interseksjonalitet, rase, etnorasisk, postsovjetisk, russisk hiphop, rap, russisk rap, grasrotfeminisme, digital feminisme, feministiske kronotoper, feministisk oversettelse, feministisk aktivisme, populĂŠrmusikk, Russland, russofon, oversettelsesstrategier, litteralisme, translitterasjon, homofobi, transfobi, vikarierende autentisitet, memetikk, realia, rasemessig/seksuell metonymi, indeksikalitet, multimodalitet, den kalde krigen, russisk populĂŠrkultur, digital aktivisme, autentisitet, hiphop-maskuliniteter, rasialisering, Kaukasus, Sentral-Asia.What happens to race, gender, and sexuality politics of intersectional feminism and hip-hop when they travel eastwards into post-Soviet Russophone contexts? This thesis explores the role of translation in the circulations of the US Anglophone idiom ârace as resistanceâ in 2012-2018 Russophone adaptations of hip-hop and intersectionality. Drawing on the digital ethnography, discourse analysis, and close reading of a selection of music videos, it empirically analyzes two translation projects: a grassroots Russophone translation-based intersectional feminist page, FIO (Feminist Intersectionality Against Oppression) and â a controversial in Russia â Tatar-Jewish hip-hop entrepreneur, Timati. This thesis, situated at the intersection of gender and sexuality studies, race and ethnicity research, and post-Soviet cultural studies, foregrounds translation in its theoretical framework and methodological research design. Theoretically, the dissertationâs approach to translation is inspired by feminist theory, feminist anthropology, and translation studies, as well as by transnational perspectives on racialization and the growing scholarship on race in Russia. Methodologically it draws on the tools from translation studies and sociolinguistics. Conceptualizing translation as a precondition for travel, as a site of negotiation where things are produced as âforeignâ and as a generative rather than imitative process, this thesis asks what racial translation generates and why some translation projects are rendered as more foreign than others. The method is to track the attributions of foreignness and examine the translation strategies used by the two projects mentioned above when rendering English-language racial categories such as âwhite,â âblack,â âpeople of color,â and âwomen of color.â The study also uses the multimodal approach that goes beyond the limits of the semantics of ethnoracial categories, allowing for the exploration of racial translation across multiple semiotic modes. Conceptualizing racial translation as saturated in gender and sexuality dynamics, embedded in geopolitical confrontations, and informed by Russian imperial legacies, the thesis argues that racial translation is generative in several central ways. It creates novel and modern idioms (Russophone intersectional feminism and Russian commercial hip-hop), chronotopically positioned types of personhood associated with particular translation strategies or resistance to them, as well as affective responses and contestations of translation choices and translation projects stigmatized or valorized as âforeign.â The translators approach the Anglophone idiom of ârace as resistanceâ as âforeign and modern,â indexing advanced time and place, the USA, brought up to invigorate, repair, and modernize Russophone feminisms and Russian music scenes. Both translation projects position foreignization as a source of modernization, explaining the predisposition for foreignizing translation strategies. However, foreignizing translation strategies and the aversion to literalism within post-Soviet Russophone contexts may render translators themselves foreign, propelling the search for originality, the attempts to negotiate the stigma of translation, and to repair chronic inauthenticity.
On the pages of the Russophone intersectional feminist community, the moderatorsâ predisposition to transliterations generates visceral unease, accusations of unintelligibility, anxieties about the language mixing, and the roles of moderators as cosmopolitan bilingual feminist elites different from ordinary Russophone readers. Intersectionality circulates as a feminist chronotope, envisioned by FIO as a feminist future, a remedy against exclusions within Russophone feminisms such as racism, homophobia, and transphobia. Circulating feminist chronotopes are used in contestations around translation, harnessed on local chronotopic imaginaries such as Russian peasant backwardness and Slavophile parochialism. The literal translation of the category âwhiteâ generates figures such as âwhite manâ and âwhite women,â which enter the Russophone intersectional feminist idiom. The production of anti-racist whiteness-in-translation mobilizes chronotopic figures of backward racist others in comparative contrast with more modern bodies of knowledge and types of personhood. It also propels the questioning of the limits of the translatability of the category âwhiteâ for the situated anti-racist post-Soviet praxis in the comment threads, including the shifting category ĐĐ°ĐČĐșĐ°Đ·ŃŃ/Caucasians. Non-translation of the categories âpeople of colorâ and âwomen of colorâ generates, amongst other things, the search for a post-Soviet âwoman of colorâ as a Russophone intersectional feminist subject, the canonization of raw translation, the translingual proliferation of ethnoracial categories and the instrumentalization of the figure of âtrans woman of colorâ by Russophone radfem as a mark of Russophone intersectionalityâs total foreignness. Finally, the term realia emerged in the empirical materials as the quest for localizing the US idiom of race, adjusting intersectionality to the specificities of post-Soviet ethnoracial power dynamics.
