Anger, Faith and Bewildered Fragments of Self: The Shaping of Ethos in an Argentinean Translation of Sarah Kane’s 4.48 Psychosis

Detalhes bibliográficos
Autor(a) principal: Spoturno, Maria Laura
Data de Publicação: 2022
Outros Autores: Zucchi, Mariano
Tipo de documento: Artigo
Idioma: eng
Título da fonte: Cadernos de Tradução (Florianópolis. Online)
DOI: 10.5007/2175-7968.2022.e90303
Texto Completo: https://periodicos.ufsc.br/index.php/traducao/article/view/90303
Resumo: 4.48 Psychosis is British playwright Sarah Kane’s final play. Its opening took place at the Royal Court Theatre Upstairs in London in June 2000, only a few months after Kane’s suicide at King’s College Hospital. The initial reception of the play was surrounded by controversy in the United Kingdom, with some reviewers and critics interpreting the theatrical text as primarily autobiographical (Urban 2011, p. 304; Claycomb 2012, p. 113). Informed by a socio-discursive perspective, which specifically looks at the construction of ethos (Amossy 2009, 2010; Author 2017; Author 2019, 2020), this research aims at contributing to the study of subjectivity in translated drama. Focusing on Rafael Spregelburd’s Argentinean Spanish translation of 4.48 Psychosis, published by Losada in 2006, we explore the shaping of subjectivity in the translated dramatic text highlighting the way in which the persona of the translator builds within and beyond the translated text. The case under study features the task of a drama translator who, probably on account of his vital presence in the Argentinean theatrical landscape, is often perceived as integral to the performance text. In this article, we will argue that an analysis of 4.48 Psychosis and, for that matter, of the translation of the play, based on the facts of the playwright’s life, may lack in substance and is, therefore, unproductive to assess the complex quality of the piece. While Spregelburd’s translation uses dramatic strategies and techniques that successfully foster the image or ethos of a rupturist playwright, it still stresses the autobiographical character often attributed to the text. This is particularly evident in the female gender construction of the main voice in the play, which is ambiguous in the source text. Our analysis therefore specifically looks at certain subjective forms in the translated text such as the use of inflected female marked adjectives. In a complementary fashion, our study also identifies the use of masculine forms and masculine generic forms to translate indeterminate forms in the original, which help establish antagonisms between female and male construed identities in the target text. This view, which becomes dominant in the translated text, is reinforced by the image or ethos of the translator as this is shaped within the translated dramatic text and its paratexts. Our analysis also explores the subjective construction of the translator’s persona and positioning in the target dramatic text and system. Assessed within the framework of Spregelburd’s whole production, detailed consideration is given to the use of paratextual devices as well as the translator’s own declarations in interviews.
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spelling Anger, Faith and Bewildered Fragments of Self: The Shaping of Ethos in an Argentinean Translation of Sarah Kane’s 4.48 PsychosisSarah Kane4.48 PsychosisTranslator’s ethosTranslated Drama Rafael Spregelburd4.48 Psychosis is British playwright Sarah Kane’s final play. Its opening took place at the Royal Court Theatre Upstairs in London in June 2000, only a few months after Kane’s suicide at King’s College Hospital. The initial reception of the play was surrounded by controversy in the United Kingdom, with some reviewers and critics interpreting the theatrical text as primarily autobiographical (Urban 2011, p. 304; Claycomb 2012, p. 113). Informed by a socio-discursive perspective, which specifically looks at the construction of ethos (Amossy 2009, 2010; Author 2017; Author 2019, 2020), this research aims at contributing to the study of subjectivity in translated drama. Focusing on Rafael Spregelburd’s Argentinean Spanish translation of 4.48 Psychosis, published by Losada in 2006, we explore the shaping of subjectivity in the translated dramatic text highlighting the way in which the persona of the translator builds within and beyond the translated text. The case under study features the task of a drama translator