He has appeared in more than films since Fenech in All the Colors of the Dark The film is the first in the "Schoolteacher" film series which does not star Edwige Fenech in the main role. Vitali in Federico Fellini 's Roma Enzo Andronico was an Italian character actor. Andronico in Il clan dei due Borsalini The Battle of Salamis was a naval battle fought between an alliance of Greek city-states under Themistocles and the Persian Empire under King Xerxes in BC which resulted in a decisive victory for the outnumbered Greeks.
Modern view of the strait of Salamis, where the battle took place. Seen from the south. Battle order. The Achaemenid fleet in red entered from the east right and confronted the Greek fleet in blue within the confines of the strait. Greek trireme. Fleet of triremes based on the full-sized replica Olympias. The carat 85 g blue Logan Sapphire. Angelina Jolie is an American actress, filmmaker, and humanitarian. The recipient of such accolades as an Academy Award and three Golden Globe Awards, she has been named Hollywood's highest-paid actress multiple times.
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- Nous sommes ce que nous mangeons (Questions de Société) (French Edition).
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- La borsa del colonnello : Ottavio Olita : .
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It is located in Paris and is housed in the Centre Pompidou in the 4th arrondissement of the city. Moreover, rather than just affirming the picture that the extensive historiographical literature on the subject has already established, the letters also disclose new facets. Hutchinson could hardly be said to be the definitive model of the successful businessman.
His efforts, nonetheless, were mostly undermined by factors that lay beyond his reach. General poverty, scarcity of money, shortages of food and other essentials, and rationing, for example, became recurrent, if not obsessive, subjects in his letters, betraying his sense of frustration and underachievement.
Moreover, Hutchinson was forced to deal with fierce competition within the Portuguese market and the incompetence of the Customs officials, not to mention liabilities and bad debts, marketing obstacles and, curiously enough, an increasingly demanding clientele, all of which imposed psychological costs he found ever more difficult to cope with. Each letter contains, as it were, the very essence of history and, through the picturesque and sometimes disconcerting episodes they feature, they help us recreate a reality long buried by time. Precisely because this is a genuine voice that has remained hidden amidst other archival material for almost two centuries, unscathed by later misappropriations or misinterpretations, we are able to salvage pristine fragments of the historical experience and to retrieve for our collective memory some of the particularities and singularities that are usually overlooked in the construction of the historical grand narratives of the nation.
In a letter dated 18 October , for instance, Hutchinson speaks of the funeral ceremonies of Queen Maria I and clearly enjoys recounting the peculiar causes of the accidental fire that burned down the church where those ceremonies were being held. Elsewhere he laments the shortage of foodstuffs and the rise in prices which mercilessly strike the poor letter dated 25 January , but he cannot help relishing the story of a woman arrested for stealing bodies from the cemetery to produce black pudding to be sold to the local shops 9 August Notwithstanding the rapid decline of the Portuguese economy during and after the Peninsular War, British traders rapidly resumed their investments in the country.
Samuel Farrer Jr.
It would be up to young James Hutchinson Jr. His inexperience notwithstanding, James was not entirely at a loss. The need to account for every transaction and to keep his brother-in-law posted about how business was being conducted resulted in a correspondence of considerable length, which lasted until his departure from Lisbon at the end of Being an outsider in customs, language and feelings, Hutchinson tried hard to accommodate himself to his new setting.
In his letters, however, the affectionate attachment he exhibits towards his sister and the other members of his family indicates that his stay in Lisbon was, emotionally speaking, hard to bear. He often complained about her silence and the fact that she now seemed to have forsaken him altogether. But then, it was not just the separation from his loved ones that threw him into a state of melancholy. His life in the Portuguese capital was infused with a sense of estrangement he was unable to overcome.
He felt uprooted and disengaged. It becomes all too apparent that his gaze is that of an outsider, of someone struggling to succeed in a strange, disturbing world, whose social and political environment contrasts in many respects with that of his native land. He soon realised it would not be easy to fit in. Despite the support that other British expatriates residing in Lisbon gave him, he complained to his family about living conditions there. His difficulty in understanding the Portuguese is particularly visible when he is faced with the lack of patriotic fervour of the man in the street, a fervour one should expect from a nation that had been recently freed from the Napoleonic terror:.
Since most of the time he was consumed by work, it becomes difficult for the contemporary reader to detect such feelings of estrangement in the midst of commercial jargon and ledger accounts. He sought to be meticulous in his book-keeping and reports and sensitive to changes in market conditions, especially as far as fashion, trends, tastes and purchasing power went. He struggled to prove himself worthy of the trust and respect not just of his brother-in-law, but also of other foreign merchants who had already established their names in the Portuguese market. He even got carried away by the idea of opening his own establishment in order to fend off competition and to tackle the problem of low bids, which often forced him to keep the bales in store for unusually long periods of time.
In order to perceive how displaced he felt, one has to read between the lines. When his enthusiasm waned or his health gave way, an undeclared anxiety and irritation would surface. His less than flattering comments on Portuguese customs officials and the tone of his replies to his brother-in-law whenever suspicion of laxness or mismanagement hung in the air prove the point.
