modernism translated

8/11/2019 Modernism Translated

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Coordonator Lector dr. Oana MacariDana-Nicoleta Liciu


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The academic lectures

The actual reading of the novel

The level of complexity and V. Woolfs style


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Modernism and Translation Difficulties inWoolfs Fiction

Interior Monologue Free Association

Indefinite Onein Stream of ConsciousnessTechnique

Conclusions


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Translationultimately serves the purposeof expressing the central reciprocalrelationship between languages.

Walter Benjamin, The Task of the Translator

Etymologically: Lat. translation> bringingacross, carrying across

For the modern Roman, Germany and Slavic

European languages, the word "traducere" isused for translation which implies "to bringacross" or "to lead across" in English.


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Virginia Woolf,Modern Fiction the task of the novelist: conveying the mind receiving

a myriad of impressions as representing theluminous halo or semi-transparent envelope

surrounding from the beginning of consciousness to theend

Aesthetic categories, norms and definitionswere not safe with feminists such as V. Woolf

Desire to experiment: I will invent a newname for my books to supplant novel , shewrote, a new by V. W., but what? Elegy?


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Stream of consciousness techniques Indirect monologue Free association

Characteristics of the novel

The structure of external objective eventsdiminished in scope and scale, or almostcompletely dissolved

Continual activity of charactersconsciousness and shower of impressions

Series of scenes arranged according to the

sequence of selected moments onconsciousness.

Associative leaps in syntax and punctuationthat can make the prose difficult to follow,tracing a characters fragmentary thoughts

and sensory feelings.


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Also the sea tosses itself and breaks itself, and should any sleeper

fancying that he might find on the beach an answer to his doubts, a

sharer of his solitude, throw off his bedclothes and go down by himself

to walk on the sand, no image with semblance of serving and divine

promptitude comes readily to hand bringing the night to order and

making the world reflect the compass of the soul.

V. Woolf, To the Lighthouse Time Passes (p. 104)


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it is an expression of the most intimate thought that liesnearest the unconscious; in its form, it is produced in

direct phrases reduced to the minimum of syntax,(Edouard Dujardin)

Direct interior monologue: it proceeds in spite of the readers expectations of

conventional syntax and diction in order to representthe actual texture of consciousness - in order torepresent it finally, however, to the reader. (1stpersonpoint of view)

Indirect interior monologue: the author intervenes between the characters psycheand the reader (3rdand 2ndperson point of view)


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Let us record the atoms as they fall upon

the mind in the order in which they fall, letus trace the pattern, however disconnectedand incoherent in appearance, which eachsight or incident score upon the

consciousness V. Woolf, Modern Novels


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Found nearly on every page Use of parentheses is one aspect of how the

complexity of syntax in To The Lighthousemirrors the complexity of perspective and scene.

I respect you (she addressed him silently) in everyatom; you are not vain; you are entirely impersonal;you are finer than Mr. Ramsay; you are the finesthuman being that I know; you have neither wife nor

child (without any sexual feeling, she longed tocherish that loneliness), you live for science(involuntarily, sections of potatoes rose before hereyes); praise would be an insult to you; generous,pure-hearted, heroic man!


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Breaks out the traditional narrative

structure

The objective time and the psychictime intermingle

12thchapter in the last part of To theLighthouse(Lily Briscoes series of thoughts)


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Replacing you in general statements One cannot always be right, can one?

Emphasizing a particular fact, person, orthing

Theres one thing you can be sure of you wont getany help from the government.

Functionword

number

determiner

pronoun

pl. form:ones

pos. form:

ones


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Offers liberty to whom uses it > helps into

changing narrative forms

Whatsoever, it may put the translator intodifficulty:

1). the agreement that Romanian language has, betweenthe noun (pronoun) and the adjective

What does onesend to the Lighthouse? opened doors inonesmind that went banging and swinging to and froand made one keep asking, in a stupefied gape, Whatdoes onesend? What does onedo? Why is onesittinghere after all?

Ce artrebui trimis la Far? ideschidea n minte uicare ncepeau sse izbeascisse blngne, fcndu-teste ntrebi, cu gura cscatde uimire: Ce trebuietrimis? Ce trebuie sfacem? De ce, la urma-urmei, neaflmaici?


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2). the context

Shehad always found him [Mr. Ramsay] difficult. Shehad never been able to praise him to his face, sheremembered.

ntotdeauna l gsise[pe domnul Ramsay] un om dificil.

Nu fusese niciodatn stare sl elogieze fi,iamintea Lily


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Present and past tenses > mixed form (bothdirect and indirect speech)

But this morning everything seemed so extraordinarily queerthat a question like Nancys What does onesend to theLighthouse? opened doors in onesmind that went banging andswinging to and fro and made onekeep asking, in a stupefiedgape, What does onesend? What does onedo? Why is onesittinghere after all?

Indirectness marked by opened, went,made, but noreporting clause


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Infree indirectthought it is ambiguous

(either subjective or objective)

In directthought clearly subjective


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I dealt with Woolfs complexity on severallevels: syntactical, morphological, lexical,semantic and stylistic

I encountered one of the most complex

syntax and I find it really challenging The indefinite pronoun one has great

frequency all along the novel, influencing thestyle and the understanding of V. Woolfs To

the Lighthouse

I did not manage to approach all the topics Ifirst intended

modernism translated

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