Literary Translation as Rewriting

1
Prof. Simeon E. Osazuwa
Prof. Simeon E. Osazuwa
1 Ambrose Alli University

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Introduction-In the days of Shakespeare and the Elizabethans, even up to the time of Molière, a lot of works were produced, especially in the dramatic arts and poetry. In those periods, writing was generally done in ink with a pen or ordinary feather, in long rolls of well-kept manuscripts. Shakespeare wrote almost exclusively for England and the English audience, while Molière’s readers and audience were mainly in France, apart from a few outsiders who had acquired foreign languages. Towards the end of the last century, globalization has so expanded national literatures beyond national boundaries that it has become even difficult to identify some literary production with particular nations. Technology has made it possible to read other works on-line and on the internet. And with the development of expertise in translation, the Americans now read Jean-Paul Sartre, Albert Camus, etc, while the French can now appreciate George Orwell, Ernest Hemingway and other American writers by reading them in French. Literary translation therefore, in no small way, helps to nurture a type of crossbreed of cultures throughout the world by making the socio-cultural contents of literary works available to others in their own languages. But in order to do this successfully, the translator must, apart from decoding the language of the original work, make some extra effort to adapt

5 Cites in Articles

References

  1. Chinua Achebe (1958). Things Fall Apart.
  2. Chinua Achebe (1972). Le monde s'effondre, Paris, Présence Africaine.
  3. E Arowolo (1982). Problems of Translation in African Writings.
  4. George Mouin (1963). Les problèmes théoriques de la traduction.
  5. Simeon Osazuwa (1992). African Literature and the language dilemma.

Funding

No external funding was declared for this work.

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The authors declare no conflict of interest.

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Prof. Simeon E. Osazuwa. 2014. \u201cLiterary Translation as Rewriting\u201d. Global Journal of Human-Social Science - A: Arts & Humanities GJHSS-A Volume 14 (GJHSS Volume 14 Issue A1): .

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GJHSS Volume 14 Issue A1
Pg. 64- 67
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Crossref Journal DOI 10.17406/GJHSS

Print ISSN 0975-587X

e-ISSN 2249-460X

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April 17, 2014

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Introduction-In the days of Shakespeare and the Elizabethans, even up to the time of Molière, a lot of works were produced, especially in the dramatic arts and poetry. In those periods, writing was generally done in ink with a pen or ordinary feather, in long rolls of well-kept manuscripts. Shakespeare wrote almost exclusively for England and the English audience, while Molière’s readers and audience were mainly in France, apart from a few outsiders who had acquired foreign languages. Towards the end of the last century, globalization has so expanded national literatures beyond national boundaries that it has become even difficult to identify some literary production with particular nations. Technology has made it possible to read other works on-line and on the internet. And with the development of expertise in translation, the Americans now read Jean-Paul Sartre, Albert Camus, etc, while the French can now appreciate George Orwell, Ernest Hemingway and other American writers by reading them in French. Literary translation therefore, in no small way, helps to nurture a type of crossbreed of cultures throughout the world by making the socio-cultural contents of literary works available to others in their own languages. But in order to do this successfully, the translator must, apart from decoding the language of the original work, make some extra effort to adapt

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Literary Translation as Rewriting

Prof. Simeon E. Osazuwa
Prof. Simeon E. Osazuwa Ambrose Alli University

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