He became impatient when ships from Brazil, New York or Falmouth were unduly delayed. He was unnerved by the negligence of long-standing debtors, who often turned a deaf ear to his entreaties. Besides, in spite of the considerable sums of money that passed through his hands, James was far from leading an easy and comfortable life. In a sense, it was through his own body that he first measured the degree of his maladjustment. He was constantly ill, poorly dressed, and found his lodgings uncomfortable.
The weather did not suit him and he feared death might creep up on him. He would wear the same clothes for months on end, winter and summer alike. Disease would take hold of him and he would be confined to bed for several weeks. His neat copperplate handwriting would then degenerate to illegible scribbling. Convinced that he was no longer fit for the job, he would then ask Thomas to let Ambrose Pollett, a friend of the family, replace him in the firm. His physical condition would not let him endure another winter in Lisbon.
To him Lisbon, thus, ended up representing the proximity of death, that ultimate moment of displacement. His fears, however, were unfounded and he went back to England where he remained in convalescence, before returning to Portugal. But once more the climate did not agree with him. In the course of his stay, James was badly in need of a focal point to keep things in perspective and letter writing served such a purpose. More than anything else, it allowed him to keep his sense of belonging alive. These letters ended up being the only bridge not just to his origins, but above all to his own identity.
This sentimentality towards his family is in marked contrast with his attitude as an observer. Although Hutchinson cannot entirely detach himself emotionally from what he witnesses, there is a kind of Verfremdungseffekt in his writing, a journalistic objectification of the topics he covers, whereby the distance between himself and the other is never to be entirely spanned. Translating something as intimate and confidential as private letters has the potential to border on voyeurism. It raises issues that concern the ethics of translation, since the translator, unlike the casual reader, is supposed to leave no stone unturned in his struggle to reach communicative effectiveness.
In this sense, translation is to be viewed as an act of intrusion and, simultaneously, of extrusion in other words a disclosure and a close examination of that which pertains to the private sphere. The former constitutes a form of violation , of disrupting that which belongs to the realm of the confessional and becoming, to borrow the words of St.
Nevertheless, such violence is mitigated by the transmutational properties of time. Over time, these texts have acquired the status of archaeological evidence, which does not necessarily mean that in this respect the position of the translator is less delicate. After all, he was not the addressee of the letters and that fact alone poses some problems. An outsider may find it difficult to penetrate the referential fabric of the letters.
Unlike travel accounts or autobiographies written for publication, these texts were not intended for a wide readership. They were personal in tone and content, and the writer knew what responses to expect from his only reader living across the English Channel. The writer did not project an ideal or fictional reader to whom he might grant full right of access to the world recreated in his prose.
As a consequence, his world remains sealed off from a larger audience and the translator is forced to break into the textual space like a trespasser. Implicatures lie hidden within this corpus of letters but they can never be entirely unravelled: whatever inferences the translator may draw, he or she will always lack the necessary background knowledge to establish their validity. Such implicatures, one must not forget, are a symptom of the close relationship existing between the two correspondents.
Implicit meanings result from a common experience, excluding other readers.
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Fortunately, the text in question is generally far more objective and factual than one would suppose, and this alone gives the translator significant leverage over the hidden aspects of the correspondence. It is in the terrain of factuality and narrativity that the translator moves free from major constraints, although it is certain that the faithfulness of the representation can never be taken for granted see Polezzi What we get instead is a myriad of disparate images that can hardly be coalesced into one single picture.
The reason is obvious: the stories he tells do not follow any thematic pattern, other than the fact that all of them revolve around the city itself. Although the anecdotal episodes themselves are self-contained and refer only to fragments of both individual and collective experiences in early nineteenth-century Lisbon, they play an important part in the process of historiographical reconstruction of the past.
The historiographical value of the letters lies in the fact that they contain accounts that were neither censored nor doctored: no one ever scrutinised or edited the stories, which were simply committed to paper without any concern for accuracy, trustworthiness or factuality. The ensemble of letters forms a sort of scrapbook containing clippings or mementos that were never meant to be published. Such moments, however, were bound together by a common genetic code: they all emerged out of the drive for novelty, a drive partly explained by the way the processes of cultural displacement affected the author.
He preferred to position himself as an observer rather than as a commentator, and avoided getting entangled in elaborate considerations. Far from highly opinionated, the letters nonetheless give us the chance of peering into his personality, albeit obliquely. Sometimes, however, he felt compelled to take sides, such as when he dared to air his own opinion on Beresford:. Such explicitness was rare. Shortly after the rebellion in Pernambuco, Brazil, Hutchinson censured himself for letting slip his views on the political turmoil that had gripped the country and decided to not to return to the issue for fear of reprisals:.
His fears over the consequences of political dissent were not wholly misplaced. The horrific hanging of the Conspirators he watched on 22 October , shortly before his departure, left a lasting impression on him:. Here, his voyeurism matched his horror as he came to the full presence of death—that dark character that kept resurfacing in his writing. As we have seen, what was once private acquires, over time, an archaeological value: the status of artefact is conferred on language as privacy metamorphoses into historical evidence.
In translation, chronological distance is of the essence: one might even argue that every translation has embedded in its genes an indelible anachronism. In sharp contrast with our contemporary world, where synchronous forms of communication and instantaneous access to information seem to have taken hold of the way we communicate with each other, the art and craft of translation necessitates the slow transit of time.
It is a painstaking process of problem-solving, reflection and maturation. It takes time and perseverance.
