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UNIVERSITY OF JYVÄSKYLÄ LOST IN TRANSLATION? Translating multicultural style in Maxine Hong Kingston’s The Woman Warrior A Pro Gradu Thesis in English by Carla-Rose Häkkinen Department of Languages 2006 HUMANISTINEN TIEDEKUNTA KIELTEN LAITOS Carla-Rose Häkkinen LOST IN TRANSLATION? Translating multicultural style in Maxine Hong Kingston’s The Woman Warrior Pro gradu –tutkielma Englannin kieli Syyskuu 2006 120 sivua + 1 liite Opinnäytetyön tarkoituksena on tutkia tyyliä ja monikulttuurisuutta kiinalaisamerikkalaisen Maxine Hong Kingstonin teoksen The Woman Warrior (1976) suomentamisessa. Teoksen toinen luku on käännetty analyysia varten, mutta teosta ja sen taustaa tarkastellaan myös kokonaisuutena. Tutkimuskysymykset ovat seuraavat: 1) Millainen on lähtötekstin tyyli? 2) Miten monikulttuurisuus ilmenee lähtötekstissä? ja 3) Miten tyyli ja monikulttuurisuus välittyvät kohdetekstiin? Tutkielman teoreettinen viitekehys koostuu lähinnä ns. ideologisesta sekä funktionaalisesta käännösteoriasta. Tutkielman analyysiosiossa käsitellään myös kielitieteellisiä kysymyksiä. Käännösanalyysin pääasiallisena metodina käytetään Christiane Nordin funktionaalista tekstianalyysimallia. Analyysin keskeisiä käsitteitä ovat tyyli, kulttuurispesifisyys, kotouttaminen, sekä kaksi eri vieraannuttamisen lajia (foreignization ja defamiliarization). Analyysi tarkastelee lähtötekstiä ja kohdetekstiä rinta rinnan, ja käännösratkaisuja perustellaan käännöksen skopoksen valossa. Analyysin tulokset osoittavat, että lähtötekstin tyylille ominaisia piirteitä ovat ilmaisun lyhyys ja tiiviys. Tästä esimerkkinä ovat mm. yksi- tai kaksitavuisten sanojen sekä ellipsiksen runsas käyttö. Muita lähtötekstin tyylipiirteitä ovat mm. visuaalisuus, tyylillisten rekisterien vaihtelu, konjunktioiden vähyys ja epätäydelliset virkkeet. Monikulttuurisuus ilmenee 1) tekstin aihepiirissä, joka kattaa sekä amerikkalaiseen, kiinalaiseen että kiinalaisamerikkalaiseen kulttuuriin liittyviä ilmiöitä, 2) kiinalaisamerikkalaisissa sanoissa ja käsitteissä, sekä 3) lähtötekstin amerikkalaisiin ja kiinalaisamerikkalaisiin jakautuneessa lukijakunnassa. Analyysissä ilmeni myös, että tyyli ja monikulttuurisuus kietoutuvat teoksessa yhteen. Esimerkiksi eräät lähtötekstin tyylilliset piirteet, kuten väliviivan avulla muodostetut uudissanat, elliptiset lauserakenteet ja vähäiset konjunktiot, tulkittiin mahdollisiksi merkeiksi kiinan kielen läsnäolosta tekstissä. Käännöksen arvioidaan välittävän lähtötekstin tyylilliset piirteet varsin hyvin. Myös monikulttuurisuus välittyi joiltakin osin, mutta esim. tekstin monikulttuurista lukijakuntaa ei kyetty toisintamaan kohdetekstissä. Sekä kotouttamisen ja vieraannuttamisen strategioita käytettiin käännöksessä sopivan kulttuurisen etäisyyden luomiseksi kohdetekstin ja sen lukijoiden välillä. Vieraannuttamisen ja kotouttamisen välinen ero osoittautui häilyväksi: sama tekstin kohta voitiin tulkita sekä vieraannuttavaksi että kotouttavaksi. Asiasanat: tyyli. monikulttuurisuus. kiinalaisamerikkalainen kirjallisuus. ideologinen käännöstutkimus. kotouttaminen. vieraannuttaminen. funktionaalinen käännösteoria. CONTENTS 1 INTRODUCTION 5 2 THE WOMAN WARRIOR: BACKGROUND AND CONTEXTS 10 2.1 Chinese Americans 10 2.2 The Chinese American literary tradition 15 2.3 The Woman Warrior 20 2.3.1 Maxine Hong Kingston 20 2.3.2 Description of The Woman Warrior 21 2.3.3 The Woman Warrior in Chinese American literature 25 2.3.4 The audience and reception of The Woman Warrior 28 2.4 The Woman Warrior in literary criticism: two views 30 2.4.1 The Woman Warrior as multicultural literature 31 2.4.2 The Woman Warrior as a cultural translation 34 3 THEORETICAL FRAMEWORK 37 3.1 Sociocultural /ideological translation theory 37 3.1.1 Ideology and discourse 38 3.1.2 Domestication and foreignization 39 3.1.3 Rewriting and manipulation 42 3.2 