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Articles 1 - 3 of 3
Full-Text Articles in English Language and Literature
Iron Manicures: Sex, Power, And Sedition In Margaret Atwood's Writing, Anna Zarra Aldrich
Iron Manicures: Sex, Power, And Sedition In Margaret Atwood's Writing, Anna Zarra Aldrich
Honors Scholar Theses
Margaret Atwood has often been criticized as a bad feminist writer for featuring villainous, cruel women. Atwood has combatted this criticism by pointing out that evil women exist in life, so they should in literature as well. Every story requires a villain and a victim, for Atwood these roles are both usually played by women. This thesis will explore the idea of the woman as spectacle in both behavior and body. Women are controlled by the idea that they must care. When they stop caring, they become a threat. At the heart of Atwood’s writing are the relationships between women …
Lost In Translation? Found In Translation? Neither? Both?, Esther Allen, Mary Ann Caws, Peter Constantine, Edith Grossman, Nancy Kline, Burton Pike, Damion Searls, Karen Van Dyck, Alyson Waters, Roger Celestin, Charles Lebel
Lost In Translation? Found In Translation? Neither? Both?, Esther Allen, Mary Ann Caws, Peter Constantine, Edith Grossman, Nancy Kline, Burton Pike, Damion Searls, Karen Van Dyck, Alyson Waters, Roger Celestin, Charles Lebel
The Quiet Corner Interdisciplinary Journal
Translation specialists Esther Allen, Mary Ann Caws, Peter Constantine, Edith Grossman, Nancy Kline, Burton Pike, Damion Searls, Karen Van Dyck and Alyson Waters respond to the TQC question:
“Lost in translation”; “Found in translation”: Are these just useless commonplaces or are they indicative of something relevant to your own practice?
Empathic Encounters: Negotiating Identity In 9/11 Fiction And Translation, Kirsty A. Hemsworth
Empathic Encounters: Negotiating Identity In 9/11 Fiction And Translation, Kirsty A. Hemsworth
The Quiet Corner Interdisciplinary Journal
Dominated by the polarized strategies of domestication and foreignization, conventional literary translation approaches tend to operate on the assumption that source and target cultures, and, by extension, their literary works, are fundamentally irreconcilable on the basis of linguistic, stylistic and ideological differences. Dislocated by the traumatic force of the event, only to be further uprooted by the translation process itself, the identities at stake in American works of 9/11 fiction cannot be so clearly differentiated and securely defined. Moreover, any attempt to fictionalize and translate this real-world trauma inevitably encounters the event as a visual singularity, whereby the image supersedes …