Within the project of racial translation in Timatiâs hip-hop, I show how Timati marrying of US black hip-hop aesthetics and Russian glamour in the 2000s deployed untranslated foreign US blackness as a cosmopolitan cultural capital to alleviate the violence of post-Soviet racialization. Approximating US black aesthetics through the direct experience of âthe source,â Timatiâs ethnoracial malleability and capacity to mediate between post-Soviet markets, local economic elites, US racial authenticity, and US hip-hop celebrities brought him international success, yet hardly helped alleviate chronic hip-hop inauthenticity in Russia. Attempts to manage the stigma of foreignness and imitation and hence achieve a stronger hip-hop authenticity domestically marked a reorientation of Timatiâs project of racial translation. From 2012-2013, the Caucasus and Caucasian masculinities figure as âregional originals,â allowing Timati to translate the US black masculinity underpinning US hip-hop authenticity through the strategies of vicarious realness, memetics, and hip-hop homophobia in a gay bashing hip-hop meykhana cipher and visual Imperial tropes of the Caucasian sublime. The beard as racial/sexual metonymy is central for understanding Timatiâs project of racial translation involved in East-West sexual geopolitics in the period of 2014-2015: through hip-hop modernity and the twin fantasy of ethnoracial mixing and Central Asian migrant economic uplift in Russia, the ethnoracial other is revalorized away from the image of the security threat (bearded terrorist) as modern, homophobic and cool, able to secure Russiaâs organic and multinational future against corrupt and sexually perverse Europe. The pinnacle of Timatiâs project of racial translation in 2014-2016 resulted in the invention of a deliberately memetic character, Teymuraz, enacting racialized cliches of Caucasian and Central Asian men. Teymuraz, as part of Russiaâs hybrid cultural trend of aesthetic populism, recycles the elements of New East gopnik style, Soviet and post-Soviet comedies about men from the Caucasus and Central Asia, mixes elements of social critique, and appropriates the voices of the subaltern, performing a peculiar patriotic anti-racist project with contradictory implications. Timatiâs 2015 ludic performances of hip-hop patriotism, coupled with performative disidentifications from the USA as a source of hip-hop, are read as a strategy of hip-hop localization in the changing geopolitical context of Russiaâs turn away from the West. Russian discourses of hip-hop authenticity, preoccupied with detecting and exposing plagiarism in Timatiâs work, serve to discern ârealâ hip-hop from âfakeâ hip-hop. These acts of discernment draw on the racialized discourses of commerce and immorality, marking Timati as âforeignâ - both outside the borders of the genre and the Russian nation â thus exposing the Russian ethnonational bias underpinning Russian discourses of hip-hop authenticity.
Keywords: translation, intersectionality, race, ethnoracial, post-Soviet, Russian hip-hop, hip-hop, rap, Russian rap, grassroots feminism, digital feminism, feminist chronotopes, feminist translation, feminist activism, popular music, Russia, Russophone, translation strategies, literalism, transliteration, homophobia, transphobia, vicarious realness, memetics, realia, racial/sexual metonymy, indexicality, multimodality, Cold War, Russian popular culture, digital activism, authenticity, hip-hop masculinities, racialization, Caucasus, Central Asia.Doktorgradsavhandlin
Computer Aided Verification
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