This paper tackles several questions relating to the issue of the translator’s voice in retranslation: how do others’ voices (including other (re)translations) interact with the translator’s voice in the production of a translation? How does the intersubjectively constituted voice of the translator manifest itself in paratexts, in the translated text and, in the case of singer-translators, in the translator’s physical, performing voice? The case discussed is that of Bob Dylan in (re)translation into Norwegian, and it is concluded that different singer-translators involve others in the process in various ways and to varying degrees; that there are great subjective differences in how and to what extent they take other (re)translations of Dylan into account; and that they choose different strategies for displaying their voices in paratexts, texts and performances, differences that can be explained by reference to the singer-translator’s role and status on the cultural scene.
%0 Journal Article
%1 Greenall2015
%A Greenall, Annjo K
%D 2015
%J Target
%K Canciones Musica Retraducci{\'{o}}n Traducci{\'{o}}n
%P 40--57
%R 10.1075/target.27.1.02gre
%T Translators’ voices in Norwegian retranslations of Bob Dylan’s songs
%U http://www.jbe-platform.com/content/journals/10.1075/target.27.1.02gre
%V 27
%X This paper tackles several questions relating to the issue of the translator’s voice in retranslation: how do others’ voices (including other (re)translations) interact with the translator’s voice in the production of a translation? How does the intersubjectively constituted voice of the translator manifest itself in paratexts, in the translated text and, in the case of singer-translators, in the translator’s physical, performing voice? The case discussed is that of Bob Dylan in (re)translation into Norwegian, and it is concluded that different singer-translators involve others in the process in various ways and to varying degrees; that there are great subjective differences in how and to what extent they take other (re)translations of Dylan into account; and that they choose different strategies for displaying their voices in paratexts, texts and performances, differences that can be explained by reference to the singer-translator’s role and status on the cultural scene.
@article{Greenall2015,
abstract = {This paper tackles several questions relating to the issue of the translator’s voice in retranslation: how do others’ voices (including other (re)translations) interact with the translator’s voice in the production of a translation? How does the intersubjectively constituted voice of the translator manifest itself in paratexts, in the translated text and, in the case of singer-translators, in the translator’s physical, performing voice? The case discussed is that of Bob Dylan in (re)translation into Norwegian, and it is concluded that different singer-translators involve others in the process in various ways and to varying degrees; that there are great subjective differences in how and to what extent they take other (re)translations of Dylan into account; and that they choose different strategies for displaying their voices in paratexts, texts and performances, differences that can be explained by reference to the singer-translator’s role and status on the cultural scene.},
added-at = {2015-12-01T11:33:23.000+0100},
author = {Greenall, Annjo K},
biburl = {https://www.bibsonomy.org/bibtex/25e0e047ca00d97b647ff6abf54349e11/sofiagruiz92},
doi = {10.1075/target.27.1.02gre},
interhash = {8438449bb847d2643d6bad3c922b6d89},
intrahash = {5e0e047ca00d97b647ff6abf54349e11},
issn = {0924-1884, 1569-9986},
journal = {Target},
keywords = {Canciones Musica Retraducci{\'{o}}n Traducci{\'{o}}n},
language = {eng},
month = mar,
pages = {40--57},
timestamp = {2015-12-01T11:33:23.000+0100},
title = {{Translators’ voices in Norwegian retranslations of Bob Dylan’s songs}},
url = {http://www.jbe-platform.com/content/journals/10.1075/target.27.1.02gre},
volume = 27,
year = 2015
}