The Irish Language, the English Army, and the Violence of Translation in Brian Friel's Translations
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Developing Quality Cost Effective Interpreting and Translating Services
Developing Quality Cost Effective Interpreting & Translating Services FOR GOVERNMENT SERVICE PROVIDERS IN IRELAND National Consultative Committee on Racism and Interculturalism (NCCRI) i ii FOREWORD Over the past few years, the NCCRI has been involved in working with Government bodies to improve services to members of minority ethnic groups. This work has ranged from involvement in drafting the National Action Plan Against Racism (2005–2008) (NPAR) and in contributing to intercultural strategies arising from commitments in the NPAR, such as the Health Services Executive’s National Intercultural Health Strategy 2007–2012; to managing cross-border research on improving services to minority ethnic groups in Ireland, Scotland and Northern Ireland.1 Throughout this work, a recurring theme has been the need for professional, accurate, high quality interpreting and translating services for people with low proficiency in English; this was confirmed in the NCCRI Advocacy Paper2 Interpreting, Translation and Public Bodies in Ireland: The Need for Policy and Training in 2007. Many migrants to Ireland speak some English or attend English language classes; however, this does not necessarily mean they have sufficient English to interact effectively with Government bodies; this is particularly true in stressful and critical situations, for example in a health care or justice setting. The increasing diversity in languages spoken in Ireland today means that provision of interpreting and translating has become a pressing need if people with low proficiency in English are to experience equality of access and outcomes in their interaction with key Government services such as health, justice, education and housing. Recognising that there had been little research on the need for, and experiences of, interpreting and translation services in Ireland to date, the NCCRI approached the Office of the Minister for Integration seeking support for the current study. -
Translations: a Movement Towards Reconciliation
Translations: a Movement Towards Reconciliation Michelle Andressa Alvarenga de Souza Abstract: This article proposes a postcolonial reading of Brian Friel’s Translations, understanding it as piece of work that presents a way out for Ireland to reconcile with England, its colonizer. It has taken the major theoreticians in postcolonial studies as premise to read the play as a place of hybridity. Keywords: Brian Friel; Translations; hybridity. Brian Friel was part of a group of six Northern artists1 who responded to the unsettled political situation in the country after the partition of Ireland in two states. This group was the Field Day Theatre Company, which set out “to contribute to the solution of the present crisis by producing analyses of the established opinions, myths and stereotypes which had become both a symptom and a cause of the current situation.”2 Their most significant proposition was the idea of an Irish “fifth province,” one that would be added to the four geographical provinces of Ireland (Connacht, Leinster, Munster and Ulster). This “fifth province” would not be a physical place, but would be a province of the mind: one capable of transcending the oppositions of Irish politics, a place where all conflicts are resolved. In order to constitute such a location each person is required to discover it for himself and within himself. According to Friel the fifth province is “a place for dissenters, traitors to the prevailing mythologies in the other four provinces” “through which we hope to devise another way of looking at Ireland, or another possible Ireland” (qtd. in Gray 7). -
Minority Language Rights: the Irish Language and Ulster Scots
MINORITY LANGUAGE RIGHTS The Irish language and Ulster Scots Briefing paper on the implications of the European Charter for Regional or Minority Languages, European Convention on Human Rights and other instruments June 2010 © Northern Ireland Human Rights Commission Temple Court, 39 North Street Belfast BT1 1NA Tel: (028) 9024 3987 Fax: (028) 9024 7844 Textphone: (028) 90249066 SMS Text: 07786 202075 Email: [email protected] Website: www.nihrc.org 1 2 CONTENTS page Introduction 5 1. Development of minority language rights in international human rights law 6 1.1 The European Charter for Regional or Minority Languages 7 1.2 Indigenous languages and the Charter, and obligations relating to ‘non-indigenous’ languages 8 1.3 The Irish language and Ulster Scots 10 2. Duties framework for public authorities 12 2.1 Duties in relation to the Irish language under Part III of the Charter 12 2.2 Policy Objectives and Principles for Irish and Ulster Scots under Part II of the Charter 13 2.3 The Belfast (Good Friday) and St Andrews Agreements 14 2.4 Minority language rights in UN and other Council of Europe instruments, including the European Convention on Human Rights 15 2.5 Duties and the policy development process 17 3. Non-discrimination on grounds of language 18 3.1 Human rights law obligations 18 3.2 Discrimination against English speakers? 19 3.3 Differential treatment of Irish and Ulster Scots 20 3.4 Banning or restricting minority languages 21 4. Positive action: promotion through corporate identity 25 4.1 Promotion of minority languages and the rights of others 25 4.2 Freedom of expression and ‘sensitivities’ 26 Appendix 1: The Charter, Article 10 29 Appendix 2: The Charter, Part II, Article 7 30 3 4 INTRODUCTION The Northern Ireland Human Rights Commission (the Commission) is a statutory body created by the Northern Ireland Act 1998. -
