University of Amsterdam, 2016 MA in Linguistics: Translation Studies Student Number: 11105615 Kamil Kiedos Supervisor: dr. Eric Metz (UvA) Polish Translations of A Clockwork Orange by Anthony Burgess as Evidence for the Applicability of Rewriting Theory and Retranslation Hypothesis Final Thesis - MA in Linguistics: Translation Studies Amsterdam, 30th June 2016 1 Table of Contents: 1. Introduction………………………………………………………………….....3 2. Theoretical Framework……………………………………………………….4 2.1. Ideology and Rewriting……………………………………………………4 2.1.1. Ideology in Translation Studies…………………………………….4 2.1.2. Rewriting……………………………………………………………...5 2.2. Retranslation………………………………………………………………..5 2.2.1. Definition and Motives……………………………………………....5 2.2.2. Retranslation Hypothesis…………………………………………...6 3. Literary and Historical Background………………………………………..7 3.1. The Original Book………………………………………………………….7 3.2. Two Polish Translations…………………………………………………...8 3.2.1. Translation Criticism Perspective…………………………………..8 3.2.2. The First Version……………………………………………………..8 3.2.3. The Second Version……………………………………………… …9 4. Text Analysis - Ideological Aspects……………………………………….10 4.1. Traces of Rewriting………………………………………………………..10 4.2. Miscellaneous Traces of Ideology……………………………………….12 4.3. Summary, Conclusion and Research Continuation……………………12 5. Research Method……………………………………………………………...14 5.1. Introduction…………………………………………………………………14 5.2. The First Survey (Survey I)....................................................................14 5.3. The Second Survey (Survey II)..............................................................17 5.4. The Polonised-Estonian Version (‘Wersja E’)........................................19 5.4.1. The Choice of the Estonian Language……………………………..19 5.4.2. The Methods of ‘Polonising’ the Estonian Words………………....20 6. Results……………………………………………………………………………22 6.1. Survey I……………………………………………………………………....22 6.1.1. Introduction…………………………………………………………….22 6.1.2. General Questions…………………………………………………....22 6.1.3. Nadsat Input Analysis………………………………………………...23 6.2. Survey II……………………………………………………………………...26 6.2.1. Introduction………………………………………………………….....26 6.2.2. General Questions………………………………………………….....26 6.2.3. Nadsat Input Analysis………………………………………………....27 6.3. Comparison…………………………………………………………………..29 7. Discussion and Conclusion…………………………………………………..31 7.1. Rewriting……………………………………………………………………..31 7.2. Retranslation………………………………………………………………...31 7.3. Final Conclusion…………………………………………………………….32 8. Appendix…………………………………………………………………………..33 References…………………………………………………………………………….37 2 1. Introduction Translation Studies have been historically placed by scholars between Linguistics and Literary Studies. This work, however, will deal with academic theories and hypotheses that are to prove that translation is not merely a prescriptive act of retaining the balance between the source and target text. Translation is not a craft requiring a great deal of imagination either. It is an academic discipline that calls for its own autonomy. The scopes that translation is connected to ranges from literature, languages, sociology, psychology and many others. All the aforementioned subjects are usually intertwined with translation, but only to a certain extent, which distinguishes it and makes it even more special. This work, however, is not an attempt to prove that Translation Studies should be treated as a separate academic field, as I have already taken that for granted. Instead of that, I would like to present particular ideas in the field of translation that demonstrate the solid complexity of the discipline. Therefore, I would like to present two translations and two ideas that seem to be invariably entangled with each other. The translations are two different version of the same book, namely A Clockwork Orange, written by the Scottish author Anthony Burgess, translated twice by the Polish writer Robert Stiller. The first idea whose applicability I will try to prove by these translations is, proposed by the Belgian scholar André Lefevere, rewriting theory, which refers to a great number of ideological aspects and thoughts. The second idea is, proposed by the French theorist Antoine Berman, retranslation hypothesis, which mainly deals with the question of whether translations can age; and whether there are other motives for retranslation. Thus, the two Polish translations of Anthony Burgess’ novel will serve as evidence for validity of the rewriting theory, namely: is the rewriting theory applicable to the Polish translations of A Clockwork Orange? (the first research question and purpose of this work) and the second main aspect will deal with with the question: can a translation age and if so, what is the motivation for its doing so? (the second research question and purpose of this work). 