Defamiliarizing translations of children’s literature in Meiji Japan: a study of Wakamatsu Shizuko’s Wasuregatami

• Martínez Sirés, Paula ^[1]
  1. [1] Nihon University

     Nihon University

     Japón

     
• Localización: MonTI: Monografías de traducción e interpretación, ISSN 1889-4178, ISSN-e 1989-9335, Nº. 14, 2022 (Ejemplar dedicado a: Traducción e intermedialidad en literatura infantil y juvenil (LIJ): orígenes, evolución y nuevas tendencias / coord. por Pino Valero Cuadra , Gisela Marcelo Wirnitzer , Nuria Pérez Vicente ), págs. 323-351
• Idioma: inglés
• DOI: 10.6035/MonTI.2022.14.11
• Enlaces
  • Texto completo
• Resumen
  • català

    Aquest treball analitza Wasuregatami (‘El record’, 1890), la traducció al japonès de Wakamatsu Shizuko del poema The Sailor Boy (1858) d’Adelaide Anne Procter. El poema s’ha narrativitzat a l’estil japonès monogatari i els culturemes s’han assimilat al context de la cultura d’arribada mitjançant un aparent enfocament domesticant. Tot i així, la inclusió a la traducció d’elements originals pertanyents a la cultura de sortida i la implementació de l’estil literari col·loquial i experimental genbun itchi (vernacular) li atorguen a la traducció qualitats estrangeritzants i desfamiliaritzants, ja que la traducció va més enllà de la literalitat a fi d’advocar per un experimentalisme mitjançant l’ús de registres i estils ja disponibles a la llengua d’arribada, per tal de crear una heterogeneïtat discursiva (Venuti 2000: 341). L’estudi defensa que l’estil emprat a Wasuregatami va servir de base a Wakamatsu Shizuko per a les posteriors (i més reconegudes) traduccions d’obres de literatura infantil al japonès.

  • English

    This paper will examine Wasuregatami (‘The Memento’, 1890), Wakamatsu Shizuko’s Japanese translation of Adelaide Anne Procter’s poem The Sailor Boy (1858). The poem is narrativized into the Japanese monogatari style and the culturemes are assimilated into the target-culture context of Japan in an apparently domesticating approach. Nevertheless, Wakamatsu Shizuko’s inclusion in the translation of original source-culture items and the implementation of the experimental colloquial genbun itchi (vernacular) literary style could also exemplify Venuti’s foreignizing and “defamiliarizing” translation since it goes “beyond literalism to advocate an experimentalism” by using “registers, and styles already available in the translating language to create a discursive heterogeneity” (Venuti 2000: 341). This paper will contend that the style used in Wasuregatami was the cornerstone on which Shizuko would base her later, more acclaimed translations of children’s literature into Japanese.

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