Who has the final say? English translation of online lockdown writing Wuhan Diary.

As a testimony to the lockdown life in Wuhan caused by the COVID-19 pandemic, Fang Fang's Wuhan Diary received worldwide attention while triggering extensive controversies in China. Drawing on the concepts of agent and voice in translation studies, this article explores the contextual, paratextual a...

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Publicado en:Perspectives: Studies in Translatology Vol. 31; no. 2; pp. 297 - 313
Autores principales: Yu, Jinquan, Zheng, Binghan, Shao, Lu
Formato: Artículo
Publicado: Taylor & Francis Ltd Apr2023
Materias:
Acceso en línea:Ver este registro en EBSCOhost
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          Yu, Jinquan
          Zheng, Binghan
          Shao, Lu
        affil:
          School of Foreign Languages, Sun Yat-sen University, Guangzhou, People's Republic of China
          School of Modern Languages and Cultures, Durham University, Durham, UK
      su:
        Journal writing
        Stay-at-home orders
        Translating & interpreting
        Negotiation
        COVID-19 pandemic
        Wuhan (China)
      sug:
        subj:
          Wuhan (China)
          Journal writing
          Stay-at-home orders
          Translating & interpreting
          Negotiation
          COVID-19 pandemic
      keyword:
        Online lockdown writing
        paratext
        readers' voice
        translation agents
        Wuhan Diary
      ab: As a testimony to the lockdown life in Wuhan caused by the COVID-19 pandemic, Fang Fang's Wuhan Diary received worldwide attention while triggering extensive controversies in China. Drawing on the concepts of agent and voice in translation studies, this article explores the contextual, paratextual and textual voices of translation agents in the English translation of Wuhan Diary (2020) and their power negotiations, to reveal who has the final say in positioning and rendering the text for an Anglophone readership. In so doing, the article shows that the author rather than the publisher plays a decisive role in producing the paratextual materials for the translation, and that the translator tend to employ the translation technique of omission to protect the author and himself. Furthermore, it finds that the author's request for the revision of such paratexts as the title and blurb, in conjunction with the translator's technique of omission in the translated text, boil down to responses to the critical voices from Chinese readers. Therefore, this article argues that the critical voices from Chinese readers have had the final say in the production and presentation of the English translation of Wuhan Diary.
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