who, probably on account of his vital presence in the Argentinean theatrical landscape, is often perceived as integral to the performance text. In this article, we will argue that an analysis of 4.48 Psychosis and, for that matter, of the translation of the play, based on the facts of the playwright’s life, may lack in substance and is, therefore, unproductive to assess the complex quality of the piece. While Spregelburd’s translation uses dramatic strategies and techniques that successfully foster the image or ethos of a rupturist playwright, it still stresses the autobiographical character often attributed to the text. This is particularly evident in the female gender construction of the main voice in the play, which is ambiguous in the source text. Our analysis therefore specifically looks at certain subjective forms in the translated text such as the use of inflected female marked adjectives. In a complementary fashion, our study also identifies the use of masculine forms and masculine generic forms to translate indeterminate forms in the original, which help establish antagonisms between female and male construed identities in the target text. This view, which becomes dominant in the translated text, is reinforced by the image or ethos of the translator as this is shaped within the translated dramatic text and its paratexts. Our analysis also explores the subjective construction of the translator’s persona and positioning in the target dramatic text and system. Assessed within the framework of Spregelburd’s whole production, detailed consideration is given to the use of paratextual devices as well as the translator’s own declarations in interviews. Universidade Federal de Santa Catarina2022-09-06info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://periodicos.ufsc.br/index.php/traducao/article/view/9030310.5007/2175-7968.2022.e90303Cadernos de Tradução; Vol. 42 No. 1 (2022): Edição de Fluxo Contínuo (2022); 1-31Cadernos de Tradução; Vol. 42 Núm. 1 (2022): Edição de Fluxo Contínuo (2022); 1-31Cadernos de Tradução; v. 42 n. 1 (2022): Edição de Fluxo Contínuo (2022); 1-312175-79681414-526Xreponame:Cadernos de Tradução (Florianópolis. Online)instname:Universidade Federal de Santa Catarina (UFSC)instacron:UFSCenghttps://periodicos.ufsc.br/index.php/traducao/article/view/90303/51537Copyright (c) 2022 Cadernos de Traduçãohttps://creativecommons.org/licenses/by/4.0info:eu-repo/semantics/openAccessSpoturno, Maria LauraZucchi, Mariano2023-01-04T18:13:48Zoai:periodicos.ufsc.br:article/90303Revistahttps://periodicos.ufsc.br/index.php/traducao/indexPUBhttps://periodicos.ufsc.br/index.php/traducao/oaieditorcadernostraducao@contato.ufsc.br||ecadernos@gmail.com||editorcadernostraducao@contato.ufsc.br|| cadernostraducao@contato.ufsc.br2175-79681414-526Xopendoar:2023-01-04T18:13:48Cadernos de Tradução (Florianópolis. Online) - Universidade Federal de Santa Catarina (UFSC)false
dc.title.none.fl_str_mv Anger, Faith and Bewildered Fragments of Self: The Shaping of Ethos in an Argentinean Translation of Sarah Kane’s 4.48 Psychosis
title Anger, Faith and Bewildered Fragments of Self: The Shaping of Ethos in an Argentinean Translation of Sarah Kane’s 4.48 Psychosis
spellingShingle Anger, Faith and Bewildered Fragments of Self: The Shaping of Ethos in an Argentinean Translation of Sarah Kane’s 4.48 Psychosis
Anger, Faith and Bewildered Fragments of Self: The Shaping of Ethos in an Argentinean Translation of Sarah Kane’s 4.48 Psychosis
Spoturno, Maria Laura
Sarah Kane
4.48 Psychosis
Translator’s ethos
Translated Drama
Rafael Spregelburd
Spoturno, Maria Laura
Sarah Kane
4.48 Psychosis
Translator’s ethos
Translated Drama
Rafael Spregelburd
title_short Anger, Faith and Bewildered Fragments of Self: The Shaping of Ethos in an Argentinean Translation of Sarah Kane’s 4.48 Psychosis
title_full Anger, Faith and Bewildered Fragments of Self: The Shaping of Ethos in an Argentinean Translation of Sarah Kane’s 4.48 Psychosis
title_fullStr Anger, Faith and Bewildered Fragments of Self: The Shaping of Ethos in an Argentinean Translation of Sarah Kane’s 4.48 Psychosis
Anger, Faith and Bewildered Fragments of Self: The Shaping of Ethos in an Argentinean Translation of Sarah Kane’s 4.48 Psychosis
title_full_unstemmed Anger, Faith and Bewildered Fragments of Self: The Shaping of Ethos in an Argentinean Translation of Sarah Kane’s 4.48 Psychosis
Anger, Faith and Bewildered Fragments of Self: The Shaping of Ethos in an Argentinean Translation of Sarah Kane’s 4.48 Psychosis
