Hello readers...
We have paper on the comparative Studies and translation studies in our syllabus. In that we have to study various articles on that particular subject. So in this blog i would like to talk about two articles from the unit 4.
8) Tejaswini Niranjana. “Introduction: History in Translation” Siting Translation: History, Poststructuralism and the Colonial Context, 1992 :-
Abstract:-
Some of the most pressing debates in current cultural and literary studies have erupted from the tumultuous intersection of poststructuralist theory and historical studies for some time. The difficulty, in its most basic form, is articulating radical political agendas within a deconstructive framework. The critique of representation emanating from within has produced profoundly self-reflexive fears for a discipline like literary studies, whose raison d'être is the investigation of representation. She starts by criticising deconstructive critique for failing to face the subject of colonialism, as well as translation studies' reluctance to pose questions about their own historicity.Contemporary critiques of representation have not extended themselves to the point of questioning the idea of translation, of re-presenting linguistic meaning in interlinguistic transfers.
Key points :-
1)Situating Translation
2)Translation As Interpellation
3)The Question of History
Key arguments:-
Her goal is to start small by looking at the "uses" of translation. In a situation where translation has been utilised to underwrite practises of subjectification, particularly for colonised peoples, rethinking translation becomes a crucial endeavour. Although the "original" is brought into being by translation, it acts as a transparent portrayal of something that already existing. Surprisingly, translation also gives the colonised a position in "history."
Given the persistent nature of Hegelian presentation of the non-West and the model of teleological history that authorises them, she was discussing the relevance of historicism critique to a world experiencing decolonization, and how questioning the model could underpin a new practise of translation. Another feature of post-structuralism that is important for rethinking translation is its critique of historicism, which demonstrates traditional historiography's genetic (looking for an origin) and teleological (positing a certain end) nature. A critique of historicism could help us dismantle Mill and Hegel's "pusillanimous" and "deceitful" Hindus. Of course, her concern is not with the supposed portrayal of "Hindus."
Rather, I'm attempting to call into question the essentializing of "different" (what Johannes Fabian refers to as a denial of coevalness) that allows for a stereotyped construction of the other. Translation is traditionally predicated on Western philosophical concepts of reality, representation, and knowledge.
Analysis:-
Tejaswini Niranjana's investigation of translation as critical activity is made possible in the setting of this crisis. Other postcolonial theorists like Gayatri Spivak and Homi Bhabha, as well as feminists like Jane Gallop and Nancy K. Miller, have claimed that deconstruction may be employed in politically helpful ways, and her study seems to strengthen and elaborate on this argument. Niranjana convincingly demonstrates that a critique of presence can be taken to its limits without incapacitating the interventionist critic, insisting that a questioning of humanist or Enlightenment models of representation and translation "can underwrite a new practise of translation... reinscribing its potential as a strategy of resistance."
Conclusion:-
She should go over Spivak's main remarks about the "Subaltern historians" briefly because it is part of her argument that the problems of translation and the telling of history are inextricably linked. Their strategic use of post-structuralist ideas may help us see more clearly how the conceptions of history and translation she wants to reintroduce are not only enabled but also strengthened by the post-colonial criticism of historiography.
Work ciated:-
Niranjana, Tejaswini. SITING TRANSLATION HISTORY, POSTSTRUCTURALISM, AND THE COLONIAL CONTEXT. The Regents of the University of California, 1992.
9) E.V. Ramakrishnan, “ Shifting Centres and Emerging Margins: Translation and the Shaping of the Modernist Poetic Discourse in Indian Poetry”, in Indigenous Imaginaries: Literature, Region, Modernity, 2017
Abstract:-
The function of translation in establishing a modernist poetic sensibility in some of India's major literary traditions in the twentieth century, between 1950 and 1970, is examined in this article. The chapter will look at instances from Bengali, Malayalam, and Marathi to see how modern Western poets' translations were utilised to challenge the hegemony of dominant literary sensibilities and poetic techniques. Many Indian poets worked as translators, including Buddhadeb Bose, Agyeya, Gopalakrishna Adiga, Dilip Chitre, and Ayyappa Paniker. Poetry from Africa and Latin America was heavily translated during this period of modernism. During this time, Neruda and Parra were regularly translated into Indian languages.
During the modernist phase of Indian poetry, translation served as a critical act of evaluation, a creative act of intervention, and a performative act of legitimation in the development of a new poetic. The term "translation" is used to describe a variety of cultural behaviours ranging from critical commentary to the development of intertextual text. The chapter claims that'rewritings' and'reflections' seen in the 'less evident form of criticism...,commentary, historiography, instruction, the gathering of works in anthologies, the development of playshare' are also instances of translation. Sudhindranayh Dutt's Bengali essay on T.S. Eliot, or Ayyappa Paniker's scathing critique of Vallathol Narayana Menon's poetic practises in Malayalam, can both be classified as 'translational' writing embeded them.
