Translation and Censorship Research Papers (original) (raw)

El 1948 una breu onada de permisos atorgats per la censura franquista va esperonar la represa de la traducció catalana. Establerts els precedents de les primeres autoritzacions, l'editorial Aymà va sol•licitar el permís per publicar la traducció al català de Sept dialogues de bêtes (1905), de l'autora francesa Colette. Després d'una negociació entre Aymà i el Director General de Propaganda, Florentino Pérez Embid, el Ministerio de Información y Turismo (MIT) va autoritzar la publicació, en edició de bibliòfil i tiratge reduït, a condició que l'editor suprimís una part cabdal del text. L'obra, traduïda per Joan Oliver i publicada l'any 1952 a Barcelona, constitueix una de les escasses traduccions catalanes autoritzades pel franquisme de la primera etapa. Aquest article ressegueix el trajecte de Set diàlegs de bèsties dins dels circuits de la censura administrativa, mostra els criteris pels quals es van regir les recomanacions dels censors i presenta les estratègies que va emprar l'editor per obtenir-ne el permís. Paraules clau: història de la traducció; traducció al català; censura; Joan Oliver; Colette Abstract. The Catalan translation of Colette's Set diàlegs de bèsties under the Francoist censorship

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- Censorship (History), History of Translation, Colette, Translation and Censorship
- by Juan Jiménez-Salcedo
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- Gender Studies, Spanish Studies, Translation Studies, Gender and Sexuality

Originally marketed for children, Elvira Lindo's Manolito series has established itself in Spain as a classic work of comic fiction that transcends age barriers. The comically risqué and colloquial narratives were soon translated into French for Gallimard's Jeunesse collection, and sold well. Translations into many languages followed, with mixed results: though some were quite successful (e.g., Japanese, Farsi), quite a few others were not well-received (English, German, Dutch, Norwegian, Danish, Italian), and some likely markets either passed on translating the works (Sweden) or did so only much later on (the United States). This relative lack of success cannot be reduced to the simple idea of different national styles of humor. Rather, various translation agents silenced overtones of Manolito's voice for many different reasons. We see among other things a translator's failure to translate Manolito's quasi-spoken voice, a publisher's desire to standardize Manolito's voice for a large market, the translator's or the publishers' desire to rewrite the authorial and narratorial ethical voices, and the translator's or publishers' fear that some readers will think that their children will not understand that Manolito's voice pertains to a work of fiction.

Analyzing the impact of censorship on translation has become an integral part of researching ideological aspects of translation. In recent years there have appeared studies of censorship and translation in different societies and historical periods, including the Soviet Union, but little, if any, attention has been paid to the consequences of soviet censorship for the post-soviet countries in the XXI century. This article deals with the impact censorship has had on translation in modern Ukraine and Russia. The analysis is made on the novel “The Catcher in the Rye” by J.D. Salinger and its translations into Russian and Ukrainian in historical perspective. Ukrainian readers have at their disposal only one translation by O. Lohvynenko (1984); in spite of the co-existence of different variants of the novel’s translation into Russian, the censored variant by R. Rait-Kovaliova (1965) remains the most popular one due to post-soviet readers’ specific attitude towards plurality of translations.

- by Nataliia Rudnytska
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- Translation and Censorship

W artykule omówiono wczesne związki George’a Orwella z Polską i Polakami, starając się zebrać różne perspektywy, konteksty i niekiedy mniej znane fakty. Z jednej strony skupiono się na podkreśleniu znacznego zainteresowania autora Polską oraz przybliżeniu jego stosunku do wybranych polskich zagadnień wyrażanego w publicystyce, którą czasem przysłaniają polskiemu czytelnikowi jego głośniejsze publikacje książkowe. Starano się również przedstawić jego osobiste związki z polską emigracją i zaangażowanie w jej problemy. Z drugiej strony zasygnalizowany został wizerunek Orwella wśród współczesnych mu Polaków oraz zarys jego wczesnej polskiej recepcji, zarówno z perspektywy emigracyjnej, jak i krajowej (oficjalnej), a także ich splotów.

