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Translating Nouzha Fassi Fihri's La Baroudeuse: A Case Study in ...

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on a cont<strong>in</strong>uum of writers and re-writers. 25 All three are professional readers who<br />

approach the text <strong>in</strong> a "writerly" fashion.<br />

Octavio Paz proposes a different view of the relationship between<br />

language activities.<br />

When we learn to speak, we are learn<strong>in</strong>g to translate; the child who asks<br />

his mother the mean<strong>in</strong>g of a word is really ask<strong>in</strong>g her to translate the<br />

unfamiliar term <strong>in</strong>to the simple words he already knows. In this sense,<br />

translation with<strong>in</strong> the same language is not essentially different from<br />

translation between two tongues. . . .No text can be completely orig<strong>in</strong>al<br />

because language itself, <strong>in</strong> its very essence, is already a translation: first<br />

from the nonverbal world and then because each sign and each phrase is a<br />

translation of another sign, another phrase. However, the <strong>in</strong>verse of this<br />

reason<strong>in</strong>g is also entirely valid. All texts are orig<strong>in</strong>als because each<br />

translation has its own dist<strong>in</strong>ctive character. Up to a po<strong>in</strong>t, each translation<br />

is a creation and thus constitutes a unique text. 26<br />

Accord<strong>in</strong>g to Paz, all <strong>in</strong>stances of language use are <strong>in</strong> essence equally creative and<br />

translational. Speak<strong>in</strong>g is the act of translat<strong>in</strong>g perceptions <strong>in</strong>to language.<br />

Individuals speak<strong>in</strong>g and writ<strong>in</strong>g the same language are translat<strong>in</strong>g their<br />

understand<strong>in</strong>g for each other. Every <strong>in</strong>stance of language use is creative but never<br />

entirely orig<strong>in</strong>al <strong>in</strong> that it makes use of previously exist<strong>in</strong>g words and structures.<br />

Though I agree with this assertion, I nevertheless see the translator as obligated to<br />

reproduce an orig<strong>in</strong>al text and therefore subject to more constra<strong>in</strong>ts than are most<br />

poets and novelists.<br />

25 André Lefevere, "Why Waste Our Time on Rewrites? The Trouble with<br />

Interpretation and the Role of Rewrit<strong>in</strong>g <strong>in</strong> an Alternative Paradigm," The<br />

Manipulation of Literature: Studies <strong>in</strong> Literary Translation, ed. Theo Hermans<br />

(New York: St. Mart<strong>in</strong>s Press, 1985) 235.<br />

26 Octavio Paz, "Translation: Literature and Letters," trans. Irene del Corral,<br />

Theories of Translation: An Anthology of Essays from Dryden to Derrida, eds.<br />

Ra<strong>in</strong>er Schulte and John Giguenet (Chicago: U of Chicago P, 1992) 152-154.<br />

53

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