And when it involves the representation of past historical phenomena, as in the present case, the temporal dimension acquires critical significance. On the one hand, the translator cannot help excogitating his own condition as a historical subject: he becomes conscious of the relativity of values, of the differentials separating lifestyles, habitus in the Bourdieusian sense and Weltanschauungen. And here, in the translation process, the time gap separating source and target texts functions not so much as a thread linking both acts of writing along a historical continuum but rather as a lens, generating several simultaneous optical effects, where light shifts in unsuspected ways and where appearance must be understood in its composite and elusive nature.
This, of course, entails much scrupulous work of detailed historical research, as well as the ability to articulate it within the translational process. The crux of the matter lies in being able to dwell in the interstices between two languages, two cultures and two historical periods. In other words, one must learn to come to terms with the undecidability which undermines the certainties offered by our ingrained logocentrism. As the translator shifts, in the course of the translation process, from one logosphere in the Barthesian sense to another, he realises that the movement itself does not actually, cannot entail the loss or gain, subtraction or addition of meanings.
Meaning does not constitute some sort of universal currency that is, manifestations of a universal language common to all human beings that can be subjected to a process of direct exchange or transaction. Meanings cannot migrate freely from one language to another. I can only subtract meanings within the system they belong to. Languages weave their own networks of meanings and the exact value of each meaning, if it can ever be assessed, is to be determined only symptomatically by the effects generated by its presence or absence in one particular social and cultural context. To believe in the transferability of the meaning and its capacity to survive as a whole in two distinct linguistic and cultural environments as in a process of ecesis is not to realise something that Derrida pointed out: that even within the same language meanings not only differ a problem of spacing , but are forever deferred which is the condition of their temporality.
One of the main problems of translation, therefore, is not just spatiality but also temporality , particularly the historical condition of the texts. And this, I think, poses an obstacle far more difficult to overcome, since it has to do with the impossibility for the translator to render two externalities compatible in one single target text. Just as Hutchinson was compelled, as an expatriate, to come to terms with the social and cultural reality of his host country  which is, for all purposes, a question of spatiality , so the translator, like a migrant travelling through time, is forced to come to grips with an ancient world governed by laws long forsaken and now irretrievable the question of temporality.
And since both writer and translator are forever barred from a fully unmediated contact with the unconsciously lived culture of the Other, both seeing it as something external to themselves, though not necessarily negative, their attempts to assimilate cultural elements and national idiosyncrasies can only take place on the terrain of the imaginary, which enables them to crop, select, filter and reshape elements and idiosyncrasies in order to discursively tame the otherness. Translators of travel writing therefore have to operate on a double disjuncture. On the one hand, they have to deal with the cultural gap that exists between the author and the people he visits Hutchinson and the Portuguese , a gap which over-determines the perceptions, constructs, responses and projections of otherness of the British expat, but which -- since it is barely made explicit in the text -- can only be detected by means of a symptomatic reading.
On the other hand, translators have to negotiate the disjunction that will always separate them from the time and the concrete conditions under which the texts saw the light of day -- a disjunction that is further amplified by the impossibility of mapping the exact location of the intersection of cultures which gives the letters their characteristic intercultural tension see Cronin 6. Therefore, the translator is left with no choice but to try to overcome these two disjunctions, both of which constitute distinct moments of resistance to interpretation.
How can we then circumvent the limitations to translation that such a double disjuncture imposes? Of course a careful, detailed investigation into the empirical elements offered by the letters and the issues broached therein must always be conducted, but this is not enough: it can only be through a critical awareness of these tensions and resistances that translators may decentre themselves and avoid the pitfalls of identification and idealisation. It is this decentring at the core of translation that ends up being in itself a form of travelling.
It is rather the translator and his reader who are invited to venture across a frontier -- the frontier that sets the limits to their identities, values and representations, and that is both spatial and temporal. In fact, the main challenges to the translation of these letters were posed by the problem of temporality, that is, by the difficulties of bridging the time gap. The first issue to be tackled was the stylistics of the Portuguese target text.
It was not just a matter of finding the best equivalents and transferring contents from the source text into the target language without major semantic losses. It was also a matter of finding a style and a register that could somehow match the original ones.
In order to do that, I compared the letters to similar archival and bibliographical sources in Portuguese. The analysis of the examples of letters allowed me to determine the way in which the target text was to be drafted.
In Portuguese, this is not so linear. In the early nineteenth century, modes of address would have varied according not only to social class, age or degree of familiarity, but also to written language conventions. The solution to the difficulty in ascertaining whether we were dealing with informality or politeness was partly given by the manual. This was the form I resorted to throughout. Another difficulty had to do with wording.
The manuals proved useful in guiding my lexical choices. I wanted to give the translation a distinctive period flavour to represent the historical dimension of the original letters. Another challenge was related to the commercial jargon both in English and in Portuguese. Nowadays commercial terminology in both languages is much more complex, but most of the neologisms that currently exist in Portuguese are English words.
Back then, that influence was more tenuous. In any case, the search for the right equivalent would have always been time-consuming. If we multiply this by the wide spectrum of nomenclatures related to those areas of economic activity Hutchinson was directly or indirectly involved in, we have an idea of the complexity of the task. To start with, there were the inner workings of the wool trade business. I had to unwind the ball of yarn of the English wool and worsted industry, including all the details concerning the different stages of the manufacturing process: recognising the provenance and differences in quality of the raw wool available in both the Portuguese and Spanish markets, the various patterns of the warp and weft, the way the cloth should be cut or dressed, specific types of woollen cloths, their designs and colours, and so on.
