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Russian "madness" in English transla...

Beliakova, Natallia.

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Russian "madness" in English translation: Reading Dostoevsky''s madmen from the translator's point of view.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Russian "madness" in English translation: Reading Dostoevsky''s madmen from the translator's point of view./
作者:	Beliakova, Natallia.
面頁冊數:	346 p.
附註:	Source: Dissertation Abstracts International, Volume: 74-12(E), Section: A.
Contained By:	Dissertation Abstracts International74-12A(E).
標題:	Slavic literature. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3590853
ISBN:	9781303309106

Russian "madness" in English translation: Reading Dostoevsky''s madmen from the translator's point of view.
Beliakova, Natallia.

Russian "madness" in English translation: Reading Dostoevsky''s madmen from the translator's point of view. - 346 p.

Source: Dissertation Abstracts International, Volume: 74-12(E), Section: A.

Thesis (Ph.D.)--State University of New York at Binghamton, 2013.

While Western literary scholarship has traditionally focused on thematic and ideological aspects of Dostoevskyes prose, this dissertation enlarges the discussion by advancing the subject of Dostoevskyes stylistics, which I analyze through the lens of translation. My study is as an attempt to examine two sets of problems. First, there is a need to revisit the complex topic of madness in English translations of Dostoevsky. Its simplistic interpretation, I argue, contributed to the image of Dostoevsky as an alien writer. Understanding Dostoevskyes "madness" implies experiencing it through his novels' language, form, and style. My close reading of translated works, and specifically passages devoted to emotional and mental disturbance, demonstrates that English translators often deprive the discourse of madness of its semantic and artistic power by focusing on thematic content and disregarding Dostoevskyes controversial style. Second, drawing on recent translation scholarship, as well as Mikhail Bakhtin's theory, I challenge the traditional understanding of translation as an obstacle to interpreting the original text. I explore the critical potential of translation and demonstrate how reading Dostoevskyes "madness" in translation opens up possibilities for another way into the text. To this end, the dissertation fills a gap in the scholarship of Russian literature and translation, which often focuses on isolated subjects of linguistic and cultural differences, or translators' incompetence.

ISBN: 9781303309106Subjects--Topical Terms:

2144740
Slavic literature.

Russian "madness" in English translation: Reading Dostoevsky''s madmen from the translator's point of view.
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245 1 0 $a Russian "madness" in English translation: Reading Dostoevsky''s madmen from the translator's point of view.
300 $a 346 p.
500 $a Source: Dissertation Abstracts International, Volume: 74-12(E), Section: A.
500 $a Advisers: Donald Loewen; Marilyn Gaddis Rose.
502 $a Thesis (Ph.D.)--State University of New York at Binghamton, 2013.
520 $a While Western literary scholarship has traditionally focused on thematic and ideological aspects of Dostoevskyes prose, this dissertation enlarges the discussion by advancing the subject of Dostoevskyes stylistics, which I analyze through the lens of translation. My study is as an attempt to examine two sets of problems. First, there is a need to revisit the complex topic of madness in English translations of Dostoevsky. Its simplistic interpretation, I argue, contributed to the image of Dostoevsky as an alien writer. Understanding Dostoevskyes "madness" implies experiencing it through his novels' language, form, and style. My close reading of translated works, and specifically passages devoted to emotional and mental disturbance, demonstrates that English translators often deprive the discourse of madness of its semantic and artistic power by focusing on thematic content and disregarding Dostoevskyes controversial style. Second, drawing on recent translation scholarship, as well as Mikhail Bakhtin's theory, I challenge the traditional understanding of translation as an obstacle to interpreting the original text. I explore the critical potential of translation and demonstrate how reading Dostoevskyes "madness" in translation opens up possibilities for another way into the text. To this end, the dissertation fills a gap in the scholarship of Russian literature and translation, which often focuses on isolated subjects of linguistic and cultural differences, or translators' incompetence.
520 $a The introduction covers the Dostoevsky stereotype in the West, the topic of madness in the body of Dostoevskyes works, and dissertation goals. In chapter one I take a detailed look at the notion of translation, traditional and postmodern approaches to the translator's task, and the history of English translations of Dostoevskyes novels. In addressing old translation dilemmas, I propose a non-hierarchical relationship between a translator and author, with each one functioning as an independent party. The theoretical framework for my argument is Bakhtin's philosophy, which not only equips translators with a better understanding of Dostoevsky, but contains useful theoretical premises for translation. Chapter two examines how domesticating translations of The Double, Dostoevskyes first exploration of madness, tone down the most defining features of the mad character's speech, thereby reducing the experience of madness and contributing to the unfair perception of The Double as Dostoevskyes artistic failure. Chapter three explores ideological and existential undertones of madness in English translations of Notes from Underground. The translators face a difficult task of invoking conflicting emotions while recreating a provocative, iterative, and multilayered text, full of repetitions and changes in tone. Not all of them, I demonstrate, are able to convey the distinct humor and style that add an important human dimension to the aggressive tone of the disturbing anti-hero. Chapter four examines English translations of "divine" madness in The Idiot. My analysis of selected translations reveals translators' tendency to clarify Dostoevskyes confusing text, which results in a more objective, less intriguing narrative and a less enigmatic protagonist. My final considerations are devoted to questioning the stereotype of translator as an interpreter of a foreign text and emphasizing the idea of translation as active collaboration that enriches the literary experience of all involved parties.
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