translation studies. retrospective and prospective views

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same time, “a widespread loss of faith in the idea of teleology” (Eagleton, 2007: 16), a reaction against the impossibilities that it bred. In this line of thought and more or less metaphorically, Terry Eagleton defines postmodernism as “the Oedipal child of that age [modernism], squirming with embarrassment at the gap between the big talk of the father and his feeble deeds.” (2007: 63) Thus, a process which is not new takes place – that of subverting the law of the father as any new trend seems to have done it in its own time. The main idea of progressively increasing emancipation led to a continuous progress in all sectors of life from the technological ones to those concerning personal values. According to some critics, we have been living “through the death throes of Modernism and the birth pangs of Post- Modernism” (Fiedler, 1971: 461) because the postmodernist (fictional or theoretical) narrative draws away from and registers a break through the modernist impersonality, authorial detachment and richly saturated tissue of subjectivity. The major movement that marked the passage from modernism to postmodernism was the transgression of the modern self-reflexive exploration which discarded narrative in terms of classical or historical scenes and the return to a type of narrative which practises a different form of self-reflexivity by radicalizing it and introducing a very personal perspective which would not be the bearer of universal values. It is only in architecture that critics have identified a turning back to history through pictorial, representational elements. Hans Bertens, for example, states that: Depending on the artistic discipline postmodernism is either a radicalization of the self-reflexive moment within modernism, a turning away from narrative and representation, or an explicit return to narrative and representation. And sometimes it is both. (2005: 5) This type of simultaneously oppositional thinking is specific to postmodernist art and criticism and it is the one which gave rise to such a maelstrom of theories and artistic manifestations. Unlike the “either/… or” modernist rationality, this type of “both… and” postmodernist thinking led to paradoxically convergent theories. It is, in other words, a new type of dialectics in which opposing means and principles lead to a synthesis which, though heterogeneous, fragmented and diffuse, introduces a new logic, for, in Lyotard’s terms, it is dissensus that allows us to experience invention, the freedom to choose any/all subjects and positions, and to think. Hans Bertens (2005: 66-67) identifies, for instance, the same simultaneously existing tendencies in characterising major postmodernisms in the late 1970s and early 1980s by noticing, firstly, the existence of a postmodernism which is equivalent to a return to representation and narrative (even if disbelievingly, through irony and 110
fragmentation, and in a whimsical manner), secondly, the simultaneous attack on representation and narrative (following the Derridean/Barthesian denial of presence, origins, coherence of the subject and so on), and thirdly, the emergence of postmodernism as a non-discursive immediacy marking the disappearance of comprehensible discourse. At the same time, postmodernism allowed for an escape from the narrowly rationalist, almost inimical, modernity towards human desires and needs through revolutionary cries for liberation from intellectual, social, and sexual constraints. It is true that this may have led the world from the forms of authority of modernism as an antiquated phenomenon towards the anarchy of postmodernism that Ihab Hassan speaks about: It is already possible to note that whereas Modernism created its forms of artistic Authority precisely because the centre no longer help, Postmodernism has tended toward artistic Anarchy in deeper complicity with things falling apart – or has tended toward pop. (1987: 44-45) But then again the two concepts – authority and anarchy – cannot be fully separated as one may breed the other. That is why, Hassan continues by considering postmodernism more para-modern than post-modern. Another aspect registered in the gliding from modernism to postmodernism is the veer from the centre towards the margin. The newly introduced art forms, labelled by some as subcultures, were popular rather than elitist in orientation and any form of populism was marginal in modernist thinking. Mass-culture reshapes high-culture in a permanent process of adapting to the requirements and necessities of the contemporary age. Postmodernism has put an end to the modernist avantgarde and introduced a democratisation of art by breaking down the “Great Divide” between high-brow art and popular culture: We live in a mass culture to which we do not simply submit. We take its images, its narratives, its formulations of desire, and measure them against our real experiences of a real world. At the same time we rework and re-use them, in our conversation and gossip, in our fantasies, in every aspect of our lives. And this re-use is our individual form of resistance. (Wyver in Bertens, 2005: 100) Thus, popular cultures gain a political potential, they are the new voice through which the people address the system. This is the moment when the mass media (TV, video, advertising, the newspapers) become the instruments of the new politics of the people. At the same time, the political 111
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2008 Year I Issue 1 TRANSLATION STU
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2008 Year I Issue 1 TRANSLATION STU
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Translation Studies: Retrospective
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The publication of the first three
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Ruxanda Bontilă is an associate pr
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study on language and literature, o
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are a very good exercise in the leg
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Byronic disabuse and cynicism are s
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waves,/Seemed, in the shadow of the
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has the special vocation of watchin
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(e) naming of motifs, cross-motifs,
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Richard’s journey from childhood
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(After I had outlived the shocks of
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naively assumed that the ‘white
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intense enough for a tragedy, is ir
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etter than what already existed; th
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explicitly order him to kill Claudi
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ody is destroyed, without even havi
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emphasising her “melodious lay”
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and his uncle as “mighty opposite
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As Mandelbrot points out, this idea
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the internal mirror, regardless of
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patterns by means of which a litera
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This metafictional aside may be rea
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Like Nicholas, Conchis is a self-co
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magic, of legend and myth, the stor
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of fiction that faithfully renders
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emark that Nicholas is a selfish an
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Katherine Tarbox, in her turn, stat
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Page 69 and 70: En fait, la préface représente l
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Page 77 and 78: Generaţia ’80 în texte teoretic
Page 79 and 80: Translation Studies: Retrospective
Page 81 and 82: The novel exploits the carnivalesqu
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Page 85 and 86: eader only variants of the past. It
Page 87 and 88: egarded as suspicious. Both Barnes
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Page 93 and 94: Other scholars, notably Carolyn Wal
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Page 101 and 102: Textually, it presupposes a similar
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Page 105 and 106: The so-called A vocabulary constitu
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Page 117 and 118: consciousness, at a time when almos
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Page 137 and 138: Marino Malone, C. (2004). Façade a
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Page 141 and 142: text. III. Aims of the Online Cours
Page 143 and 144: 4 components: (i) background knowle
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Page 151 and 152: Translation Journal, 11, 4. Steccon
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Fresch, M. J. (2001). Using think-a
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concise, clear, and conform to the
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The fact section of a good student
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Who is the appellant (or respondent
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transcrit à l’écrit : familier
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andouille pour qu’on se laisse fa
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Réalisez un dialogue entre deux ad
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At this point, mention should be ma
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The map suggested by Murcia and Fre
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Continuous, for example, means know
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interrupted lines so as to suggest
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In addition to this, mention should
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The text above shows the difficultn
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you or you are wonderful! Such abbr
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over processes. The main idea worth
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at least, three aspects: • what c
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[1] quoted from Byram, M., 1994, p.
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The use of the new technologies imp
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documents and other resources of th
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l’exercice du jugement critique e
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correction, année scolaire 1997-19
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