3 2. Theoretical Framework 2.1. Ideology and Rewriting 2.1.1. Ideology in Translation Studies André Lefevere, the Belgian translation theorist, described the relationship between ideology and Translation Studies as “the conceptual grid that consists of opinions and attitudes deemed acceptable in a certain society at a certain time and through which readers and translators approach texts“ (Lefevere, 1992: 16). In other words, the political and economic circumstances in which a translator finds him- or herself are the main factors that impact their worldviews and beliefs. In the act of rendering, these worldviews and beliefs may distort or manipulate the text in such a way that the final outcome, namely translation, does not reflect the original work (Hermans, 1985). Traditionally, religious and ethnocentric ideology operated as a strategy in translation. Thus, the translator was in power to direct the rendering in such a way that it would be well- received by the target culture (Fawcett & Munday: 2009: 138). It has been proven that some sacred texts underwent manipulations and alterations in the process of rendering due to translators’ ideological convictions (Elliot & Boer, 2012; Metzger, 1968: 78; Metzger, 1977: 349). Also, some translators of political texts were more susceptible to alter particular works, e.g. to control opinions, incite hatred or enlist supporters of a political movement (Billiani, 2009: 28-31). Indeed, ideology has always been affecting translations in many other genres in the field of literature, subtitles and even dubbing or voice-over (Jeczeń, 2006; Franco, Matamala & Orero, 2010). Ideology in the field of translation is connected to various aspects, including shifts, strategies, ethics or culture, which are usually intertwined (Fawcett & Munday, 1998: 138). Translation shifts refers to all the changes that were applied in the text by the translator. Namely, such techniques and methods that may ideologically alter a point of view or a thought of the reader (Vinay & Darbelnet, 1995). Some translation strategies, especially semantic ones, are strictly related to meaning alterations, hence the risk that the translator deliberately manipulated the text and it will be differently received by the target language audience (Owji, 2013). Thus, the matter of ethics is concerned in this area. Some translators intentionally distort, augment or compress the text according to their own views and outlooks (Bermann & Wood, 2005; Inghilleri & Maier, 1998: 100-104; Penrod, 1996: 39-54). This leads to the aspect of culture from which ideology derives (Hatim & Mason, 1997; Faiq, 2004: 61-72). 2.1.2. Rewriting One of the main theories that is invariably placed within the scope of ideology in translation is rewriting. The same Belgian academic, André Lefevere (1945-1996) theorised translation initially as ‘refraction’, and went on to re-coin the term as ‘rewriting’ in his later works (Asimakoulas, 2009: 241-245). According to the rewriting theory, the target text will never entirely reflect the source text as the translator is invariably biased by the ideological constraints that are valid in his or her country. As a result, translators introduce changes to their rendered work. The changes are caused by adaptation of the target text not only to the target language, but also to the target culture (Lefevere, 1992). The phenomenon of rewriting is influenced by two factors: aforementioned ideology and three-faceted patronage. The first facet consists of political, traditional and artistic aspects that belong to a given culture. The second represents superiors, i.e. such institutions or people who are in power to administrate literature - reading, writing, criticism and translation (Lefevere & Bassnett, 1997). There are a number of examples regarding who or what can play the role of patronage - publishers, the media, political party, social class, or individuals of a high social status etc. As mentioned above, patronage is three-faceted. The ideological 4 component is its first aspect and it serves as a condition of choice and development in terms of form and subject matter. The second aspect is the economic component which is the relationship between the patronage and writers or re-writers (translators) regarding financial matters (commission, payment and so on). The third and final aspect, status component, is connected with renown or prestige that the patronage can achieve by ‘patronising’ penmen (Hermans, 2004). Conclusively, rewriting is inundated with particular factors that lead to the manipulation of a text. To sum up, according to rewriting theory, translation should not be regarded as a proper representation of a given literary work. It might well serve as such, but only partially and in