Contested Feminisms in Soviet, Post-Soviet and Contemporary Russian Translations of Emily Dickinson and Sylvia Plath, 1976-2010

艾米丽·狄金森和西尔维娅·普拉斯的苏联、后苏联和当代俄语译本中备受争议的女权主义，1976-2010

• 批准号: 2884769
• 金额: --
• 依托单位: University of Bristol
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2023
• 资助国家: 英国
• 起止时间: 2023 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2884769
• 关键词: Contested; Feminisms; Soviet; Post; Contemporary

My project examines how women's poetry written in one language and cultural context can travel,via translation, across linguistic, cultural and social boundaries, and speak to audiences in another. Iexplore this question through the case study of the poems of Emily Dickinson (1830-1886) andSylvia Plath (1932-1963), two American poets who were translated into Russian in the Soviet andpost-Soviet contexts. Following Godayol, I explore how gender is 'de-codified' and 're-codified' intranslation, and how ideas about gender travel transnationally through translation. Such de/recodification is particularly marked in the case of Dickinson and Plath, two Anglo-American poetsstrongly associated with feminism, but of very different stripes. While Dickinson's self-isolationallowed her to escape the confines facing women at the time, Plath was explicitly feminist, usingher poetry to express her frustration with men and gender norms. A century divided Dickinson fromPlath, yet Dickinson gained fame only posthumously, meaning that the unlikely duo gainedpopularity contemporaneously, in the 1960s, when second-wave feminism was emerging. Thesepoets arrived even later to Russia, a society with a radically different gender history. My projectasks how Dickinson and Plath speak, mediated by their translators, to the Soviet and Russianexperience and its gender norms.

我的项目研究如何在一种语言和文化背景下写的女性诗歌可以旅行，通过翻译，跨越语言，文化和社会界限，并在另一个观众说话。本文通过对艾米丽·狄金森（1830-1886）和西尔维亚·普拉斯（1932-1963）的诗歌的个案研究来探讨这一问题。在戈达约尔之后，我探讨了性别是如何在翻译中被“去编码”和“重新编码”的，以及关于性别的思想是如何通过翻译跨国传播的。这种去/重新编码在狄金森和普拉斯身上尤为明显，这两位英美诗人与女权主义密切相关，但却截然不同。狄金森的自我封闭使她能够逃离当时女性所面临的束缚，而普拉斯则是一位明确的女权主义者，她用自己的诗歌表达了对男性和性别规范的不满。狄金森和普拉斯相隔世纪，但狄金森只是在死后才成名，这意味着这对不太可能的二人组在20世纪60年代第二波女权主义兴起时同时流行起来。这些新时代的人更晚才来到俄罗斯，一个有着完全不同的性别历史的社会。我的项目任务狄金森和普拉斯如何发言，通过他们的翻译，苏联和俄罗斯的经验和性别规范。