- by Krystyna Wieszczek
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- Censorship, Reception Studies, George Orwell, Censorship (History)
- by Anna Madill
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- Japanese Studies, Law, Criminal Law, Comparative Law

Communication is the basis for human societies. Contact between communities are the
basis for translation. Whether by conflict or cooperation, translation has been involved
in the evolution of societies and it has evolved with them.
Translation has an effect on the relationships between peoples, between people and
power and between power and people. This volume looks into the role of translators in
different historical contexts focusing on how their work affected their surroundings on
how the context surrounding them affected their work.
From that basis, it offers different perspectives on and approaches to similar topics and
situations in different countries and cultures through the work on young scholars who
look at different situations with new perspectives.
Part one looks at early contacts between peoples. First contacts were often made with
the purpose of spreading religion. Their practice and their relevance through history
help highlighting the changes around them.
Part two analyzes translation outputs in conflicting situations. The range of contexts
allows the isolation of variables that come into play in contexts of power differences
between peoples. The reader has the option to compare similarities and differences:
“What is translated? Who does it? Why?” are questions tackled in these papers.
Part three moves into a contemporary context in which the rise of mass media and
knowledge of other countries - allies or enemies - become crucial for development. The
retrieval and distribution of information becomes an institutional matter, even taking
into account the rise of English as a lingua franca. The role of the actors that provide the
circulation of knowledge in institutions, media and academia is analyzed at all levels.
And behind all these translations, there are translators: translators who leave their
imprint in literary contexts. As a concluding chapter, the last article focuses on
plagiarism as continuation -- as the voice of the translations that echo back in our
memories more often that we think.
The papers collected in this volume were presented at the 2013 Conference: New
Research in Translation and Intercultural Studies and are arranged in chronological
order, extending from 16th-century Mexico to 21st-century Japan.

- by Ester Torres-Simon and +1
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- History of Translation, Plagiarism studies, Literary translation, Translation and Censorship

This article reviews methods by which the censor made minor, standardized changes to translations of Western fiction in order to adapt them to the reigning communist ideology. Keywords: censorship of translation, political... more

This article reviews methods by which the censor made minor, standardized
changes to translations of Western fiction in order to adapt them to the
reigning communist ideology.
Keywords: censorship of translation, political misrepresentation in translations

Przedmiotem książki jest obraz współczesnej literatury włoskiej stworzony za pośrednictwem jej tłumaczeń na język polski zamieszczonych na łamach miesięcznika „Literatura na Świecie” w latach 1971–1989. Celem pracy było zbadanie zależności między czynnikami kontekstualnymi, pozatekstowymi – takimi jak uwarunkowania historyczne i ideologiczne, osoba tłumacza, medium czasopisma – a przekładem literackim, jak również analiza tekstów tłumaczeń pod kątem językowym, i wykazanie – na podstawie analizy dwóch sfer, tematycznej i językowej – cech charakterystycznych obrazu literatury włoskiej budowanego w omawianym czasopiśmie.

Résumé: Notre objectif, en même temps, l’obstacle fondamental de la recherche en histoire de la traduction, consiste à harmoniser et, donc, à surmonter la difficulté de conjuguer des perspectives sociologiques et traductives-traductologiques. À cette fin, nous nous reportons au déterminisme historique complémentaire aux différents types de transferts (culturel, littéraire, idéologique, linguistique, etc.). Le phénomène traductif, qui nous préoccupe, est comparable à celui s’étant déroulé dans d’autres espaces culturels du bloc de l’Europe de l’Est, mais aussi dans d’autres pays ayant vécu le totalitarisme, la censure et l’isolement. Cependant, notre intérêt personnel est surtout attaché à la réception de la littérature française, traduite en Roumanie, en fait, à la traduction d’un genre, le roman, de la période de 1960 à 1968.

