Hybrid, Transgression, Echo: Translation as a Space of Play

在翻译，创意写作和文学批评之间的边界，我的项目将探索这些学科对重新想象，重新语境化或颠覆其源文本的写作实践的共同诉诸。我将实验性翻译及其虚构性描写作为一个棱镜，通过它提出更广泛的哲学和文体问题，旨在展示翻译的多元潜力：比“游戏空间”（伯曼，1984）更少的管道。“无限的玩笑”将检查自我反思翻译拥护程序，翻译的多元思想。“翻译作为”第三个存在的地方“将考虑混合文本提供一个“双重”的阅读经验，超越，或在紧张之间，他们的部分。“翻译作为灾难”将反映（错误）翻译的伦理，使用布朗肖的灾难写作（1980年）作为一个“不可能的”，但在伦理上必须完成的任务。我的创意项目，“娜达”，是一个实验性的翻译，旨在揭示“娜迪亚”的核心：利昂娜德尔科特，她与布雷东的联系激发了自传体的叙述。许多评论家注意到布雷东对娜佳/利昂娜的文字和语言的吸收中涉及到“精神吸血鬼”--作者拒绝接受这个体现超现实主义的流浪灵魂，认为他疯了：这是一种与德尔科特相呼应的命运。一个混合工作在卡森的静脉，“纳达”将图表我的研究到德尔科特的生活，和翻译的第二版“Nadja”，从来没有在英语。几十年后，布雷东在这里删除了书中唯一的爱情场景，这进一步强化了他对蕾欧娜的省略。部分实验翻译，部分对翻译伦理的沉思，“纳达”将部署多种形式的写作超越“娜迪亚”说话，重新响起德尔考特的声音。

At the border between translation, creative writing and literary criticism, my project will explore the disciplines' shared recourse to writing practices that reimagine, recontextualise or subvert their source texts. Approaching experimental translation and its fictive depiction as a prism through which to pose wider philosophical and stylistic questions, I aim to showcasetranslation's plurivocal potential: less conduit than "space of play" (Berman, 1984).My critical project will explore ludic translation through thematic chapters. "Infinite Jest" will examine self-reflexive translations championing a procedural, plural idea of translation. "Translation as the 'third place to be'" will consider hybrid texts offering a "dual" reading experience lying beyond, or in the tension between, their parts. "Translation as catastrophe" will reflect on the ethics of (mis)translation, using Blanchot's view of the writing of disaster (1980) as an "impossible" but ethically imperative task. My creative project, "Nada", is an experimental translation seeking to uncover the aporia at the heart of "Nadja": Léona Delcourt, whose liaison with Breton inspired the autobiographical account. Many critics have noted the "psychic vampirism" involved in Breton's assimilation of Nadja/Léona's words and drawings-the author rejecting this wandering soul embodying surrealism as mad: a fate echoing Delcourt's. A hybrid work in Carson's vein, "Nada" will chart my research into Delcourt's life, and translation of the second edition of "Nadja", never available in English. Here, decades on, reinforcing his elision of Léona, Breton erased the book's only love scene. Part experimental translation, part meditation on translatorial ethics, "Nada" will deploy multiple forms of writing to speak beyond "Nadja", re-sounding Delcourt's voice.