It took me a while before I learnt from a magazine published in London in Tilloch that the initials did not stand for any English or Portuguese words, but for Spanish ones. They referred to the way Spanish wool which also included Portuguese wool was classified: Primera or Refina R. Moreover, since conducting business ventures overseas back then was not without its risks, I had to acquaint myself with the idiom used in cargo and shipping insurance, learn about risk-assessment, shipping deadlines, storage conditions, bills of lading, types of merchant ships crossing the Atlantic, and so on.
But then there are also taxes and duties, customs procedures and the requirements of port authorities, the valuation of the bales in the Cocket,  goods lodged at the Custom House not yet dispatched -- all of this wrapped up in a language of its own, which has to be patiently disassembled, explored, digested, and then reassembled and fine-tuned in the translation process. In order to penetrate that language I had to resort to historical research once more. However, since the Revista de Estudos Anglo-Portugueses is aimed at a scholarly readership, it proved unnecessary to insist on the explanation of cultural or linguistic aspects that they are supposed to be already acquainted with.
Differences in style between early nineteenth-century and early twenty-first-century Portuguese are noticeable, but they do not make the text less intelligible. In any case, stylistic conventions should not pose a problem for all the scholars who are used to working with documents of that period. So I kept the footnotes to a minimum. The future publication of a book containing the complete correspondence of the Farrer family, this time aiming at a more general readership, will entail a different explanatory methodology, but not a different stylistic treatment.
Writing narratives of displacement and travel is in itself a translational act, where the author is always seeking to translate into his mother tongue the manifestations of the culture of the other. In the process, the translator is forced to question his identity, values and the representations of his own nation and people, especially if the original text is non-fictional and therefore stakes a claim to the immediacy and truthfulness of the experience. The translator thus has to achieve a tour-de-force in bridging all three gaps and rendering the text accessible to the contemporary reader.
However, the meanings in the target text will always have but a spectral relation with the ones in the source text: they are constructed at the same time as a re-apparition of a former presence that does not present itself as full presence and as the apparition of a new presence —a new text in its own right.
Brewster, London, New Left Books. London, R. Covering dates: Paris, ; Joaquim Ferreira de Freitas. London, Richard and Arthur Taylor, He is also the director of studies of postgraduate programmes in ELT and translation. He has also participated in several European-funded projects related to teacher training and computer-assisted language learning. Marxist discourse and its leading propagandist in Iran, the Tudeh Mass Party, played such a leading role in the Pre-Revolutionary Iran that any account of the reception of other discourses in that period should include an analysis of its relation to it.
Existentialism was the most important rival intellectual movement for Marxist discourse in Pre-Revolutionary Iran, both challenging Marxist discourse and being overwhelmed by it. The present paper aims to investigate, through related translations and indigenous writings, the early reception of existentialist discourse in Iran from to from the fall of Reza Shah to the Coup , a period which coincides with the establishment of the Tudeh party, the zenith of its power and prestige and then its drastic repression.
To this end, the article offers an account of the socio-political context of Iran from the s the beginning of the introduction of Existentialism in Iran to the early s with a focus on the role of the Tudeh party. Keywords: Sartrean Existentialism, marxist discourse, Tudeh party, Iran, history. Knowledge, discourses and theories are produced in different ways: whether they are constructed within the borders of a culture, or imported from a different culture through the channel of translation or other forms of rewriting e.
When discourses are imported, the process is generally thought to be easy and unobstructed. However, as Edward Said states, the transfer of knowledge and theory to the new environment is by no means easy and discourses undergo many transformations during the process. Said observes a recognizable and universal pattern in the transfer of theories and claims that each idea or theory goes through three or four stages in the process of its importation.
First of all, there is a starting point, or what seems to be a starting point, a set of initial conditions in which an idea is born or enters into a discourse. The second stage is the distance which the theory or idea travels to find a new significance in its new environment. In the third stage, there are sets of conditions that are called reception or resistance conditions encountered by the immigrant idea or theory. In the fourth stage, an idea that is now completely or incompletely assimilated undergoes many transformations and finds new applications Said, Venuti also refers to the neglect of translation in philosophical research and states:.
According to Venuti , philosophical thinking has long created concepts based on the native versions of foreign texts, but these native versions are generally considered to be transparent, and the influence of native culture and language on the created concepts has been ignored. Despite the general neglect of translation in many fields of study, over the past few decades, migration of theories and discourses through translation has attracted many researchers from the field of Translation Studies.
Some of these scholars have sought to propose new approaches to address the migration of discourses, while others have foreshadowed the pattern of transmission and reception of these discourses. Some others, like Susam-Sarajeva have tried to account for the migration of theories through conducting multiple- case studies within the framework of Descriptive Translation Studies.
Since it is not possible to address all these studies in present paper, two examples will be provided. Robbins puts forward a model for the transmission and reception of discourses through translation, and believes that the target culture may adopt a different stance towards the discursive elements of the alien. In his view, if when confronting with a new discourse, the otherness is ignored, the target culture has an imperialist position.
