Download Kafka translated : how translators have shaped our reading by Michelle Woods PDF

By Michelle Woods

Kafka Translated is the 1st booklet to examine the problem of translation and Kafka's paintings. What influence do the translations have on how we learn Kafka? Are our interpretations of Kafka stimulated through the translators' interpretations? In what methods has Kafka been 'translated' into Anglo-American tradition through pop culture and through teachers?

Michelle Woods investigates concerns vital to the burgeoning box of translation reviews: the idea of cultural untranslatability; the centrality of lady translators in literary historical past; and the under-representation of the impact of the translator as interpreter of literary texts. She in particular specializes in the function of 2 of Kafka's first translators, Milena Jesenská and Willa Muir, in addition to modern translators, Mark Harman and Michael Hofmann, and the way their paintings may well let us re-examine analyzing Kafka. From right here Woods opens up the total strategy of translation and re-examines authorized and winning interpretations of Kafka's work.

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Extra resources for Kafka translated : how translators have shaped our reading of Kafka

Sample text

Kundera argues, through the lens of three French translations of a sentence from The Castle, that translators hew to the “conventional version” of good French (110), rather than allowing the transgressions of the original text to be translated (in Kafka’s case the repetitions of keywords, the sentence length, and the paragraph length). But he argues, “every author of some value transgresses against “good style,” and in that transgression lies the originality (and hence the raison d’être) of his art.

However, while their second physical meeting at the border seemed a disappointment, from the letters, Kafka seems more critical of himself than of Jesenská. It is not Jesenská in all her reality that he fears, but, in fact, the reality of Kafka. Speaking in the third person about himself he writes: “You can be sure your actual presence will no longer blind her. ” (Kafka 1990: 28). Kafka’s inability to capture a precise image of Jesenská while longing for her is deliberate; he is aware of the mechanisms of imposing identity and it is instructive that he refuses to do so.

Někdy přinášela věci, kterých vůbec nechtěl a vtlačila my je mlčky do rukou. Jednou však řekla: „Karle“ a s posuňky, grimasami a vzdychajíc vedla jej, udiveného neočekávaným oslovením, do svého pokojíku, který zavřela (Kafka 1920: 69). ”) and its syntactical pace, but the passage is also a latticework of repetitions and resonance: kitchen, hand, little room, door. Jesenská is faithful to the style of the passage, its aesthetic intent, understanding that the repetitions are central to the meaning of the piece.

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