Andriana Rizos
ENG 757
2/17/10
Objectives:
• Classmates will compare lyrics of an American song that was used by a Greek band as they list the similarities and differences after watching the video.
• Classmates will interpret quotes by Clifford Landers, and listen to his analogy as they literally put it to use.
• Classmates will rearrange the English (original) lyrics to see how many variations we get that all mean the same thing to portray the freight train analogy by using it as a model.
Clifford Landers explains in Literary Translation: A Practical Guide, "how one says something can be as important, sometimes more important, than what one says" (pg. 7). Often, that is what we remember the most as well; we may remember that a relative was harshly blunt in the way they revealed a misfortunate event, but not the exact words the relative used. This is because emotions is what really goes deep into us, not the words. It is the words that create those emotions, therefore we must maneuver them carefully so as to elicit emotional responses from our readers. The first time I heard that Nickelback song, "How You Remind Me," I remember liking the music, beat, rhythm, melody, and lyrics. Then, when I heard the Greek version of it, I was amazed and thrilled to hear it in another language. As soon as the lyrics came into play, I felt betrayed when I realized the Greek lyrics had nothing to do with the English.
In Landers' freight train analogy, he explains that in a technical translation, "the order of cars is inconsequential if all the cargo arrives intact" (pg. 7). The cargo is the meaning portrayed by the words that exist in these cars. This did not arrive in the Greek song, leaving me disappointed. Although it is perfectly okay to mix up the words as well as the placements of lines, this song didn't even try. In a literary translation, "the order of the cars - which is to say the style - can make the difference between a lively, highly readable translation and a stilted, rigid, and artificial rendering that strips the original of its artistic and aesthetic essence, even its very soul" (pg. 7). When we try to stick so close to the original source text, the target language fails to encompass the initial beauty so we must stray into what we know is the beauty of the target language. Both meaning and style are very important, therefore we need to compromise both to get to our final product.
As we will see in our freight-train exercise, we can rewrite a line from one language into that same language in many ways, yet still keep the meaning alive. The only difference would be in sound and aesthetics. "All these semantically interchangeable sentences convey the same information but differ significantly in aesthetic effect. Each is defensible, and each would have its defenders, but the literary translator must make a choice, and from a succession of such choices emerges the final product" (pg. 9). Since the Greek version of the song did not attempt to take the meaning of the English original, yet the melody, rhythm, and feel of the song as well as its video remained the same, the freight train arrived without its cargo. In other words, this was a failed translation. In poetry, for example, we must wonder when form becomes necessary to abandon in order to keep meaning alive. We must ask ourselves as translators, what is more important? The arrival of a freight train, or the arrival of its cargo? The form, or the content? Only from there, can we start to work at a compromise by playing with syntax and language to perhaps create new images or rhymes that could convey the initial meaning that was intended.
I feel this is the biggest struggle for a translator, and one with no real answer as to whether or not the problem could be solved. It's a matter of compromise between the literal and technical translations from the source text to the target language.
Tuesday, March 23, 2010
Wednesday, March 10, 2010
Student's Dislocation of Translation Workshop Through Drama Workshop
What follows is a brief translator's note, along with an original drama translation by student Yoshi Tomonaga.
In our workshop, we struggled to divide roles, as characters take other names (significantly, in stronger light). At one point during our collective frustration, I realized the value of getting lost through translation. We were effectively brought into the dislocation demanded by the text (and the translator).
3 / 01 / 2010
Yoshihisa Tomonaga
Eng 757
Prof. Roger Sedarat
Translator’s note
Kunio Kishida was born in Tokyo in 1890 and died in 1954. He was regarded as one of the founders of modern Japanese drama. He entered Tokyo Imperial University to study French Literature and after graduation went to Paris. After returning to Japan, he founded the Literature Theater Company in 1937 which has been a leading theater company since then.
Kishida normally uses simple and plain language in his drama. But through the simple language, he creates scenes where the characters exchange very subtle and delicate feelings to one another. Also, there are often some mysteries or comical misunderstandings between the characters even though they are having a simple conversation. Though the work looks simple at first, translation is not as easy as it seems.
The Vacation from home is a comedy in which the husband and wife take a vacation from home, taking advantage of the absence of the lodger, the poet. The wife goes back to her parent’s house and the husband stays home alone. But the poet comes back early, so the couple’s plan has to be changed. In this play, Kishida uses quite plain language too. Like most of his works, there are complex feelings and emotions behind their words.
A Vacation from Home
By Kunio Kishida
Characters:
Husband: Yasoichi Sibuya
Wife
Poet: Toba
The Wife’s Mother
Young woman: Kamoko
Grocery man
The Act 1
It is inside the house with all the shutters closed. There is a small gritted window with frosted glass a little high up in the center. Through the window, light comes in and makes a part of the living room slightly visible in the dark.
Outside, there is a sound of banging on the door.
The Voice
Anybody there? It’s me, Mrs.Shibuya! It’s Mr. Toba.