If otherness is acknowledged but transformed, the target culture or discourse has a defensive stance. If the target culture or discourse does not prevent the entrance of foreign discourses, the target culture is said to have a trans-discursive stand. And finally, if the target culture encourages the introduction of new discourses, it has a defective stance and is in the position of weakness. Dangchao proposes an approach for studying the migration of theories, which he believes is new from three perspectives: first, unlike many studies on the transfer of theories which mainly focus on the moving theories, in this approach the reception of the theories in different times and places is emphasized.
Second, in this new approach, in addition to discursive issues emphasized by the previous approaches, the relation between discursive conditions and material conditions is also explored, so that in addition to the study of translated texts, the interaction between discourse and practice is also studied.
Finally, in this new approach, the complexities of power relations affecting the transfer or non-transfer of theories are also examined. According to Dangchao , there are powers at work that facilitate the transfer of certain theories and prevent the transfer of some other theories. Despite recent international focus on the role of translation in the migration of theories, in Iran modern discourses and theories are often discussed without any reference to the role of translation and translators in constructing them.
In Iran, many modern discourses and theories are products of translation. This does not mean that some elements of these discourses have not been previously present in Persian literary and philosophical works, but it means that such discourses and theories as coherent sets of knowledge, philosophy and theory and with a specific purpose and worldview are products of translation and importation from different cultures. However, few studies have been carried out in this regard and even in those few studies the role of translation in introducing and constructing new discourses has been totally ignored.
For example, in a book called Existentialism and Modern Persian literature , which explores the introduction of existential discourse into modern Persian literature, there is no mention of translators and translations as a channel through which this discourse has been introduced and represented. To overcome this shortcoming, the present paper aims to study the early reception of Sartrean Existentialism in Iran with a focus on the role of translation.
Thus, as Rundle suggests the results may interest a wider range of audience, historians as well as Translation Studies scholars. Existentialism is one of the major foreign discourses that dominated the intellectual life of Iran for decades. As the title suggests, Sartre was introduced to Iranian readers as the founder of this philosophy. Although in the years after the Existentialist boom in Iran, Iranian philosophers and theologians took an interest in other branches of this philosophic movement including Heideggerian and religious Existentialism, what dominated the minds of many Iranian writers and intellectuals was French and, in particular, Sartrean Existentialism.
The purpose of this article is to explore the reception of this branch of Existentialism which proved to be an important intellectual movement in Iran for more than three decades. In order to understand Existentialism in Iran, we must first understand the important role that Marxist discourse and its leading propagandist, the Tudeh party, played in pre-revolutionary Iran.
This article aims to investigate the early reception of Existentialist discourse in Iran from to from the fall of Reza Shah to the Coup , a period which coincides with the establishment of the Tudeh party, its rise to popularity with intellectuals and, finally, its severe repression. During these 12 years, the country experienced many social changes and political crises. As a result of the relative freedom of the period , various parties were established and various periodicals emerged.
Among the many parties that had been active in these years, only six continued to operate in the following years as national organizations. At the beginning, the Tudeh party was a democratic and popular front. Until , the Party leadership was a combination of Marxist and Social-Democrat elements, with its Marxist members exerting much more influence. Since the party supported democratic and popular aspirations and since the popularity of the Soviet Union was increasing at that time, the party managed to recruit many young and educated people.
But perhaps the most important attraction of the party for the young and educated was its capability for publishing new European ideas. The party was the focal point for those who were interested in these ideas Katouzian The party recruited not only a relatively broad spectrum of white collar workers and craftsmen, but also many prominent intellectuals who enjoyed a high status in Iranian society Abrahamian Ehsan Tabari a: 3 , a founding member and theoretician of the Tudeh party, said at the time:.
Although, from the very beginning, Socialist Realism, the official literary and artistic school of the Soviet Union, attracted the Tudeh party members, it was not until that it dominated most of its literary productions. In fact, it can be claimed that the Tudeh party, while using intellectual writers and translators to promote its ideology, also provided them with an opportunity to publish their own ideas. After the defeat of the Azerbaijan Democratic Party in , a split occurred in the Tudeh party and a group of intellectuals led by Khalil Maleki left the party in and some of the party leaders had to move abroad Behrooz ; Katouzian The crisis that followed the suppression of the soviet-supported revolt in Azerbaijan and the reorganization of the party in , which led to its severe ideologization, along with the greater restrictions imposed by the Soviet Communist Party on writers and artists from to undermined literary and artistic pluralism in the Tudeh party and strengthened socialist realism.
Gradually the principles, criteria and foundations of socialist realism were accepted by a large number of party members, and eventually socialist realism not only became the artistic and literary ideology of the Tudeh party of Iran but, with some adjustments, it became the theoretical basis of literature and revolutionary and popular art in Iran for four decades Khosropanah The political and cultural ideology of the Tudeh party and the Soviet literature it advocated, affected the literary production of many Iranian writers and poets such as Abdul-Hossein Noushin, Mahmoud Etemadzadeh Behazin , and Siavash Kasrai.
However, this impact was ambivalent; on the one hand, it supported and promoted a new type of literature, but, on the other, it prevented the development of a free literature due to its ideological nature Akbariani In , the Tudeh party faced another crisis, which led to the dissolution of the party by the government. The Shah, Mohammad Reza Pahlavi, was the victim of an assassination attempt during a ceremony at the University of Tehran that year.