After Babel Revisited: on Language and Translation. in Memoriam George Steiner (1929–2020)
Athens Journal of Philology 2020, 7: 1-22 https://doi.org/10.30958/ajp.X-Y-Z After Babel Revisited: On language and Translation. In Memoriam George Steiner (1929–2020) By Hans-Harry Drößiger On February 3, 2020, one of the most interesting scholars in humanities, especially in literary research and translation studies, died: George Steiner. Sometimes labelled as a genius, sometimes as someone who was always outside the mainstream and acting as an inconvenient thinker, he did his part in the humanities in a fresh and in a provocative way. The following article wants to shed some light on his basic writing entitled After Babel, originally published in 1975 and reviewed by himself in 1992. In doing so, this article is about to honour him for his challenging statements, insights and discussion on language and translation to be not forgotten by recent and future generations of researchers. Keywords: George Steiner, language, translation, theory of translation, contiguity. We are able to say so fantastically much more than we would need to for purposes of physical survival. We mean endlessly more than we say (Steiner 1998: 296). Introduction First published in 1975, this volume by George Steiner gained appreciation and interest amongst scholars in the world because of its fresh, lively and competent description of translation problems and issues, not only for his time. Thus, this book requires our full attention because of its fascinating range of thoughts on language, translation and translation theory. Excerpts from the contemporary press in the scholarly world from the back cover of that edition I own, may highlight the value the book deserves even today. -
Brian Friel's Translations in Irish-Language Performance
Translating In? Translating In? Brian Friel’s Translations in Irish-language Performance Nóra de Buiteléir (National University of Ireland, Galway) “The sad irony, of course, is that the whole play is written in English. It ought to be written in Irish …” (Friel, “In Interview” 80) Should a text that is itself a translation – albeit a fictional one – be easier to translate? What happens when a play that supposedly stages the death of a language is re- enacted in that very language? Set in the Donegal Gaeltacht on the eve of the Famine and premiered in Derry in 1981, Brian Friel’s Translations has come to establish itself as a classic of modern Irish theatre. The reasons for its commercial and critical success are relatively clear: to any audience experiencing it for the first time, Translations seems, superficially at least, a remarkably simple piece of theatre. It establishes for itself an easily recognisable historical and geographical setting. It seamlessly combines the comic with the philosophical. It draws on the established model of Romeo and Juliet in setting up two lovers in the face of cultural conflict. Its dialogue is easily flowing and (apparently) naturalistic, packing a strong plot into the reassuringly familiar form of the Three-Act play. It is reasonable to assume that Translations owes much of its popular success to the fact that is easily accessible – traditional , almost. Underneath the naturalistic speech at the surface, however, is a language riddled with contradictions and ironies, a meeting place of Irish, English, Greek and Latin where translation is imperative and irresistible yet vulnerable and relentlessly destabilized. -
Some Welsh and Irish Translations of Spanish Writers
Livius, 1 (1992) 141-145 Some Welsh and Irish Translations of Spanish Writers Andrew Breeze Much Welsh and Irish literature consists of translation. Amongst the earliest records of the Celtic languages are glosses on Latin; at a later date we have religious and historical texts translated from Latin, and romances translated from French and (in the fifteenth century) English; in the sixteenth century Welsh and Irish first appear in print with translations of Protestant and Catholic texts; while from about 1800 appear various works conveniently described as 'modern'. There is also a long tradition of translation from Welsh and Irish as well as into them. Early examples described in Arthurian Literature in the Middle Ages, ed. R. S. Loomis (Oxford, 1959). include the lost Welsh sources tor the legends of King Arthur and Tristan and Isolde, and the Irish Fled Bricreen which provided the beheading theme for Sir Gawain and the Green Knight; while in recent years translations from Celtic have moved further afield, including Spanish versions of the Welsh Mabinogion and Irish Lebor Gabála. For Welsh, D. Simon Evans, A Grammar of Middle Welsh (Dublin, 1964), xxixliv, provides a bibliography of Welsh literature to 1400 with indications of Latin and French sources, while in her 'Rhai Agweddau ar Gyfieithu yng Nghymru yn yr Oesoedd Canol', Ysgritau Beirniadol, xiii (1985), 134-45, Ceridwen Lloyd-Morgan discusses how early Welsh translators worked vis-á-vis French romance. Irish material is surveyed in Nessa Ní Shéaghdha, 'Translations and Adaptations into Irish', Celtica, xvi (1984), 107-24. The Welsh and Irish versions of Spanish writers listed below perhaps suggest both the nature of the material, and possible approaches for Spanish researchers. -
