Translating the Fault in Our Stars Tone and Intertextuality in Young Adult Literature
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Translating The Fault in Our Stars Tone and intertextuality in young adult literature 17-7-2013 Debbie Hazeleger 3495841 2 TABLE OF CONTENTS Introduction ....................................................................................................................................................................... 4 1. Young adult literature and John Green .................................................................................................................. 6 1.1. History of young adult literature in America ................................................................................................. 7 1.2. Defining young adult literature ....................................................................................................................... 10 1.2.1. Common Characteristics ................................................................................................................................ 12 1.3. Translation issues ................................................................................................................................................ 15 1.4. John Green ............................................................................................................................................................. 18 1.5. The Fault in Our Stars: Contextualization .................................................................................................... 20 1.5.1. Main characters and themes. ................................................................................................................ 20 1.5.2. Reception of the novel in the U.S. and the Netherlands............................................................. 22 2. Translating style ...................................................................................................................................................... 25 2.1. Discourse situation of TFIOS............................................................................................................................. 27 2.2. Conversational tone ............................................................................................................................................ 30 2.2.1. Hazel as narrator ......................................................................................................................................... 32 2.2.2. Hazel and Augustus .................................................................................................................................... 34 2.2.3. Hazel and Van Houten ............................................................................................................................... 40 2.3. Dialect and Idiolect.............................................................................................................................................. 44 2.3.1. Hazel and Augustus .................................................................................................................................... 44 2.3.2. Peter Van Houten ........................................................................................................................................ 51 2.2.3. Lidewij Vliegenthart and other Dutch characters ............................................................................. 52 3. Translating Intertextual elements and CSEs ............................................................................................ 56 3.1. Allusions and Quotations ................................................................................................................................ 57 3.2. Translating intertextuality and CSEs: strategies and considerations .......................................... 60 3.3. Intertextuality in TFIOS ................................................................................................................................... 66 3.3.1. Water allusions ........................................................................................................................................... 66 3.3.2 Shakespearean allusions ......................................................................................................................... 70 3.3.3. William Carlos Williams and other titles ......................................................................................... 76 4. TFIOS Vertalingen: De fout in onze sterren ................................................................................................ 78 4.1. Epigraph ................................................................................................................................................................ 78 4.2. Hoofdstuk 1: Introductie ................................................................................................................................ 78 4.3. Hoofdstuk 1: Eerste ontmoeting met Augustus .................................................................................... 82 4.4. Hoofdstuk 7: De Brief van van houten ...................................................................................................... 85 4.5. Hoofdstuk 8: Brief van Lidewij ..................................................................................................................... 87 3 4.6. Hoofdstuk 11: Dineren in Amsterdam ...................................................................................................... 88 4.7. Hoofdstuk 12: Op bezoek bij Van Houten ................................................................................................ 92 4.8. Hoofdstuk18: Wiliam Carlos Williams ...................................................................................................... 97 4.9. Hoofdstuk 23: Laatste ontmoeting met Van Houten ........................................................................ 100 5. Discussion and Comparison of Translations ........................................................................................ 103 5.1. Conversational Tone and Idiolect ............................................................................................................ 104 5.2. CSEs and Intertextuality .............................................................................................................................. 110 6. Conclusion ................................................................................................................................................................ 114 7. Source Texts ............................................................................................................................................................ 116 7.1. Epigraph ............................................................................................................................................................. 116 7. 2. Chapter 1: Introduction ............................................................................................................................... 116 7.3. Chapter 1: Augustus and hazel first meeting....................................................................................... 117 7.4. Chapter 7: Letter from van Houten ......................................................................................................... 119 7.5. Chapter 8: Email from Lidewij................................................................................................................... 120 7.6. Chapter 11: Dinner in Holland .................................................................................................................. 120 7.7. Chapter 12: Conversation with Van Houten ........................................................................................ 123 7.7. Chapter 18: Wiliam Carlos Williams ....................................................................................................... 126 7.8. Chapter 23: Conversation with Van houten ......................................................................................... 128 8. Appendices ............................................................................................................................................................... 130 9. Works cited .............................................................................................................................................................. 135 4 INTRODUCTION In recent years there has been an increased interest in young adult literature (YAL). Although the genre is quite young, it is doing exceptionally well amongst readers as is demonstrated by the popularity of YAL novels such as The Golden Compass and the Harry Potter novels, which are highly popular with both adolescents and adults, as well as the increasing amount of movie adaptations of YAL books such as The Hunger Games series, the Divergent series and The Mortal Instruments series. High school teachers frequently look towards YAL to keep their young pupils engaged with and interested in literature. However, YAL is often looked upon as a gateway to adult literature and is frequently considered to be a transitional tool that will help prepare readers for adult literature (Coats 316). Consequently, YAL frequently gets dismissed as not being worthy of study in and of itself, and certain theorists feel that the domain has little of substance to offer for literary discussion other than being a reflection of what teenagers enjoy to read (Daniels 78; Hunt 6). In this thesis I will concentrate on the translation of YAL. YAL is a popular genre in