The government blamed the Tudeh party, which was dissolved and forced to go underground. Since many of its leaders were arrested and the party had little experience in underground activities, the crisis posed a serious threat to its survival. However, since the government was not strong enough at the time to impose a brutal repression, the party soon managed to reorganize by creating a number of front organizations and publications in order to compensate for its inability to function openly.
After that, the Tudeh party became a full member of the International Communist Front. Behrooz ; Katouzian With the start of the Oil Nationalization Movement led by Mosaddegh, a prominent parliamentarian and prime minister from , the Tudeh party became one of the main actors in the political scene in Iran. After public protests that led to the re-election of the prime minister Mosaddegh, who had resigned because the Shah had refused to give him the control of the Ministry of Defence, the party changed its course and supported Mosaddegh.
The Tudeh party failed to take effective action against the coup. Consequently, many party leaders were forced to leave Iran.
Translating Culture-Bound Elements in Subtitling
They fled to the Eastern bloc, many of them staying there until the Islamic Revolution in Behrooz ; Katouzian As observed by Baqer Momeni , a historian and former member of the Tudeh party, the impact of the Tudeh party on the political and cultural atmosphere of Iran was so great that even after seventy years, it is acknowledged by writers and scholars from various, even opposing, intellectual and social fronts. Momeni states:. In this period, Sartre and Existentialism were introduced to Iranians both through translations and indigenous writing.
During these 12 years, five fictional works by Sartre were translated and published in Iran and a book entitled Makateb-e Falsafi: Existancializm [Philosophical Schools: Existentialism] was written in by Hossein Kasmaie. The number of articles published on Sartre and Existentialism was small. However, a closer look at the list of translators and publishers suggests that Sartre was imported with specific political and cultural agendas.
It also responds to the recent calls in Translation Studies to focus on translators, e. Pym The socio-political situation in which this translation was carried out as well as the professional profile of Hedayat and his association with the Tudeh party, leads us to attribute some other motives to him.
There are various accounts of the relationship between Hedayat and the Tudeh party, but in almost all of these, there is agreement that despite his initial sympathy with the Tudeh party, Hedayat was never a member of the party, regularly criticizing its leaders and policies. At a time when the hegemony of the Tudeh party attracted intellectuals from a variety of spheres, Hedayat was often considered to belong to an intellectual current that, although very small at that time, had a more philosophical and profound approach to social affairs, a current which was perhaps initiated by Hedayat himself through his translations of works by Kafka and Sartre.
So, it is not unlikely that one of his intentions in introducing Sartre was to introduce ideas which could challenge the ruling ideology of the Tudeh party. As Ehsan Tabari  n. The story of Le Mur is full of existential themes such as despair, death and emptiness. Existentialist ideas such as the random nature of life and the absence of causal relationships in the world, as are evident in this story, are strongly opposed to the Marxist- Leninist ideas prevalent at that time.
The party member speaking in the article then invites the disillusioned intellectual to abandon Existentialism and convert to Marxist-Leninist philosophy, and says:. The publication of the translation of Le Mur in the journal Sokhan confirms the hypothesis that Existentialism was introduced as part of an effort to challenge the ideology propagated by the Tudeh party.
The aim of the journal was to help promote the development of Persian literature, literary criticism, literary research, and to introduce foreign writers and poets through translation Sadeqzadeh-Ardobadi Specifically, the journal Sokhan , which was published for 27 years, showed an increasing interest in Existentialist philosophers and thinkers as the modern writers of the era. Khanlari, a professor of Persian literature at the University of Tehran, established the journal in Khanlari seems to have been attracted to the Tudeh party until the events of Azerbaijan in , but he was never a member of the party.
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An examination of the content of this journal with its emphasis on French literature in a period in which Russian literature and the Soviet communist system were praised and promoted by many Iranian intellectuals reinforces the previously mentioned hypothesis that the introduction of existentialist writers in this period was also initiated in order to pose a challenge against the dominant ideology of the Tudeh party. Written by Fereydoun Hoveyda, the article was probably the first article on Sartre and Existentialism in Iran.
Although the article is apparently not written to contest leftist discourse, it does challenge it. The article begins as follows:. From the very beginning, the author suggests that France has a great potential for the development of great intellectual schools when compared to other countries, and perhaps creates an opposition in the mind of the reader between France as a Western European country and the Soviet Union, which was a promised land to many intellectuals of that time. The emphasis on the emergence of these great schools after the great revolutions and transformations is also a reminder of the socio-political conditions in Iran at that time.
It can be argued that this article tends to promote rather than just introduce Sartre and his philosophy at a time when the Marxist-Leninist discourse was the dominant intellectual discourse in Iran. La putain respectueuse was the second work by Sartre which was translated into Persian in The play was translated by Abdul-Hossein Noushin, a playwright, theater director and a leading member of the Tudeh party. He was one of the first to import Western theatrical works into Iran, and his translation of Sartre was part of this initiative.
However, considering the association of Noushin with the Tudeh party and the attitude of Party officials towards Existentialism and Sartre, the publication of this play in the official journal of the party may seem strange at first. It seems that, in the early years of its activity, the party would resort to any conceivable means to promote its cause. Although the Tudeh party advocated socialist realism in literature and art from the outset, it did not boycott the poets and writers who followed other artistic currents, even writers such as Sartre and Kafka, who, at that time, were banned and considered decadent in the Soviet Union Khosropanah After the split in the Tudeh party in , this literary pluralism was gradually abandoned, so much so that in Ehsan Tabari and his followers denounced the artistic and philosophical schools which they saw as capitalist and decadent.