In the meantime, the small window in the center opens and a man with long hair peeks into the house.
The Man
How can she not be home now? I am OK. But it’s gonna be a big trouble when the husband comes back. Or now that I left for my hometown, they might go to Asakusa or somewhere. If so, since I don’t have the key, I can’t get inside. Well, putting my bag under the veranda, I’ll go see Miss Kamoko. (the man closes the window and leaves.)
Then, from the kitchen, a man, wearing western clothes, slowly appears in the room and walks across the living room to the drawing room. Meanwhile, another man with a bag in hand also comes in from the kitchen. The second man stops there and gazes into the dark.
The Man
(a little frightened) Who are you?
The voice from the dark
I want to ask you the same thing.
The Man
If I tell you my name, you wouldn’t know.
The Voice from the dark
Why are you there?
The man
I want to ask you that.
The Voice from the dark
I own this house.
The Man
Don’t be ridiculous! I’m a lodger here.
The Voice from the dark
Mr. Toba should be back in his hometown.
The Man
Oh, you know my name. Have you read my poems?
The Voice from the dark
I was forced to read them. They were not interesting, so I just pretended to read.
The Man
But you don’t have to pretend. I only show you failed ones. By the way, what happens to you wife?
The Voice from the dark
She is gone for a while. Did you change you plan?
They began to open the shutters. It is suddenly bright in the room.
The Poet
Hi, I’m back. I finally broke up with my father. But I’m sure my mother will secretly send me money as before. So I don’t have to worry. Your wife is not here, so the room is a mess. Who in the world cleans up my room?
The Husband
Of course, no one does it. (Taking off the suit and change into a kimono) But when you come back, my wife should be here too.
The Poet
I was supposed to be away for a week. So there are only a few days left, I guess.
The Husband
It was sixteenth. So tomorrow, the day after tomorrow… in three days she’ll be back.
The Poet
until then, how should I live here? How about my meals?
The Husband
I’ll figure it out. I don’t mind calling her back in telegraph.
The Poet
Is it far?
The Husband
Well, yes. It’s kind of in the country.
The Poet
In the country. Is it Yotsuya or somewhere?
The Husband
That’s right.
The Act 1
The Voice
Not home? Me. Hey, it is me. Mrs. It is Toba…
The Man
This time of the day the house / is not here / no way. I / well / not / no way / the husband / comes back / if / problem / this is… Or / I / the country / back / fortunate / today / as a couple / together / Asakusa / or somewhere / went. If so / I / the key / don’t have / because / Inside the house / enter. Well, the bag / under the veranda / throw / Ms. Kamok / a place / play / go. ( closing / the glass door / leave)
The Man
( half frightened) who / is there? /
The Voice from inside
Saying so / you / who.
The Man
Name / if / say / probably / don’t know.
The Voice from inside
What / business / enter / came
The Man
That / from here / want to ask
The Voice from inside
I / this house / an owner / am
The Man
Joke / don’t / say.
The Voice form inside
Mr. Toba / country / back / must
The Man
Oh / my name / know. You / my poems / ever read
The Voice from inside
Have / been forced / to read / but / not interesting / because / pretend to read
The Man
But pretending / no use / if. Here / anyway / what failed / only / make them read. That is that / wife / how /
The Voice from inside
For a while / not home. You / plan / change?
The shutters / began / open. Inside the house / suddenly / bright / become
The Poet
Hi / come back. Finally / my father / cut / relationship. But / my mother / as before / secretly / send money / should / panic / especially / not / necessary. Wife / not home / because / really / messy / inside the house. My room / who / cleans
The Husband
Of course / no one / does. (suit / take off / kimono / change) / But / you / come back / until / my wife / come back / plan
The Poet
I / one week / plan / was / so / a few more days.
The Husband
That / is / sixteenth / tomorrow / the day after tomorrow / three days from today / come back
The Poet
Until then / I / how / should / meal / how / do?
The Husband
Do / something. By telegraph / call back / OK
The Poet
Far / is
The Husband
Yes / in the countryside / go / a little
The Poet
The countryside / say / if / Yotsuya / somewhere
The Husband
Yes / it is
In our workshop, we struggled to divide roles, as characters take other names (significantly, in stronger light). At one point during our collective frustration, I realized the value of getting lost through translation. We were effectively brought into the dislocation demanded by the text (and the translator).
3 / 01 / 2010
Yoshihisa Tomonaga
Eng 757
Prof. Roger Sedarat
Translator’s note
Kunio Kishida was born in Tokyo in 1890 and died in 1954. He was regarded as one of the founders of modern Japanese drama. He entered Tokyo Imperial University to study French Literature and after graduation went to Paris. After returning to Japan, he founded the Literature Theater Company in 1937 which has been a leading theater company since then.
Kishida normally uses simple and plain language in his drama. But through the simple language, he creates scenes where the characters exchange very subtle and delicate feelings to one another. Also, there are often some mysteries or comical misunderstandings between the characters even though they are having a simple conversation. Though the work looks simple at first, translation is not as easy as it seems.
