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Translation as a Series
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This section could in fact be entitled "Translation as a series of decisions"; in translating practice, it very often is an endless series of very painful decisions. All ambiguity in the source text, for instance, forces the translator to choose only one of the possible translations; this process is multiplied throughout the text, taking the target text further and further from the uniqueness and the consistency of the original. Every new translation of the source text, by sheer probability, chooses different paths, since, sooner or later, every new translator of the text will inescapably make a decision different from that of his predecessor(s). As a result, new translations always differ from earlier ones. Thus the target language (and its culture) receives more than one translation, more than one version, of the source text. Paradoxically, then, while the source language (and its culture) can produce, say, the one and only version of Hamlet (at least, once it has decided on Shakespeare's canonical text), Polish readers can choose between the dozen or so existing Polish versions, from the "old-sounding" Hamlet of Paszkowski to the modern-and-colloquial translation by Barańczak; similarly, English readers have at their disposal not one but ten different Quo vadis? by Henryk Sienkiewicz. This situation has even more paradoxical consequences. While Shakespeare and Sienkiewicz, once dead, produce no more texts in their own language - unless, of course, new texts are found in dust-covered attics - they continue to publish new books in languages of any culture that might still be interested in their art. No wonder, then, that the crucial Shakespearian text, Shakespeare Our Contemporary, was written by a Polish scholar, Jan Kott. Readings: Jiři Levý, "Translation as a Decision Process", Lawrence Venuti (ed.), The Translation Studies Reader, 148-159. Katharina Reiss, "Type, Kind, and Individuality of Text: Decision-making in Translation", Lawrence Venuti (ed.), The Translation Studies Reader, 160-171. |
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© Jan Rybicki 2005 |