In these essays, Sartre and his philosophy of Existentialism, which were previously introduced and advocated in the Tudeh party periodicals, were harshly criticized. By doing this, the Party pursued two goals: to attract a variety of intellectuals from different fronts, and to co-opt other influential discourses to advance its goals. So, not only did the content of the play not challenge the anti-imperialist ideology of the Tudeh party, but it also helped to promote its cause. Amir-Nasser Khodayar , a translator, writer and journalist, translated it into Persian in Like many intellectuals of the time, Khodayar was initially interested in the Tudeh party, and worked closely with people like Abdul Hossein Noushin and Khalil Maleki.
The selection of a short story from the Le Mur collection previously introduced by Hedayat signals the significance of Hedayat as an initiator of a discourse on Sartre and Existentialism, a discourse which was gradually developed by other intellectuals of the time to both challenge and help define the dominant discourse of the Tudeh party. Unlike the other translators of Sartre, the translator of this work, Mustafa Farzaneh, was a young and novice translator who had the opportunity to meet and co-operate with Sadeq Hedayat.
Being a disciple of someone who introduced Sartre into Iran encouraged Farzaneh, who translated short texts for different periodicals at the time, to translate a play by Sartre. This attack clearly shows that at that time the Tudeh party identified Hedayat with the Existentialist movement, a movement which his student and close friend, Mustafa Farzaneh, also aligned himself with by translating Huis clos.
Like Hoveyda, Farzaneh identifies Existentialist philosophy with Sartre in his introduction, and from the very beginning tries to emphasize its novelty, which he sees as a privilege. Farzaneh then introduces and interprets the play, raising a series of points that are clearly in opposition to the dominant Marxist-Leninist discourse.
Historical materialism has a different approach to the relationship between individual and society and sees mankind as an inherently social being. For Marxists, the individual is a kind of abstraction, and all human achievements are the result of collective action, and as a result of this collective effort society can reach its final stage after going through different temporary phases Novack The fifth and the last work by Sartre to be translated into Persian before the coup was Les mains sales.
This play was translated by Jalal Al-e-Ahmad, a writer, intellectual and a former member of the Tudeh party. Following the events of Azerbaijan and the split in the Tudeh party, Al-e-Ahmad also separated from the party in along with Maleki and became one of its severest critics. Despite what Amenkhani claims, after leaving the Tudeh party Al-e-Ahmad did not completely dismiss politics and collective activities, but he first joined Hezb-e Zahmatkeshan the Party of the Hardworking and then Hezb-e Zahmatkeshan-e Melat-e Iran the Party of the Hardworking People of Iran.
It was after leaving this last party in that he withdrew from all political activity. So, in , when he translated Les mains sales , he had not yet abandoned political activities and was active in a party opposed to the Tudeh party. Considering the political orientations of Al-Ahamad at the time it is reasonable to suppose that his decision to translate an anti-communist work by Sartre was at least in part motivated by a desire to challenge the dominant ideology of the Tudeh party.
As we have seen, the importation of Sartrean Existentialism into Iran can be interpreted in three ways: First, it can be considered part of the uninterrupted effort by Iranian intellectuals since the Constitutional Revolution to import the knowledge, philosophy and literature of the West into Iran as it is true of almost all other Western writers.
Second, it can be regarded as an attempt by non-leftist intellectuals to confront the dominant Tudeh discourse by introducing an assumed non-left-wing Western discourse as in the case of Hedayat, Farzaneh, Khanlari and Al-e-Ahmad. Third, it can also be seen as an attempt by intellectuals and advocates of leftist discourse to advance their goals by appropriating another emerging discourse as in the case of Noushin, and other Tudeh intellectuals. Susam-Sarajeva argues and rightly so that the selection of texts not to be translated, the timing of the translations, and the professional profiles of the translators are among the factors influencing the reception of foreign discourses and writers.
The translations of Sartre published in this period, the professional profile of the translators and the indigenous material written on Sartre and his philosophy in Iran show that his reception was more focused on the social and political application of his thinking than on its philosophical implications. It was in the late s that Sartre changed his mind and embraced Marxism, declaring that Existentialism had become a subordinate branch of Marxism with the aspiration of enriching and renewing it Novack From his early reception in Iran in the s to his later popularity in the s and s, this paradoxical development of Sartrean Existentialism allowed intellectuals from different political currents to focus on those aspects of his philosophy which best suited their purpose.
In the period under study, Existentialism was mainly understood as an individualistic, nihilistic and pessimistic philosophy. This image was created by the working together of different factors, the most important among which were the efforts of the Tudeh party. In rejecting Existentialism, the Tudeh party was merely echoing soviet and Western criticisms of Existentialism. The anti-Existentialist ideas translated in this journal soon found their way into the indigenous material.
The ideas propagated in the article were immediately picked up by Iranian intellectuals and writers leading to the publication of a series of indigenous articles in the subsequent issues of the journal. The selection of anti-Existentialist articles for translation played both an indicative role, showing the local concerns and the prevailing attitudes towards Existentialism, and a formative role, shaping and transforming the images of Sartre and Existentialism.
