Keywords: Task, Translation, Toni Morrison, Beloved, Walter Benjamin, Jacques Derrida While I conclude the main section with a reflection of the cultural differences and barriers, in the final section I will put forth a number of observations concerning the craft and art of translation while using translation metaphorically to propound the correlation of my “redemptive” act of translation with Morrison’s writing of Beloved. #Download cruel temptation sub indo batch crackBut the hardest linguistic nut for me to crack was translating the various interior monologues in Part Two, especially the chapter narrated through Beloved’s “Middle Passage” stream of consciousness. Starting with the choice of a Chinese title, I proceed to analyze the novel’s narrative style and tone, its biblical allusions, its oral and aural quality, its poetic prose and songs, its dialogues, colloquialisms and word-play. In the third section, which constitutes the principal focus of my paper, I will explore the problems I encountered while rendering Morrison’s most well-known novel into Chinese and how I came to solve them. Subtitled “To Be a Responsible Morrison Translator,” the second section investigates what I believe to be the prerequisites of a good translator of Morrison’s novels in general and of Beloved in particular. In exploring the tough process of translating Toni Morrison’s Beloved into Chinese, the paper will be framed by Walter Benjamin’s notion of translation as expressed in his famous 1923 essay “The Task of the Translator” and Jacques Derrida’s related exposition in “Des Tours de Babel.” Since I am fully aware that translating this difficult novel is highly challenging, why, then, did I agree to undertake the task? The paper begins by examining the psychic struggles I underwent and the rationale involved before I finally accepted the challenge. The elegant readerly encounters that we discover across the pages of this collection are all potent, provocative acknowledgments of the essential haunted evasiveness of final meanings." - Neil Murphy, Associate Professor of English, Nanyang Technological University author of Irish Fiction and Postmodern Doubt and editor of Aidan Higgins: The Fragility of Form Shape-shifting fiction, we are repeatedly reminded in these exciting essays, is the true constant in both the process of reading and of writing, and whether that fiction materializes as aesthetic, ethical, or gendered, matters little. "The essays assembled in Fernando's collection bear testament to the contemporary status of reading as a perpetual act of creative engagement and continually remind us of the beautiful treachery of bringing provocative ideas into contact with the complexity of imaginary worlds. And the exposure of the reader herself-the gesture of friendship to and with the text-is what allows a glimpse of a singular moment, a moment of nothing other than reading itself. Perhaps it is precisely the highlighting of these fictionalities, and the unveiling of forms, that reveals moments in these texts. But even as we acknowledge, foreground even, the problems-impossibilities-of reading, we are clearly reading. And it is only through the form of the fiction that we can make any statement-provisional as it may be-about the object of reading. Hence, all reading(s) are always already haunted by the fictionality of reading itself. To read the possibility of reading as a response: one that doesn't claim to know, to understand, to have read. This text attempts to read the unreadable.
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