Abstract
This study investigates the types of fingerprints that the Danish translator Mogens Boisen applies in his first translation (passive retranslation) and
subsequent two self-retranslations (active retranslations) of the novel Ulysses by James Joyce. Through analysis of the translator’s contextual voice in the paratexts and textual voice in two selected passages with striking cultural embedding in the last translation, I argue that Boisen retains Ulysses as his personal territory of pleasure and pain by way of bodily signposts in the target text. In this way Boisen paradoxically creates a kind of hybrid foreignization which might have pleased Joyce.
subsequent two self-retranslations (active retranslations) of the novel Ulysses by James Joyce. Through analysis of the translator’s contextual voice in the paratexts and textual voice in two selected passages with striking cultural embedding in the last translation, I argue that Boisen retains Ulysses as his personal territory of pleasure and pain by way of bodily signposts in the target text. In this way Boisen paradoxically creates a kind of hybrid foreignization which might have pleased Joyce.
| Original language | English |
|---|---|
| Journal | The AALITRA Review: A Journal of Literary Translation |
| Volume | 16 |
| Pages (from-to) | 16-27 |
| Number of pages | 7 |
| Publication status | Published - 22 Dec 2021 |