translation studies. retrospective and prospective views

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set against the background of a main “force field” (Jameson, 1993: 6), the writer and the work must be circumscribed to a primary tendency and a cultural dominant. But Bradbury also sees in “What Was Post-modernism?” a smoother transition, an almost imperceptible transgression of features from modernism to postmodernism claiming that the latter (at least at its beginnings) even takes up and continues a lot of the characteristics of the former: The post-modernism of the years of postwar ‘reconstruction’ is both modernism extended and developed onward into new times from similar avant garde presumptions, and a transformation of experiment and the avant garde itself in an age of historical change, rising Western affluence, a growing mass consumer society, and a new attitude to modernity. (1995: 767) A moment of transition exists nevertheless and this is culturally backgrounded in the struggles of the 1960s concerning the experiences of the new social movements comprising a general feeling of emancipation and the break away from an academia too much enclosed in abstract thinking. This is precisely the atmosphere registered by Malcolm Bradbury in Eating People Is Wrong (2000). It is a period announcing the advent of Generation X with its nonconformism and its sense of disrootedness. 3. Conclusions My analytical inquiry aimed at demonstrating that Malcolm Bradbury was a man of two distinct worlds coexisting in a unitary whole and that his work attempts to bridge the two universes: he was a critic of modernism, but also a writer who experimented boldly with the postmodern rules; he was an Englishman fascinated by America, where he travelled to take fresh breaths of a new culture and of a new time; he was a man of the present keeping up with the trends, the scientific and cultural developments, but also a man who liked to turn towards the past and cherished its cultural values; he was a man living in two millennia and feeling the pressure that the chiliastic turn put upon all the strata of society; he was a serious, objective analyst of the literary phenomenon almost all the time projected against the social background, but also a restless playful spirit that found an extreme pleasure in using a comic voice not only in most of his novels (some of them focusing exclusively on linguistic, structural or ideological games), but also in his criticism where the subtle voice of the critic was spiced with commentaries that surpassed the seriousness of the pipe-smoking analyst and reached the mouth-cornered smile of the satirist. 114
It is known that the time frame in which a writer or critic lives usually pinpoints him on the map of a literary period and sets him against the background of a certain mentality that permeates his work. But how much of the previous periods, trends and theories does he preserve or to what extent does he mark the transition between them? Malcolm Bradbury was surely fascinated with modernism in his critical studies, he described its multiple manifestations and stages of evolution, but his fiction renders the skeptical, parodic and ironic mood of a genuine postmodernist who rejects the absolute laws of any self-claiming superior system (and this spans from aspects such as modernism to communism or capitalism), who rejects the excessive theorization that postmodern decades displayed, but also regards unhopefully the fragmentary society that emerged after the demolishing (that would be an appropriate term since the most fervent movements in this direction started in the world of architecture) of the myth of modernism, and the invasion of a culture based on consumption, an anything-goes or throw-away type of culture that flaunts collage, pastiche, intertextuality, multiculturalism and plurality of perspectives because of the risk of promoting a pragmatic, kitschy way of thinking. Note 1 Malcolm Bradbury’s invention of study written by his hero Henri Mensonge in My Strange Quest for Mensonge, respectively, the inscription on the cap of one of the conference-participating professors in To the Hermitage. References Bertens, H. (1995/2005). The Idea of the Postmodern. A History, London and New York: Routledge. Bradbury, M. (2000). Eating People Is Wrong, London: Picador (Arena, with an Afterword by the author, 1984). Bradbury, M. (1988). My Strange Quest for Mensonge, Penguin Books. Bradbury, M. (1968). Stepping Westward, Penguin Books in association with Secker & Warburg. Bradbury, M. (2001). To the Hermitage, London: Picador. Bradbury, M. (1995). What was Postmodernism? The Arts in and after the Cold War, in International Affairs (Royal Institute of International Affairs 1944–), vol. 71, no. 4, Special RIIA 75 th Anniversary Issue (October 1995), 763–774. Brooker, P. (ed.) (1992/1994). Modernism/ Postmodernism, London and New York: Longman. Docherty, T. (1990/1996). After Theory, Routledge. Eagleton, T. (1996/2007). The Illusions of Postmodernism, Blackwell Publishing. Fiedler, L. (1971). The Collected Essays of Leslie Fielder, vol. II, New York: Stein and Day Publishers. 115
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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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En fait, la préface représente l
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trouver des sources et une base de
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Page 101 and 102: Textually, it presupposes a similar
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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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