What Remains: Pseudotranslation as Salvage

Pseudotranslations are literary works which purport to be translations of lost or suppressed originals, i.e. to be ‘salvaged’ from oblivion or obscurity. Pseudotranslation has attracted a good deal of attention within translation studies in recent years, but as a practice it can be traced back a long way. This article discusses a number of examples of the type, from Cervantes’ Don Quixote and modern works treating Shakespeare as pseudotranslated (Star Trek VI, Tom Stoppard’s Arcadia) through notable eighteenth-century examples (Walpole’s The Castle of Otranto, MacPherson’s Ossian) to non-fictional fictions The Book of Mormon and ‘Nietzsche’s’ fraudulent late autobiography My Sister and I. Readers of translations usually trust that an original exists, and pseudotranslations abuse that trust. But even when an original does exist, translation performs a kind of salvage operation, acting as a kind of lifeboat which rescues a text from the passing of time and keeps it afloat for posterity

Riflessioni su alcune scelte traduttive in lingua inglese (Morris, Tinker, Tolkien, Heaney e Porter)

This essay takes into account some English translations of the Old English poem Beowulf. Matter of specific investigation is the passage of the coming of Grendel to the Danes' court Heorot. As the translations of Beowulf are countless, only specific and emblematic cases – both in prose and verse – are analysed. Then, the translations by William Morris, Chancey Brewster Tinker, J.R.R. Tolkien, Seamus Heaney and John Porter are compared trying to ascertain the approach of those translators to the Old English text and furthermore the intentions they had in rendering the poem into Modern English. The big problem that all the translators consciously tackled was the chronological and linguistic distance of Beowulf that had to be solved in some way. Choices and strategies differ from one version to another, but every solution demonstrates a specific attention to the musicalness of the original together with a deep awareness for the tradition that the Old English poem embodies

Translation Studies versus Comparative Literature?

Comparative literature is one of the main disciplines out of which translation studies emerged, so it is hardly surprising if at times the relationship between the two subjects has been marked by antagonism. Comparative literary scholars, in particular – perennially anxious about the status of comparative literature itself – have argued that their discipline has been subsumed and superseded by translation studies. Yet in recent decades the two subject areas have also been growing further apart, to the extent that Susan Bassnett, one of the key exponents of the antagonistic view, has modified her stance and argued instead for a rapprochement between the two under the heading of intercultural studies

Film remakes, the black sheep of translation

Film remakes have often been neglected by translation studies in favour of other forms of audiovisual translation such as subtitling and dubbing. Yet, as this article will argue, remakes are also a form of cinematic translation. Beginning with a survey of previous, ambivalent approaches to the status of remakes, it proposes that remakes are multimodal, adaptive translations: they translate the many modes of the film being remade and offer a reworking of that source text. The multimodal nature of remakes is explored through a reading of Breathless, Jim McBride's 1983 remake of Jean-Luc Godard's À bout de souffle (1959), which shows how remade films may repeat the narrative of, but differ on multiple levels from, their source films. Due to the collaborative nature of film production, remakes involve multiple agents of translation. As such, remakes offer an expanded understanding of audiovisual translation