The present article initially focuses on the feminist translation strategies theorized by Susanne de Lotbinière-Harwood in her manifesto Re-belle et infidèle : la traduction comme pratique de réécriture au féminin/The Body Bilingual: Translation as a Rewriting in the Feminine, published in 1991, and by Luise von Flotow during the 1990s. It then discusses the exploration of these translation methods in the new cultural and critical context of third-wave Quebec feminism, which perceives feminist translation as a situated practice. First, the concept of intersectionality—which appeared at the end of the 1980s—has led Canadian feminist translation scholars to recognize and respond to the overlap of different types of oppression: sexism, but also colonialism, racism, homophobia, transphobia, queerphobia, and ableism. Secondly, contemporary Canadian feminist translation aims to promote a multiplicity of feminine voices, situated in diverselinguistic and cultural contexts, such as the Italian-speaking domain. The case study presented here is the trilingual version (German, French and English) of the work Sie wäre der erste Satz meines nächsten Romans/Elle serait la première phrase de mon prochain roman/She Would Be the First Sentence of My Next Novel by Nicole Brossard, published in 2002. Starting with a comparative analysis of the work’s two feminist translations from French into English and German, I propose some feminist translation solutions into Italian. My positioning as an ally is based on a feminist intersectional non-heteronormative approach. While feminist translation still entails the transmission of a writing in the feminine episteme (see Fontanella, 2019, pp. 53-54), it is essential to consider the many variations of this translation practice, to allow a multiplicity of women—subjected to many forms of oppression and belonging to different cultural-linguistic domains—to assert themselves in a plurality of languages, literatures, and societies.
Le genre en traduction : vers une traduction féministe intersectionnelle des écritures au féminin québécoises du français vers l’italien
Berlose, Ilaria
2024-01-01
Abstract
The present article initially focuses on the feminist translation strategies theorized by Susanne de Lotbinière-Harwood in her manifesto Re-belle et infidèle : la traduction comme pratique de réécriture au féminin/The Body Bilingual: Translation as a Rewriting in the Feminine, published in 1991, and by Luise von Flotow during the 1990s. It then discusses the exploration of these translation methods in the new cultural and critical context of third-wave Quebec feminism, which perceives feminist translation as a situated practice. First, the concept of intersectionality—which appeared at the end of the 1980s—has led Canadian feminist translation scholars to recognize and respond to the overlap of different types of oppression: sexism, but also colonialism, racism, homophobia, transphobia, queerphobia, and ableism. Secondly, contemporary Canadian feminist translation aims to promote a multiplicity of feminine voices, situated in diverselinguistic and cultural contexts, such as the Italian-speaking domain. The case study presented here is the trilingual version (German, French and English) of the work Sie wäre der erste Satz meines nächsten Romans/Elle serait la première phrase de mon prochain roman/She Would Be the First Sentence of My Next Novel by Nicole Brossard, published in 2002. Starting with a comparative analysis of the work’s two feminist translations from French into English and German, I propose some feminist translation solutions into Italian. My positioning as an ally is based on a feminist intersectional non-heteronormative approach. While feminist translation still entails the transmission of a writing in the feminine episteme (see Fontanella, 2019, pp. 53-54), it is essential to consider the many variations of this translation practice, to allow a multiplicity of women—subjected to many forms of oppression and belonging to different cultural-linguistic domains—to assert themselves in a plurality of languages, literatures, and societies.
I documenti in ARCA sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