Functional translation theory and skopos theory 44 3.2.1 Functional translation theory 45 3.2.2 Nord’s model in skopos theory 46 3.3 The skopos of my translation 49 4 TRANSLATION ANALYSIS 52 4.1 Application of Nord’s model in the analysis 53 4.1.1 Translation problems vs. translation difficulties 56 4.1.2 Translation strategies 56 4.1.3 Style 58 4.1.4 Register 59 4.2 Lexical items 61 4.2.1 Short lexical items 61 4.2.2 Register 64 4.2.3 Irony 68 4.2.4 Adjectives and adverbs 70 4.2.5 Metaphors and similes 71 4.2.6 Verbs 74 4.3 Syntactic/sentence structural items 76 4.3.1 Ellipsis 77 4.3.2 Conjunctions 82 4.3.3 Fragmented sentences 86 4.3.4 Punctuation 88 4.4 Culturally specific items 91 4.4.1 Cultural distances 92 4.4.2 American items 96 4.4.3 Chinese American items 98 4.4.4 Chinese items 102 5 CONCLUSION 106 BIBLIOGRAPHY 116 APPENDIX 1: The source text and the target text 121 5 1 INTRODUCTION The subject of this thesis is my translation of one chapter of Maxine Hong Kingston’s The Woman Warrior: Memoirs of a Girlhood Among Ghosts (1976) into Finnish and the description and analysis of both the source text and target text. The main focus of the study is on the stylistic features and the multicultural character of Kingston’s text, and on how these were conveyed into Finnish in translation. This thesis has two interconnected aims. Firstly, to produce a stylistically and ideologically ‘adequate’ translation of the source text, and secondly, to study the source text and the translation from the perspectives of style and multiculturalism. I proceed from the assumption that stylistic variation and multiculturalism are key features in The Woman Warrior and that my translation ought to convey these features. The main research problem that my thesis aims to solve is the question of how The Woman Warrior, a source text which is already mixture of stylistic and cultural elements, translates into the Finnish language and cultural context. In terms of translation theory, the question could be formulated as follows: what means and strategies can be used in producing a translation (target text/TT) with a similar effect as the original text (source text /ST)? Kingston’s text displays a vast array of styles and narrative techniques, some of which are very sophisticated and idiosyncratic. Stylistically, the translation of Kingston’s text presents a fair challenge to the translator. The style could be characterised as ‘economic’ and ‘laconic’, and its special features are for example compactness of expression, frequent use of ellipsis and irony. Thus, more specific questions that come up in the translation analysis are for example the following: how to translate style that is characteristic of Kingston’s prose – ironic, economic and elliptic? How can subtle changes in register, another key feature of The Woman Warrior, be conveyed in the TT? Translation strategies that were used in order to achieve these aims are discussed and I will also attempt to evaluate the TT from this perspective. What is meant by the term ‘culture’ in this study follows mainly the usage current in cultural studies, where ‘culture’ is examined as a set of shared meanings and practices. Cultural theorist Stuart Hall (1997: 1-2), separates between 1) the “traditional” 6 definition of culture as products of ‘high’ culture, 2) the “anthropological” definition, which sees culture as the “way of life” or “shared values” typical of a group, and 3) the definition of culture used in contemporary cultural studies, as “a process, a set of practices”. The last of these definitions suits the purposes of the present study best, since it understands culture as not only as a product, nor as something that happens “only in the head”, but also, and perhaps most significantly, as something that “organize[s] and regulate[s] social practices, influence[s] our conduct and consequently ha[s] real, practical