BABEL and DERRIDA: POSTMODERNISM, LANGUAGE and BIBLICAL INTERPRETATION Craig G
Tyndale Bulletin 49.2 (1998) 305-328. BABEL AND DERRIDA: POSTMODERNISM, LANGUAGE AND BIBLICAL INTERPRETATION Craig G. Bartholomew Summary This article assesses the challenge postmodernism constitutes for biblical interpretation via an analysis of Derrida’s reading of the Tower of Babel narrative. Derrida’s setting of the text in play is found to be an unhelpful model for biblical interpretation, but his foregrounding of language in the narrative and the implications of philosophy of language for interpretation are useful. The contours of Derrida’s Babelian philosophy of language are explored and its insights noted. It is argued that the ultimate issues in philosophy of language are theological and that Christian scholars need to articulate a Christian view of language. I. Introduction From its height Babel at every instant supervises and surprises my reading: I translate, I translate the translation by Maurice de Gandillac of a text by Benjamin who, prefacing a translation, takes it as a pretext to say to what and in what way every translator is committed—and notes in passing, an essential part of his demonstration, that there could be no translation of translation. This will have to be remembered [Derrida].1 Long ago Tertullian asked, ‘What does Jerusalem have to do with Athens?’ From a Christian perspective, sensitized as it is to idolatry, it is always tempting to reply, ‘Nothing!’ However, historically the Tertullian-type approach has often had devastating consequences for 1J. Derrida, ‘Des Tours de Babel’, Semeia 54 (1991) 17. 306 TYNDALE BULLETIN 49.2 (1998) Christian scholarship. Tertullian rejects Athens as bankrupt philosophy and yet like a Trojan horse he cannot keep philosophy out of his discourse where it, undetected, exercises its influence. -
Babel and Rear Window: Architectural Models from New Media
Babel and Rear Window: Architectural Models from New Media Contemporary architecture history, theory, and criticism since the 1960s have sought to put architecture and linguistics either at odds or in cahoots. Some portray architecture as the paragon of resistance to any critical theories involving language. Others ambitiously align architecture with linguistics, semiotics, hermeneutics, and other theories of meaning. This confrontation intensifies in the case of film theory. Not only does film portray much architecture and landscape, it seems to have developed its own sense spatiality and temporality, competing with architecture’s “main business.” This paper takes an “Ur-example” of architecture (the Tower of Babel) and compares it with what many have regarded as an “Ur-film,” Alfred Hitchcock’s Rear Window. Because both exemplars combine matters of shape, space, and time with questions of knowledge and discovery, any comparison can but help getting to the bottom of architecture’s radical semiology. One of the oldest metaphors of building, the Biblical story of the Tower of Babel (Fig. 1), refuses to resolve the tension between meaning and mute form and presents a puzzle rather than a paradigm. Biblical scholarship has deepened the mystery. The Hebrew authors of Genesis, who were likely working from Babylonian or Sumerian precedents, may have intended to provide an account for the multiplicity of cultures and languages, with the moral kernel of advice against using or even seeking a meta-language packed in for good measure. The model for the Tower of Babel, the ziggurat, was a different kind of architectural device, however. As its Akkadian name suggests (bab’el or bab-ilu — “Gate of God”), its function was to facilitate communication with the divine, not disrupt it.1 1 Fig. -
The Role of Greek and Latin in Friel's Translations
Colby Quarterly Volume 27 Issue 4 December Article 4 December 1991 The Role of Greek and Latin in Friel's Translations Brian Arkins Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Quarterly, Volume 27, no.4, December 1991, p.202-209 This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Colby Quarterly by an authorized editor of Digital Commons @ Colby. Arkins: The Role of Greek and Latin in Friel's Translations The Role of Greek and Latin in Friel's Translations by BRIAN ARKINS hough tackled in a skillful and oblique way rather than head-on, the main T theme of Brian Friel's play Translations! is the imperialistic nature of the Ordnance Survey ofIreland conducted by military agents ofthe British govern ment in the period 1824-46.2 Designed to bolster the position ofthe 2,000-3,000 Protestant Ascendancy landlords in Ireland, this large-scale enterprise was clearly part ofwhat the English saw as bringing civilization to the savage Irish. Field officers were instructed to look out for Irish squalor, improvidence, and superstition.3 To cloak the colonial nature ofthe Survey, it was claimed that one of its aims was to ensure "more equitable taxation" (31). Ofnecessity, we imagine geographical space, like everything else, by means ofparticular representations such as maps; these do not constitute reality but are representations (Aristotle's mimesis) ofreality. The making ofa new map ofan area-here, the townland ofBaile Beag/Ballybeg in County Donegal-renders obsolete an existing representation-the way the inhabitants had previously perceived their geographical space-and imposes a new representation which changes how they perceive that space. -