Translations of anti-Existentialist writings mainly by the Tudeh party created a strong narrative which was both adopted and criticized, in the following years, by variously affiliated intellectuals and writers, ranging from Marxists to Islamists. The pattern of books not translated in this period was another factor influencing the reception of Existentialism as a nihilistic and pessimistic philosophy. By , Sartre had published almost 20 books 15 fictional, 4 philosophical and 1 critical book , 5 of which all fictions had been translated in Iran. To defend himself against the charge of pessimism in his fictional works, Sartre wrote:.
The fact that the only works by Sartre translated in this period were his works of fiction can, to some extent, account for his reception as a pessimistic writer. This translation pattern, which created a pessimistic image of Existentialism strengthened the defensive attitude of its opponents, mostly Marxists, in Iran by supplying them with material which was clearly opposed to the socialist-realist ideas propagated by them. This book was first translated into Persian in with a time-lag of almost 19 years. It would seem, then, that discourses are not transferred and received as simply and as innocently as might appear.
Discourses are not transferred to merely fill a gap in knowledge or produce something that the target language and culture lacks, but are often transferred to serve given purposes. By breaking off the prior intertextual relations and forming a network of new relations, discourses often find new meanings and intentions in their new destinations, which may contradict their original meanings and purposes.
Translation, together with other forms of rewriting, plays a very important role in the transfer of discourses. As Susam-Sarajeva 1 points out, translation plays both an indicative and a formative role, that is, it both allows insights into the workings of a given system and influences the receiving system. The early reception of Sartrean Existentialism clearly shows this dual role of translation. During this period, many newspapers and periodicals were established and many parties and organizations were formed.
The Marxist-Leninist discourse of the Tudeh party became the dominant intellectual discourse. It was during this period that Sartre and Existentialism were introduced for the first time. The confrontation between Russian Marxism and Sartrean Existentialism, which was evident in the position of the Soviet Communist Party towards Existentialism and in the early works of Sartre, was used both by the Tudeh Party members such as Noushin and Tabari to promote Marxism and by anti-Marxist intellectuals and translators such as Hedayat and Al-e-Ahmad to challenge it.
The symbiotic working together of the different factors including the pattern of translations and the profile of the translators of Sartre and the attempts of the Tudeh Party to establish itself as an unrivaled discourse constructed an image of Sartre and Existentialism which continued into the following Decades. In this Period, Sartrean Existentialism was mainly received as a nihilistic and imperialistic philosophy which posed a threat to the then dominant Marxist Ideology and its revolutionary ends.
The images of Sartre and Existentilism constructed in this period served as a foundation for later receptions of Sartre. Although Sartre had successfully defended his philosophy against the accusation of being nihilistic and had revealed his Marxist tendencies by the late s, in the s Iran, a nihilistic image of Existentialism and a narrative of the contrast between Marxism and Existentialism constructed in the s were still holding sway.
The professional profile of the translators of Sartre and other agents in this period and the political ends they pursued prevents us from assigning the fragmented picture of Existentialism in s and the contradictory purposes it served to its poor application in Iran. In fact, Sartrean Existentialism was mainly discussed and translated for purposes other than its mere understanding and introduction. Fatahi, Tehran, Nashr-e Ney. Nourozi, Name-ye Mardom 5, no. Tadayion, Tehran, Rasa. Mohajer, Tehran: Sahba. Novack, George E. Poetics Today 15 , no.
Said, Edward. Sartre, Jean-Paul , Existentialism and Humanism , trans. Mariet, London, Metheun. Amsterdam, Rodopi. Tabari, Ehsan n. Venuti, Lawrence The scandals of translation: towards an ethics of difference , London, Routledge. She is currently a Ph. Her academic interests include literary Translation, Translation History, and the modern history of Iran.
Khazaee Farid has been the founder and editor of the quarterly Motarjem The Translator published since His major interests are the practice and theory of literary translation. English: This article aims to investigate how humour is translated in two theatrical plays by Eugene Ionesco La Cantatrice chauv e and Les Chaise s into Greek. The study explores three different Greek versions of the two theatrical plays. On the one hand, it seeks to consider humorous effects within the original plays, and on the other hand, it investigates the challenges involved in transposing verbal humour and the strategies used to translate or even reinforce humour in the translated texts.
If incongruity is an indispensable humour - provoking parameter, translators should also seek to mobilize the same cognitive mechanism in the translated texts. It is argued that even if a more literal translation is not always privileged or even possible, what is of importance is the humorous effect, otherwise the perlocutionary force of the translated humour on the target audience.
Nous sommes comiques. Toutes les personnes importantes? Les psychiatres et leurs psychopathes? Le Pap e, les pap illons et les pap iers. Ionesco , Les Chaises , traduit par Belies, p. La sou pape a un pape. Le pape a besoin d'un bouchon. Bien que ce ne soit pas grand-chose. Ionesco , La Cantatrice chauve , traduit par Protopapas, p. Ionesco , La Cantatrice chauve , traduit par Belies , pp. Et il riait comme un veau. Ionesco, Les Chaises traduit par Stamatiou. Pourquoi tu prenais mal tout trop facilement? Il a juste fait une blague.
Je n'aime pas les blagues! Giorgos Protopapas.