title_sort Anger, Faith and Bewildered Fragments of Self: The Shaping of Ethos in an Argentinean Translation of Sarah Kane’s 4.48 Psychosis
author Spoturno, Maria Laura
author_facet Spoturno, Maria Laura
Spoturno, Maria Laura
Zucchi, Mariano
Zucchi, Mariano
author_role author
author2 Zucchi, Mariano
author2_role author
dc.contributor.author.fl_str_mv Spoturno, Maria Laura
Zucchi, Mariano
dc.subject.por.fl_str_mv Sarah Kane
4.48 Psychosis
Translator’s ethos
Translated Drama
Rafael Spregelburd
topic Sarah Kane
4.48 Psychosis
Translator’s ethos
Translated Drama
Rafael Spregelburd
description 4.48 Psychosis is British playwright Sarah Kane’s final play. Its opening took place at the Royal Court Theatre Upstairs in London in June 2000, only a few months after Kane’s suicide at King’s College Hospital. The initial reception of the play was surrounded by controversy in the United Kingdom, with some reviewers and critics interpreting the theatrical text as primarily autobiographical (Urban 2011, p. 304; Claycomb 2012, p. 113). Informed by a socio-discursive perspective, which specifically looks at the construction of ethos (Amossy 2009, 2010; Author 2017; Author 2019, 2020), this research aims at contributing to the study of subjectivity in translated drama. Focusing on Rafael Spregelburd’s Argentinean Spanish translation of 4.48 Psychosis, published by Losada in 2006, we explore the shaping of subjectivity in the translated dramatic text highlighting the way in which the persona of the translator builds within and beyond the translated text. The case under study features the task of a drama translator who, probably on account of his vital presence in the Argentinean theatrical landscape, is often perceived as integral to the performance text. In this article, we will argue that an analysis of 4.48 Psychosis and, for that matter, of the translation of the play, based on the facts of the playwright’s life, may lack in substance and is, therefore, unproductive to assess the complex quality of the piece. While Spregelburd’s translation uses dramatic strategies and techniques that successfully foster the image or ethos of a rupturist playwright, it still stresses the autobiographical character often attributed to the text. This is particularly evident in the female gender construction of the main voice in the play, which is ambiguous in the source text. Our analysis therefore specifically looks at certain subjective forms in the translated text such as the use of inflected female marked adjectives. In a complementary fashion, our study also identifies the use of masculine forms and masculine generic forms to translate indeterminate forms in the original, which help establish antagonisms between female and male construed identities in the target text. This view, which becomes dominant in the translated text, is reinforced by the image or ethos of the translator as this is shaped within the translated dramatic text and its paratexts. Our analysis also explores the subjective construction of the translator’s persona and positioning in the target dramatic text and system. Assessed within the framework of Spregelburd’s whole production, detailed consideration is given to the use of paratextual devices as well as the translator’s own declarations in interviews.
publishDate 2022
dc.date.none.fl_str_mv 2022-09-06
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dc.identifier.uri.fl_str_mv https://periodicos.ufsc.br/index.php/traducao/article/view/90303
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https://creativecommons.org/licenses/by/4.0
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eu_rights_str_mv openAccess
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dc.publisher.none.fl_str_mv Universidade Federal de Santa Catarina
publisher.none.fl_str_mv Universidade Federal de Santa Catarina
dc.source.none.fl_str_mv Cadernos de Tradução; Vol. 42 No. 1 (2022): Edição de Fluxo Contínuo (2022); 1-31
Cadernos de Tradução; Vol. 42 Núm. 1 (2022): Edição de Fluxo Contínuo (2022); 1-31
Cadernos de Tradução; v. 42 n. 1 (2022): Edição de Fluxo Contínuo (2022); 1-31
2175-7968
1414-526X
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repository.name.fl_str_mv Cadernos de Tradução (Florianópolis. Online) - Universidade Federal de Santa Catarina (UFSC)
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dc.identifier.doi.none.fl_str_mv 10.5007/2175-7968.2022.e90303