Leicht peig
When Robin Flower published his translation, The Islandman, in 1934, he was restricted by working from the Irish text that An Seabhac had covertly bowdlerized and, in some ways, forged nonetheless, the Flower translation proved enormously popular. To this end, he fashioned O’Crohan’s writings to present “his picture of a pure, essential man, pitting himself against the elements, untainted by learning or knowledge of the wider world.” Tim Robinson characterizes the “romantic nationalism” that An Seabhac and others were fostering during the early twentieth century as a pursuit of “the rediscovery of the Celtic soul”: at the end of this quest, “this ancient, mysterious, spirit guide of the nation was to be called forth from the humble cottages of the last living representatives of Celtic purity, the Irish-speaking farm and fisherfolk, and pre-eminently those of the western seaboard.”
LEICHT PEIG FREE
Irishness for the new Irish Free State, An Seabhac excised thousands and thousands of O’Crohan’s words.Ī long-established editor of several Gaelic League periodicals, An Seabhac consistently sought to promote images of Irish cultural purity. O’Crohan’s original writings were materially shaped by his editor, Pádraig Ó Siochfhradha, better known by his pen name “An Seabhac.” With an agenda of presenting O’Crohan as the epitome of the Gaeltacht man and a model of authentic. Since its publication as An tOileánach in 1929, Tomás O’Crohan’s autobiography has afforded the world only a skewed image of the godfather of the Blasket writers. Part Four asks the question: What is knowledge accumulated through descriptive studies performed within one and the same framework likely to yield in terms of theory and practice? Concrete descriptive issues are here tackled within ever growing contexts of a higher level: texts and modes of translational behaviour - in the appropriate cultural setup textual components - in texts, and through these texts, in cultural constellations. Part Two gives a detailed rationale for descriptive studies in translation and serves as a framework for the case studies comprising Part Three. Part One deals with the position of descriptive studies within TS and justifies the author's choice to devote a whole book to the subject. Methodological discussions are complemented by an assortment of case studies of various scopes and levels, with emphasis on the need to contextualize whatever one sets out to focus on. This edition has been replaced by a new edition and is no longer available for purchase.Ī replacement of the author's well-known book on Translation Theory, In Search of a Theory of Translation (1980), this book makes a case for Descriptive Translation Studies as a scholarly activity as well as a branch of the discipline, having immediate consequences for issues of both a theoretical and applied nature. The essay goes on to consider how the different stages of translation of these texts are coloured by notions of authenticity and how these perceptions of authenticity shape the visual presentation of the texts.
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This essay considers how this double translation impacts on the oral features of the texts, concluding that there is a marked parallelism in the treatment of orality in the texts in that the English translations of the books, by Robin Flower (The Islandman) and George Thomson and Moya Llewellyn Davies (Twenty Years a-Growing) show a much greater sensitivity to the oral features of the texts, which manifests itself in a more radical deformation of the conventions of written English, than do either the French and German translators.
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The German translation of The Islandman by Heinrich and Annemarie Böll and the French translation of Twenty Years a-Growing by Raymond Queneau were both carried out from the English translations. Both texts are heavily marked by the oral tradition of Irish narrative, as storytelling was the principal means of literary transmission on the Blasket Islands. This essay considers the treatment of elements of oral literature in translations of two well-known Irish autobiographies, Tomás Ó Criomhthain's An t-Oileánach (The Islandman), first published in Irish in 1929, and Muiris Ó Súilleabháin's Fiche Blian ag Fás (Twenty Years a-Growing) first published in 1933.