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No other figure embodies revolutionary politics and radical chic quite like Ulrike Meinhof, who formed, with Andreas Baader and Gudrun Ensslin, the Red Army Faction (RAF), also known as the Baader-Meinhof Gang, notorious for its bombings and kidnappings of the wealthy in the 1970s. But in the years leading up to her leap into the fray, Meinhof was known throughout Europe as a respected journalist, who informed and entertained her loyal readers with monthly magazine columns.What impels someone to abandon middle-class privilege for the sake of revolution? In the 1960s, Meinhof began to see the world in increasingly stark terms: the United States was emerging as an unstoppable superpower, massacring a tiny country overseas despite increasingly popular dissent at home; and Germany appeared to be run by former Nazis. Never before translated into English, Meinhof's writings show a woman increasingly engaged in the major political events and social currents of her time. In her introduction, Karin Bauer tells Meinhof's mesmerizing life story and her political coming-of-age; Nobel Prize-winning author Elfriede Jelinek provides a thoughtful reflection on Meinhof's tragic failure to be heard; and Meinhof 's daughter--a relentless critic of her mother and of the Left--contributes an afterword that shows how Meinhof's ghost still haunts us today.
The articles in this collection focus on politics in the widest sense and its influence and visibility in translations from the early Middle Ages to the late Renaissance - from Eusbius' translations of Virgil to Shakespeare's adaptation of the story of Titus Andronicus. No translation, this collection argues, is an innocent, transparent rendering of the original; translation is always carried out in a certain cultural and political ambience.
First published in 1963, in East Germany, They Divided the Sky tells the story of a young couple, living in the new, socialist, East Germany, whose relationship is tested to the extreme not only because of the political positions they gradually develop but, very concretely, by the Berlin Wall, which went up on August 13, 1961.The story is set in 1960 and 1961, a moment of high political cold war tension between the East Bloc and the West, a time when many thousands of people were leaving the young German Democratic Republic (the GDR) every day in order to seek better lives in West Germany, or escape the political ideology of the new country that promoted the "farmer and peasant" state over a state run by intellectuals or capitalists. The construction of the Wall put an end to this hemorrhaging of human capital, but separated families, friends, and lovers, for thirty years.The conflicts of the time permeate the relations between characters in the book at every level, and strongly affect the relationships that Rita, the protagonist, has not only with colleagues at work and at the teacher's college she attends, but also with her partner Manfred (an intellectual and academic) and his family. They also lead to an accident/attempted suicide that send her to hospital in a coma, and that provide the backdrop for the flashbacks that make up the narrative.Wolf's first full-length novel, published when she was thirty-five years old, was both a great literary success and a political scandal. Accused of having a 'decadent' attitude with regard to the new socialist Germany and deliberately misrepresenting the workers who are the foundation of this new state, Wolf survived a wave of political and other attacks after its publication. She went on to create a screenplay from the novel and participate in making the film version. More importantly, she went on to become the best-known East German writer of her generation, a writer who established an international reputation and never stopped working toward improving the socialist reality of the GDR.
In the last thirty years of the twentieth century, Canadian federal governments offered varying degrees of support for literary and other artistic endeavour. A corollary of this patronage of culture at home was an effort to make the resulting works available for audiences elsewhere in the world. Current developments in the study of translation and its influence as cultural transfer have made possible new assessments of such efforts to project a national image abroad. Translating Canada examines cultural materials exported by Canada in addition to those selected for acquisition by German publishers, theatres, and other culture brokers. It also considers the motivations of particular translators and the reception by German reviewers of works by a wide variety of Canadian writers -- novelists and poets, playwrights and children's authors, literary and social critics. Above all, the book maps for its readers a number of significant, though frequently unsuspected, roles that translation assumes in the intercultural negotiation of national images and values. The chapters in this collection will be of value to students, teachers, and scholars in a number of fields. Informed lay readers, too, will appreciate the authors' insights into the different ways in which translation has contributed to German reception of Canadian books and culture.
Translating Canada examines cultural materials exported by Canada in addition to those selected for acquisition by German publishers, theatres, and other culture brokers. It also considers the motivations of particular translators and the reception by German reviewers of works by a wide variety of Canadian writers -- novelists and poets, playwrights and children's authors, literary and social critics. Above all, the book maps for its readers a number of significant, though frequently unsuspected, roles that translation assumes in the intercultural negotiation of national images and values.
Feminist theory has been widely translated, influencing the humanities and social sciences in many languages and cultures. However, these theories have not made as much of an impact on the discipline that made their dissemination possible: many translators and translation scholars still remain unaware of the practices, purposes and possibilities of gender in translation. Translating Women revives the exploration of gender in translation begun in the 1990s by Susanne de Lotbinière-Harwood's Re-belle et infidèle/The Body Bilingual (1992), Sherry Simon's Gender in Translation (1996), and Luise von Flotow's Translation and Gender (1997). Translating Women complements those seminal texts by providing a wide variety of examples of how feminist theory can inform the study and practice of translation. Looking at such diverse topics as North American chick lit and medieval Arabic, Translating Women explores women in translation in many contexts, whether they are women translators, women authors, or women characters. Together the contributors show that feminist theory can apply to translation in many new and unexplored ways and that it deserves the full attention of the discipline that helped it become internationally influential.
Translation Theories Explained is a series designed to respond to the profound plurality of contemporary translation studies. There are many problems to be solved, many possible approaches that can be drawn from neighbouring disciplines, and several strong language-bound traditions plagued by the paradoxical fact that some of the key theoretical texts have yet to be translated. Recognizing this plurality as both a strength and a potential shortcoming, the series provides a format where different approaches can be compared, their virtues assessed, and mutual blind spots overcome. There will also be scope for introductions to specific areas of translation practice. Students and scholars may thus gain comprehensive awareness of the work being done beyond local or endemic frames.
Much of Canadian cultural life is sustained and enriched by translation. Translation Effects moves beyond restrictive notions of official translation in Canada, analyzing its activities and effects on the streets, in movie theatres, on stages, in hospitals, in courtrooms, in literature, in politics, and across café tables. The first comprehensive study of the intersection of translation and culture, Translation Effects offers an original picture of translation practices across many languages and through several decades of Canadian life. The book presents detailed case studies of specific events and examines the reverberation and spread of their effects. Through these imaginative, at times unusual, investigations, the contributors unveil the simultaneous invisibility and omnipresence of translation and present a cross-cut of Canadian translation moments. Addressing the period from the 1950s to the present and including a wide scope of examples from medical interpreting to film dubbing, the essays in this book create a panoramic view of the creation of modern culture in Canada. Contributors include Piere Anctil (University of Ottawa), Helene Buzelin (Université de Montréal), Alessndra Capperdoni (Simon Fraser University), Philippe Cardinal, Andrew Clifford (York University), Beverley Curran, Renée Desjardins (University of Ottawa), Ray Ellenwood, David Gaertner, Chantal Gagnon (Université de Montréal), Patricia Godbout, Hugh Hazelton, Jane Koustas (Brock University), Louise Ladouceur ( Université de l'Albera, Gillian Lane-mercier (McGill University), George Lang, Rebecca Margolis, Sophie McCall (Simon Fraser University), Dolmaya McDonough, Denise Merkle (Université de Moncton), Kathy Mezei, Sorouja Moll, Brian Mossop, Daisy Neijmann, Glen Nichols ( Mount Allison University), Joseph Pivato, Gregory Reid, Robert Schwartzwald, Sherry Simon, Luise von Flotow (University of Ottawa), and Christine York.
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