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.

我的项目考察了用一种语言和文化背景写成的女性诗歌如何通过翻译跨越语言、文化和社会边界，并用另一种语言和文化背景向观众说话。我通过对艾米莉·狄金森(1830-1886)和西尔维亚·普拉斯(1932-1963)这两位在苏联和后苏联背景下被翻译成俄语的美国诗人的诗歌的个案研究来探索这个问题。在Goday ol之后，我探索了性别在翻译中是如何“去编码”和“重新编码”的，以及关于性别的想法如何通过翻译跨国传播。在狄金森和普拉斯这两位与女权主义密切相关但风格迥异的英美诗人身上，这种去/重新定义尤为明显。虽然狄金森的自我孤立使她摆脱了当时女性面临的限制，但普拉斯显然是女权主义者，她用诗歌表达了她对男性和性别规范的失望。狄金森和普拉斯分开了一个世纪，然而狄金森是在死后才成名的，这意味着这两个不太可能的二人组在20世纪60年代同时获得了人气，当时第二波女权主义正在兴起。这些墓碑到达俄罗斯的时间甚至更晚，俄罗斯是一个性别历史截然不同的社会。我的项目的任务是狄金森和普拉斯如何在他们的翻译的调解下，向苏联和俄罗斯的经历及其性别规范说话。