The satirical writings of Lucian of Samosata had a tremendous influence on the literature of the Eastern European Haskalah, shaping its criticism of the burgeoning Hasidic movement in the nineteenth century as if there were no gap between it and the Roman Empire of the second century. Lucian’s criticism of false prophets, self-proclaimed philosophers, and common fools and frauds, like his satirical dialogues with the world of the dead, provided the perfect model for those Maskilim who opposed the revelations of the Hasidic movement in both theological and social realms. One particularly salient testimony to the classical satirist’s influence is the astounding translation of his story “Alexander the False Prophet” by the Maskilic writer Meir Letteris, the first translation of Lucian’s work into Hebrew. The translation, printed in full below, was based on the German edition of Christoph Martin Wieland and published in the journal Ha-Tsefirah, which Letteris edited in 1823. As with every translation, it is a new product, shaped in and by its own context. This essay discusses the tendencies and apparent goals of the translator, the additions and omissions he made to the text, and the influence of Lucian’s satirical style on the Haskalah.

- by Anna Madill
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- Japanese Studies, Censorship, Sex and Gender, Women's Studies

This article was translated from the French by Kit Schluter. It is a first-person narrative adapted from my earlier writing on Western nudes censored in art history textbooks at a women's university in Saudi Arabia. It describes in detail... more

- by Lucile Dupraz
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- Art History, Censorship, Women's Studies, Feminist Theory

This article examines Roman censorship on a specific production: the books on contemporary history published in France between the XVIth and XVIIth century. The interpretative and methodological proposals put forward here, however, might be extended by further investigations to other disciplines and literary genres. The concept of «hidden censorship» refers to the concealed and unscrupulous manipulation of texts performed by editors, translators and printing-press operators who acted in concert with the central agencies of censorship: these manipulations were «hidden» from the reader because the congregation of the Index specifically banned any mention of them on books’ title pages. The «hidden censorship» is a much larger and inclusive phenomenon than the «self-censorship» practised by authors on their writings. For example, it includes the books that were deeply reshaped through their translation. It is what happened to the works of the French historian Pierre Matthieu, well-known in XVIIth century Italy as the «Gran Tacito di Francia». A comparative investigation of different editions of his books on both sides of the Alps reveals in fact that the ideas and beliefs of the French Matthieu radically diverged from those spread by the Italian translations of his works. Beyond the deceptive clarity of lists of authors and works set out in the indexes of prohibited and suspended books, this article highlights the role and the specifity of the expurgatory policy of Rome on Italian culture, stressing its distinctive features even in relation to Spanish censorship.

- by Elena Bonora
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- Print Culture, Censorship, Translation Studies, Manuscripts and Early Printed Books

This course will explore how translators deal with words, topics and texts that are taboo in the source culture, target culture, or both. Looking at historical as well as contemporary examples and drawing from a range of disciplinary approaches including literary criticism, translation theory and psycholinguistics, we will ask how cultural taboos surrounding the sacred, the body, social difference and political dissent become lost, smoothed over or transformed in translation.

The purpose of this essay is to begin an examination into how the fascist regime reacted to the high number of translations which were being published in Italy; in particular translations from English during a period, the 1930s, when Britain was often a political antagonist and Anglo-American culture in general was seen by the regime as a harmful and decadent influence on the Italian people. The article focuses on non-periodical publications: this means that the figures given do not take into account, for example, the many translations which were published in literary journals.

- by Christopher Rundle
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- Publishing, Translation Studies, Translation History, History of Translation

Paper presented at the RSA conference (New Orleans March 2018)

- by Enrica Zanin
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- Laughter, Boccaccio, Book Censorship (history), Translation and Censorship
- by Teresa Bałuk-Ulewiczowa
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- Comparative Literature, Philosophy, Political Philosophy, Censorship

Using extensive archival research this article looks in detail at how Arnoldo Mondadori, the most important publisher of translations in Italy in the 1930s, negotiated the complex political situation and the often unpredictable censorship that was applied. It provides a fascinating insight into both the efficiences and also the inconsistencies of Fascist cultural policy and censorship.