The Vacation from home is a comedy in which the husband and wife take a vacation from home, taking advantage of the absence of the lodger, the poet. The wife goes back to her parent’s house and the husband stays home alone. But the poet comes back early, so the couple’s plan has to be changed. In this play, Kishida uses quite plain language too. Like most of his works, there are complex feelings and emotions behind their words.
A Vacation from Home
By Kunio Kishida
Characters:
Husband: Yasoichi Sibuya
Wife
Poet: Toba
The Wife’s Mother
Young woman: Kamoko
Grocery man
The Act 1
It is inside the house with all the shutters closed. There is a small gritted window with frosted glass a little high up in the center. Through the window, light comes in and makes a part of the living room slightly visible in the dark.
Outside, there is a sound of banging on the door.
The Voice
Anybody there? It’s me, Mrs.Shibuya! It’s Mr. Toba.
In the meantime, the small window in the center opens and a man with long hair peeks into the house.
The Man
How can she not be home now? I am OK. But it’s gonna be a big trouble when the husband comes back. Or now that I left for my hometown, they might go to Asakusa or somewhere. If so, since I don’t have the key, I can’t get inside. Well, putting my bag under the veranda, I’ll go see Miss Kamoko. (the man closes the window and leaves.)
Then, from the kitchen, a man, wearing western clothes, slowly appears in the room and walks across the living room to the drawing room. Meanwhile, another man with a bag in hand also comes in from the kitchen. The second man stops there and gazes into the dark.
The Man
(a little frightened) Who are you?
The voice from the dark
I want to ask you the same thing.
The Man
If I tell you my name, you wouldn’t know.
The Voice from the dark
Why are you there?
The man
I want to ask you that.
The Voice from the dark
I own this house.
The Man
Don’t be ridiculous! I’m a lodger here.
The Voice from the dark
Mr. Toba should be back in his hometown.
The Man
Oh, you know my name. Have you read my poems?
The Voice from the dark
I was forced to read them. They were not interesting, so I just pretended to read.
The Man
But you don’t have to pretend. I only show you failed ones. By the way, what happens to you wife?
The Voice from the dark
She is gone for a while. Did you change you plan?
They began to open the shutters. It is suddenly bright in the room.
The Poet
Hi, I’m back. I finally broke up with my father. But I’m sure my mother will secretly send me money as before. So I don’t have to worry. Your wife is not here, so the room is a mess. Who in the world cleans up my room?
The Husband
Of course, no one does it. (Taking off the suit and change into a kimono) But when you come back, my wife should be here too.
The Poet
I was supposed to be away for a week. So there are only a few days left, I guess.
The Husband
It was sixteenth. So tomorrow, the day after tomorrow… in three days she’ll be back.
The Poet
until then, how should I live here? How about my meals?
The Husband
I’ll figure it out. I don’t mind calling her back in telegraph.
The Poet
Is it far?
The Husband
Well, yes. It’s kind of in the country.
The Poet
In the country. Is it Yotsuya or somewhere?
The Husband
That’s right.
The Act 1
The Voice
Not home? Me. Hey, it is me. Mrs. It is Toba…
The Man
This time of the day the house / is not here / no way. I / well / not / no way / the husband / comes back / if / problem / this is… Or / I / the country / back / fortunate / today / as a couple / together / Asakusa / or somewhere / went. If so / I / the key / don’t have / because / Inside the house / enter. Well, the bag / under the veranda / throw / Ms. Kamok / a place / play / go. ( closing / the glass door / leave)
The Man
( half frightened) who / is there? /
The Voice from inside
Saying so / you / who.
The Man
Name / if / say / probably / don’t know.
The Voice from inside
What / business / enter / came
The Man
That / from here / want to ask
The Voice from inside
I / this house / an owner / am
The Man
Joke / don’t / say.
The Voice form inside
Mr. Toba / country / back / must
The Man
Oh / my name / know. You / my poems / ever read
The Voice from inside
Have / been forced / to read / but / not interesting / because / pretend to read
The Man
But pretending / no use / if. Here / anyway / what failed / only / make them read. That is that / wife / how /
The Voice from inside
For a while / not home. You / plan / change?
The shutters / began / open. Inside the house / suddenly / bright / become
The Poet
Hi / come back. Finally / my father / cut / relationship. But / my mother / as before / secretly / send money / should / panic / especially / not / necessary. Wife / not home / because / really / messy / inside the house. My room / who / cleans
The Husband
Of course / no one / does. (suit / take off / kimono / change) / But / you / come back / until / my wife / come back / plan
The Poet
I / one week / plan / was / so / a few more days.
The Husband
That / is / sixteenth / tomorrow / the day after tomorrow / three days from today / come back
The Poet
Until then / I / how / should / meal / how / do?
The Husband
Do / something. By telegraph / call back / OK
The Poet
Far / is
The Husband
Yes / in the countryside / go / a little
The Poet
The countryside / say / if / Yotsuya / somewhere
The Husband
Yes / it is
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