effects” (Hall 1997: 3). Culture can be understood as a “conceptual map”, a way of representing the world, shared by a group of people (Hall 1997: 19). Language is another key term in discussions of culture, as it plays a key role in the construction and maintenance of ‘conceptual maps’ and thus is integral in the constitution of culture (Hall 1997: 19). The present study too views its subject - The Woman Warrior and its Finnish translation - as a cultural expression that both depicts certain social practices and participates in these practices. Cultural meanings and practices discussed in this study are, for instance, the meanings and concepts that are available in Chinese and in the English language, the role and practices of Chinese vs. American or ‘Western’ story- telling, or the meanings and manifestations of womanhood/femininity in the Chinese the American culture. Cultural boundaries do not necessarily coincide with national or ethnic boundaries (although often they do). A culture can be shared by members of different nations and ethnic groups – of which the United States is a perfect example. Membership in a culture is bound up with the question of identity, or as Hall (1999: 39) prefers to speak of it, “identifications”. Thus, ‘culture’ in the present study should be understood to refer first and foremost to meanings and practices shared by people who call themselves ‘American’, ‘Chinese’ or ‘Chinese American’ or ‘Finnish’, not determined, though certainly affected, by citizenship or genealogical history/ancestral background. What is meant by culture in this study, then, is a certain group’s way of making sense of the world and is closely connected with identity (a sense of identification with and acceptance into a group or groups) and with a shared language as a means of representing the world. Multiculturalism
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  • “VOICES out of the STORM” Music from the Theresienstadt Concentration Camp

    “VOICES out of the STORM” Music from the Theresienstadt Concentration Camp

    SUNDAY, OCTOBER 18, 2015 AT 3:00PM Richardson Auditorium in Alexander Hall RICHARDSON CHAMBER PLAYERS Michael Pratt, Director/Conductor Anna Lim, Violin Jack Hill, Bass Junah Chung, Viola Margaret Kampmeier, Piano Alberto Parrini, Cello Martha Elliott, Narrator “VOICES OUT OF THE STORM” Music from the Theresienstadt Concentration Camp GIDEON KLEIN String Trio for Violin, Viola, & Cello (1919-1945) Allegro Lento Molto vivace LIM, CHUNG, PARRINI VIKTOR ULLMANN The Lay of the Love and Death of Cornet Christoph Rilke (1898-1944) KAMPMEIER, ELLIOTT —INTERMISSION— HANS KRÁSA Tanec for Violin, Viola, & Cello (1899-1944) LIM, CHUNG, PARRINI ZIKMUND SCHUL Two Chassidic Dances for Viola & Cello (1916-1944) Allegro Moderato Allegretto CHUNG, PARRINI PAVEL HAAS Study for String Orchestra (1899-1944) LIM, CHUNG, PARRINI, PRATT WITH PRINCETON STUDENTS: CAROLYN CHEN ’16, VIOLIN; JESSIE CHEN ’16, VIOLIN; SAM CHOI ’19, VIOLIN; SAMANTHA CODY ’17, VIOLIN; MAGDALENA COLLUM ‘18, VIOLIN; JEFFREY KUAN ’18, VIOLIN; JACKIE LEVINE ’16, VIOLIN; TABITHA OH ’18, VIOLIN; KRISTIN QIAN ’18, VIOLIN; DANIEL WOOD ’18, VIOLIN; INGRID YEN ’16, VIOLIN; TESS JACOBSON ’19, VIOLA; NATHAN WONG ’18, VIOLA; AMY ZHANG ’19, VIOLA; KIWOON BAEG ‘16, CELLO; ELI CHANG ’16, CELLO; SPENCER SHEN ’16, CELLO; CHRIS PERRON ‘17, BASS ABOUT THE ARTISTS PRINCETON UNIVERSITY CONCERTS 2015-16 SEASON ABOUT THE ARTISTS The Richardson Chamber Players were co-founded by Nathan A. Randall and Michael J. Pratt during the 1994-1995 Centennial Season of Princeton University Concerts. The ensemble comprises musicians who teach instrumental music and voice at Princeton University, distinguished guest artists, and supremely talented students. The repertoire largely consists of works for singular combinations of instruments and voices, which would otherwise remain unheard.