- by Christopher Rundle
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- Publishing, Translation Studies, Translation History, History of Translation

Lug, maison lyonnaise, a été le principal éditeur des comics Marvel entre 1969 et 1989 en France. Durant deux décennies, l'éditeur a pratiqué sous diverses formes la réédition d’œuvres qui étaient déjà des adaptations, produits d'un transfert culturel. Nous voudrions, ici, présenter et expliquer les différentes formes que prennent ces pratiques de la réédition afin de mieux comprendre leur existence. Par la comparaison entre les différentes éditions et rééditions, nous voudrions mettre en avant l'adéquation de ces pratiques avec leurs objectifs et leur contexte.

- by Pierre-Alexis Delhaye
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- Censorship, Image Processing, Comics Studies, Comic Book Studies
- by Between Journal
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- Censorship, Censorship (History), Film Censorship, Censorship in Translation
- by Anna Madill
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- Jurisprudence, Gender Studies, Queer Studies, Visual Studies

This article uses the archives of the Czech publishing house Družstevní práce during World War II, which give insight into how certain works were selected as DP struggled to maintain its identity. Between the World Wars, DP published several Dutch and Flemish authors, but
the number of translated works from Dutch grew considerably in the 1940s since Dutch-language literature was one of the few literatures allowed during the Nazi occupation. Despite the fact that the Nazi authorities exerted great pressure to publish Nazi-friendly literature,
DP managed to avoid publishing such books by using officially acceptable Dutch, Flemish and Scandinavian works as a political compromise.

- by wilken engelbrecht
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- Censorship, Czech, Literary Theory, World War II

This article deals with the failed attempt by the publishing house Horizonte to translate Simone de Beauvoir’s Brigitte Bardot and the Lolita Syndrome into Spanish at the beginning of the 1960s. On the one hand, I contextualize Beauvoir’s book from the production of the original, which appeared in English, up to the frustrated attempt to reproduce it in Spain during the Francoist dictatorship, when the National-Catholic social policies had silenced all the feminist voices since before the Civil War. On the other hand, I offer a brief introduction to the reception of Beauvoir’s work during Francoism. I also study the bureaucratic procedure of institutional censorship which the work on Bardot suffered after the Ministry of Information and Tourism opened a file on the Madrid publishing house in 1964.

Through this paper I intend to explore the concepts and boundaries of Reception Theory or Reader-Response Theory in terms of Wolfgang Iser’s The Reading Process: A Phenomenological Approach. I will attempt to do an in-depth analysis and exploration of Iser’s Reception Theory in the contemporary field through the major aspects of his theory like, the production of meaning, the reader model, the functionalist aspect of the text, the phenomenology of reading or the processing of the text, literature and communication or the interaction between the reader and the text, Iser’s concept of literary anthropology and how reception theory meets rational criticism. This I will do by focusing on the controversial Taslima Nasrin’s novel Lajja and which focuses on a certain time of political and religious crisis in the history of Bangladesh where she explores the unsettled disputes of minority and women’s suppression in religion in respect to state politics.

- by Debapriya Choudhury
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- English Literature, Censorship, Reception Theory, Literature

Situated at the intersection of literary theory and translation theory, the paper deals with the history of foreign literary theory in 1980s Czechoslovakia. Focusing on both the published works and the archival legacy of Czech literary scholar Vladimír Macura (1945-99), it studies the peculiar intertwining of reading, commentary, and translation involved in the reception of foreign language theory from Russian Formalism to North American deconstruction, the translation of which had been hindered for ideological or political reasons, as well as its mediation through Macura's publication of paraphrasing excerpts in his 1988 "Guidebook to International Literary Theory".