Modernity and Modernism.
Key points:-
The project of Modernism in India. Literary/ artistic movement .
Postcolonial contex.
The reception of Western modernist discourses in India. Translation .
Indigenous roots/ routes ofmodernity and modernism. Western modernity.
The metaphor of the mice. The surreal image
The Most Important Arguments
• It has been suggested that the basic idea of a 'Self-reflection or Self-validating' literary text in modernist poems is rooted in an aesthetic philosophy that was complicated by colonialism.
• As D.R.Nagaraj has pointed out, nationalism has become the state's philosophy. How should we assess the modernisms that arose in India throughout the postcolonial period? Non-Western modernism, according to critics such as Simon Gikandi, Susan Friedman, Laura Doyle and Laura Winkiel, and Aparna Dharwadker, is not merely a derivative of European hegemonic practise. 'It was not because they imbibed modernism that the adbunik Bengali writers drifted away from Rabindranath Tagore,' Amiya Dev has stated in the context of Bengali.
• Dutta argues in 'The Necessity of Poetry' that poetry's continuance through the years in all communities, particularly among the naïve and primitive, attests to its necessity. • Mardhekar emphasises their haphazard search for survival in a harsh environment. The bizarre image in the statement, "Sadness has poisoned eyes made of glass," encapsulates the opacity of their eyesight and the toxic character of their destined existence devoid of any feeling of benign order of life.
Analysis:-
The term 'Modernism' refers to a literary/artistic movement marked by experimentation, as well as a conscious rejection of nationalist/Romantic as well as popular values.
The pistcolonial background lends a complex political component to Indian Modernism's aesthetic. The dynamics of socio-political upheavals associated to the founding of the nation state and the realignment of power structures in society facilitated the reception of Western modernist discourses in India.
• We can delineate the intricate creative and ideological undercurrents that impacted the trajectory of modernism in Indian literature thanks to translation.
In the context of India, the relationship between 'Modernity' and 'Modernism' can be summarised as follows: Modernity represents an epochal time of wide-ranging transformations brought about by the arrival of colonialism, capitalism, and the industrial method of production.
From the reformer movement of the nineteenth century through the modernist movement of the mid-twentieth century, colonial Modernity influenced literary and cultural movements.
Sudhindranath Dutta (1901-60), B.S.Mardhekar (1909-56), and Ayyappa Paniker (1936-2004) are three notable modernist authors from three different Indian literary traditions: Bengali, Marathi, and Malayalam. These three authors were bilingual and produced essays in both English and their native tongues. Bengali emerged in the 1930s and persisted throughout the 1940s and 1950s, whereas Marathi flourished in the 1950s and 1960s.
• Dutta's knowledge of Western thinking is demonstrated through his discussions of Aristotle, Plato, Voltaire, Byron, Mallarmé, and Yeats.
As a modernist poetry, "The Camel-Bird" transcends the personal by encapsulating the stagnation that a colonised culture is forced to endure.
The name 'Kurukshetram' refers to the location where the Mahabharata's core theme, the epic battle, took place. Through the metaphor of the dream, the poem moves through fragmented pictures from contemporary life, but there are also redeeming recollections of forgotten harmonies that reappear. The poem's intriguing rhythms elicit a profound unease that cannot be pinpointed.
Modern men and women are denied the tragic dignity of epic heroes, and the self is perceived as a source of struggle and conflict. Understanding the indigenous roots/routes of modernity and modernism in all three writers listed above is critical. They are part of a postcolonial logic that has already evolved internal critiques of Western modernity.
In terms of vision, form, and content, B. S. Mardhekar revolutionised Marathi poetry and its dire dynamics. As an insider who had grasped the insights provided by an alien tradition, Mardhekar intervened in the Marathi literary tradition.
In 'Mice in the Wet Barrel Died,' which became a famous Marathi modernist poetry. The mice metaphor is supposed to convey the gloomy and evil aspects of modern existence. When this poem was first published in Marathi, in Abhiruchi, it was welcomed with a barrage of criticism, sparking lengthy debates and even parodies in Marathi.
• Ayyappa Paniker was a poet, critic, and translator who, among other things, introduced Malayalam readers to foreign poetry.
Conclusion:-
As a result, language became the only reality to which the modernists could relate. Their identification, facilitated by 'Western' modernist discourses, was fundamentally postcolonial. The self-reflexive movement was also made feasible by the transmission of an interior style of being that questioned the current boundaries of freedom, rather than content or form.
Work cited:-
Ramakrishnan, E. V. “CHAPTER FIFTEEN Shifting Centres and Emerging Margins: Translation and the Shaping of Modernist Poetic Discourse in Indian Poetry.” 2017, p. 16.
Thank you...
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