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Stream of Consciousness: a Study of Selected Novels by James Joyce and Virginia Woolf

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Stream of Consciousness: a Study of Selected Novels by James Joyce and Virginia Woolf This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Italian translations of English stream of consciousness: a study of selected novels by James Joyce and Virginia Woolf Giulia Totò PhD The University of Edinburgh 2014 Declaration I hereby declare that this thesis was composed by myself, that the work contained herein is my own except where explicitly stated otherwise in the text, and that this work has not been submitted for any other degree or professional qualification except as specified. Giulia Totò iii To little Emma and Lucio, for the immense joy they spread and the love they allow me to return. iv Acknowledgments I am pleased to take this opportunity to thank my supervisors Federica G. Pedriali and Yves Gambier for their guidance and, most of all, for their support and patience during these years. While pursuing my doctoral research I was fortunate to find myself in a very welcoming and friendly academic environment, particularly thanks to Davide Messina, Mara Mari Kirkwood, Luana Babini and Claudia Nocentini. The administrative staff, especially Linda Grieve, Kate Marshall and Heather Elliott in the Graduate School of Literatures, Languages and Cultures, and Louise Wilson in the Postgraduate Office of the College of Humanities and Social Science, were also very helpful during my studies. For their encouragement from the very beginning of this journey, I would like to thank Francesco Sberlati (University of Bologna) and Stefano Arduini (University of Urbino). I am also grateful to Enrico Terrinoni (University of Perugia) and in particular to Graham Thurgood (California State University, Chico) for their valuable advice during these years. My graduate studies were supported by grants from The Sir Richard Stapley Educational Trust (2007-2008) and the Italian cultural association Il Circolo (2008- 2009). Finally I would like to extend warm thanks to my friends and fellow postgraduate students: Carlo, Chris and Sarah, Cristina, Daniela, Giuseppe and Maja, Guy and Marzia, Matteo and Myrto in Italian Studies and Pei in Translation Studies. Their solidarity has been the perfect remedy to PhD isolation. Most of all, I deeply thank my family, and especially my parents, Nicola, Xiaodan, Anna, zia Venanza and Valentina; my close friends Marzia and Stefania; and my beloved Jakub, without whose constant support this thesis simply would not have been written. v Abstract The appearance of the stream of consciousness novel in the early Twentieth century marked a revolutionary moment in the history of English-language literature. Authors such as Joyce, Woolf and Faulkner aimed at simulating through language the inner workings of the human mind which were explored by contemporary psychology and philosophy. Their experiments with linguistic and narrative possibilities make their work a stimulating subject of study, both in the original and in translation. Although stream of consciousness novels by different English- speaking authors have been examined together linguistically before (e.g. Humphrey 1954, Dahl 1970, Cohn 1978), no translation study of this kind has yet been attempted. In this thesis I examine how the main traits of the stream of consciousness genre, such as the apparent lack of narratorial control, privacy and spontaneity of the fictional discourse, are recreated in Italian. The core of this thesis is formed by a set of systematic comparative analyses of linguistic parameters which contribute to conveying these traits: punctuation, exclamatory utterances, interjections and lexical repetition. For the purpose of my investigation, I built a corpus of six English stream of consciousness passages with their nineteen Italian translations and retranslations. The source texts are drawn from Joyce’s A Portrait of the Artist as a Young Man (1916) and Ulysses (1922), and Woolf’s Mrs Dalloway (1925) and To the Lighthouse (1927); the target texts from their complete translations published from 1933 to 1995. The analysis starts from the investigation of local translational choices and proceeds to identify patterns of behaviour. This qualitative method is complemented by a quantitative examination of the frequency of particular translation solutions both within and across target texts. The series of (re)translations are also compared diachronically and related to the retranslation hypothesis, according to which later translations tend to be closer to the source text. My research also puts the stream of consciousness phenomenon into the Italian socio-cultural context by examining how it was received in Italy across the Twentieth century. vi Contents List of abbreviations .................................................................................................. x Tables ......................................................................................................................... xi Introduction ................................................................................................................ 1 Chapter 1: Stream of consciousness ......................................................................... 5 1.1 Setting the scene: historical and conceptual framework .............................. 5 1.2 Linguistic features ........................................................................................ 9 1.3 Narrative modes of thought presentation ................................................... 15 1.4 Studying stream of consciousness in translation ........................................ 22 1.5 Conclusion.................................................................................................. 24 Chapter 2: Materials and methods ......................................................................... 25 2.1 The corpus .................................................................................................. 25 2.1.1 Building the corpus: selection process ................................................... 25 2.1.2 The source passages ............................................................................... 28 2.1.3 Ulysses as a source text .......................................................................... 33 2.2 Translation and retranslation ...................................................................... 35 2.2.1 Target-based investigation ..................................................................... 35 2.2.2 Translation strategies and tactics ........................................................... 36 2.2.3 Retranslations and the retranslation hypothesis ..................................... 39 2.2.4 Closeness ................................................................................................ 41 2.3 Working with text ...................................................................................... 41 2.4 On back-translation .................................................................................... 46 2.5 Conclusion.................................................................................................. 46 Chapter 3: Reception of stream of consciousness novels in Italy ........................ 47 3.1 The analytic novel ...................................................................................... 47 3.2 Disengaged writing .................................................................................... 53 3.3 Into the canon ............................................................................................. 56 3.3.1 Language experiments in the 1960s ....................................................... 56 3.3.2 The publishing boom ............................................................................. 59 3.4 In the public domain ................................................................................... 63 3.5 Conclusion.................................................................................................. 65 vii Chapter 4: Punctuation I: dashes ........................................................................... 67 4.1 On punctuation ........................................................................................... 67 4.2 Dashes in the source texts .......................................................................... 75 4.3 Dashes kept ................................................................................................ 78 4.4 Punctuation shifts ....................................................................................... 82 4.4.1 Overview ................................................................................................ 82 4.4.2 Colons..................................................................................................... 83 4.4.3 Suspension periods ................................................................................
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