- by Anna Förster
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- Intellectual History, History of Ideas, Translation Studies, Czech History

"The Ways of Censorship" is an introductory essay to the following volume: Iannaccaro, Giuliana and Iamartino, Giovanni (eds), Enforcing and Eluding Censorship. British and Anglo-Italian Perspectives, Newcastle upon Tyne, Cambridge... more

- by Giuliana Iannaccaro
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- Censorship, Censorship (History), Film Censorship, Censorship in Translation

This interdisciplinary edited collection establishes a new dialogue between translation, conflict and memory studies focusing on fictional texts, reports from war zones and audiovisual representations of the Spanish Civil War and the Franco Dictatorship. It explores the significant role of translation in transmitting a recent past that continues to resonate within current debates on how to memorialize this inconclusive historical episode. The volume combines a detailed analysis of well-known authors such as Langston Hughes and John Dos Passos, with an investigation into the challenges found in translating novels such as The Group by Mary McCarthy (considered a threat to the policies established by the dictatorial regime), and includes more recent works such as El tiempo entre costuras by María Dueñas. Further, it examines the reception of the translations and whether the narratives cross over effectively in various contexts. In doing so it provides an analysis of the landscape of the Spanish conflict and dictatorship in translation that allows for an intergenerational and transcultural dialogue. It will appeal to students and scholars of translation, history, literature and cultural studies.

- by Alicia Castillo
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- Censorship, Translation Studies, Literature, Spanish Literature (Peninsular)

An official system of censorship was established during Franco's dictatorship in Spain in order to control the cultural sphere in the country for the duration of the political regime. In the seventies, the publishing market consisted mainly of mass literature, and the translation of anthologies of science fiction narratives and horror stories from North America was an important part of this process. These stories originated as pulps, published with titles such as Weird Tales or Terror Tales, and it is a difficult task today to trace the English versions from which they were translated, mainly due to the fact that different tales by different authors are included in these magazines. The anthologies had to follow the same control procedures as other narrative material and were closely scrutinised regarding aspects such as sexual morals and language, two of the most controversial issues during the time of the dictatorship. Some of them encountered problems because of their depiction of sexually charged scenes or immoral attitudes. This article offers a brief depiction of the kind of anthologized material translated at the time, together with an examination of some of these files, with a descriptive aim in mind. Whether they were censored or authorised or not, the main objective of the publishers of these kinds of anthologies was achieved since, thanks to them, both genres became well known in the country and encouraged Spanish writers to engage in the production of similar material, in a process of pseudotranslation that confirms their importance in the recipient culture.

- by Brahim HANNACHI
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- Censorship, Translation Studies, Film Studies, Translation and Ideology
- by Massimo Leone
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- Semiotics, Censorship, Cultural Semiotics, Visual Semiotics
- by Jonatan Meir
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- Religion, New Religious Movements, Intellectual History, Cultural History

Quote from article: "In my research on translation in Fascist Italy (Rundle 1999; 2000; 2004; 2010) I have been struck by one feature which I think is worth reflecting on and which, perhaps, goes counter to normal expectations concerning... more

- by Christopher Rundle
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- History, Censorship, Publishing, Fascism

L'articolo presenta un documento del tutto inedito: una traduzione seicentesca del Satyricon di Petronio in italiano. La traduzione è anonima e ci è giunta in forma manoscritta, trasmessa da un unico testimone (Ang). Nell'articolo si sostiene l'ipotesi che Ang rappresenti un manoscritto clandestino destinato a fruitori popolari e che la traduzione possa aver conosciuto una certa diffusione, essendo stata copiata in luoghi e tempi diversi. Sulla base di documenti inquisitoriali, viene discussa la nozione di 'libro proibito' in riferimento al Satyricon e, in generale, alle opere dell'Antichità. Vengono quindi esaminati i motivi che verosimilmente hanno decretato la fortuna di Petronio nel Seicento presso il largo pubblico, individuati nei temi libertini dell'irreligiosità, della trasgressione sessuale e dell'ipocrisia sociale. Nelle conclusioni, si sottolinea l'estrema deperibilità delle pubblicazioni clandestine, fattore che potrebbe aver determinato la sopravvivenza di un unico esemplare della traduzione petroniana.

- by corinna onelli
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- Translation Studies, History of Religion, Rare Books and Manuscripts, Inquisition
- by Fernando Pancorbo
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- Censorship, Literature, Sexology, Moral Theology
- by Charles Rice-Davis
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- Rhizomes, Translation, Aimé Césaire, Translation and Censorship
- by Francis M Kay
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- Censorship, Reception Studies, Eighteenth-Century literature, Narratology