Brian Friel and the Politics of the Anglo-Irish Language
Colby Quarterly Volume 26 Issue 4 December Article 7 December 1990 Brian Friel and the Politics of the Anglo-Irish Language F. C. McGrath Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Quarterly, Volume 26, no.4, December 1990, p.241-248 This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Colby Quarterly by an authorized editor of Digital Commons @ Colby. McGrath: Brian Friel and the Politics of the Anglo-Irish Language Brian Friel and the Politics of the Anglo-Irish Language byF. C. McGRATH ANGUAGE has always been used as a political and social weapon. It has been L used to oppress a colonized or conquered people, and it has been used to police the borders ofsocial class. In Ireland it has been used in both these ways. After the British had consolidated their colonization of Ireland, Gaelic was outlawed, and its use stigmatized a class of people who were conquered, oppressed, and impoverished. B~fore independence in 1922 Irish-accented Eng lish' including degrees ofIrish accent, established social hierarchies-thecloser to British English, the higher the class. George Steiner's observation about upperclass British accents applied with particular force in Ireland: "Upper-class English diction, with its sharpened vowels, elisions, and modish slurs, is both a code for mutual recognition-accent is worn like a coat of arms-and an instrument of ironic exclusion" (32). Since the late nineteenth century, however, knowledge ofthe old Gaelic has been turned into an offensive political weapon and a badge of Irish nationalist affiliation; and today the status of the Anglo-Irish language, that is, English as spoken by the Irish, has become a major concern for Brian Friel and other Irish writers associated with his Field Day Theatre Group. -
Before Babel: a History of Basque Literatures
Before Babel: A History of Basque Literatures Joseba Gabilondo BαRβaπoaK © 2016 Barbaroak. All rights reserved Printed in the United States of America on acid-free paper. Design: Joseba Gabilondo. Photographs: Wikimedia commons. ISBN: 978-1530868322 Library of Congress Cataloging Data: PH5281 .G33 2014 Barbaroak, LLC. www.barbaroak.com Only Basques preserve, to our days, their vulgar and barbarian language, which does not show any elegance, and is very different from the rest of languages and the most ancient of Spain, […] it is said that the whole Spain made use of the Basque language before the Romans entered these provinces and, with their arms, spread their language. It is also said that, because these Basque people were vulgar, ferocious, and wild […] and the mountains they inhabited were inaccessible, they never fell completely under the yoke of the foreign empire, or they shook it swiftly. Juan de Mariana, General History of Spain, (1601). What are we waiting for while congregated in the forum? The barbarians are expected to arrive today. Why is there such lack of action in the senate? Why are the senators sitting still and do not legislate? Because the barbarians will arrive today. … Why are the streets and public squares becoming empty? And everybody is going home with skeptical thoughts? Because night has fallen and the barbarians did not arrive. Some people came from the border And reported that the barbarians do not exist anymore. Now what are we going to do without barbarians? These people were after all a kind of solution. Constantine P. Cavafy. “Waiting for the Barbarians.” (1904; translation by Konstantinos Karpozilos). -
Brian Friel: Titles Plays: Translations / Making History
Brian Friel: Titles This is a compilation of some of the titles submitted by centres in Summer 2009. It is not a definitive or prescriptive list of titles but it will give an idea as to different approaches to the task. Some student devised titles have not been listed as, while many have been successful due to the interest of the student, they may not be as successful if given to a class. Titles with a similar focus, but with e.g. a different location or form of writing, have been subsumed into each other to keep a concise list of approaches. Plays: Translations / Making History Flashback of Hugh O’Donnell remembering how he marched to Sligo to take part in the 1798 United Irishmen Rebellion, along with his friend Jimmy Jack Cassie. Hugh remembers that he decided to return to Ballybeg instead of going through with the rebellion. He feels a sense of shame that he did not take part in the uprising. Hugh is visited by a vision of Hugh O’Neill (from Making History). Create the scene. Write a scene in which Yolland from Translations and Mabel from Making History engage in dialogue, discussing their lives. Write a scene in which Lieutenant Yolland from Translations and Hugh O’Neill from Making History engage in dialogue and discuss their lives. Write a scene in which Lieutenant Yolland from Translations and Mabel O’Neill from Making History engage in dialogue and discuss their lives. Through having the characters of Hugh O’Donnell and Hugh O’Neill “meet”, develop a dialogue, exploring the connections and comparisons between the themes of identity, language , history which are evident in both plays.