Postmodernity is a confusing term which has been extensively discussed over the last years. There is no standard definition of it but the three intertwined senses of the word ‘postmodern’ provide some clarity about the matter.
Postmodernity is an era, it also incorporates postmodern philosophies attempting to grasp the peculiarities of that era and eventually corresponds to postmodernism, which includes expressions of the first two in the aesthetic realm. There is no postmodern school or single postmodern theory. The concept has received contributions from a pleiad of writers. Although it has first been broug regrouping term to name writers such as Foucault, Derrida, Lacan, Kristeva, Irigaray, Cixous, Spivak, and de Man (Koskinen 2000). In this paper, I will adopt the latter view. I will also use the word ‘postmodernity’ as a synonym for our contemporary post-World War II era.
Since the beginning of postmodernity, translation’s ideals have changed. The dream of a one hundred percent perfect translation has almost disappeared. The source text has lost a lot of its importance to now have barely as much price as the translator’s work technique. The translator is in most cases no more expected to be invisible but now has a claim to visibility. It did exist before and always has but was systematically denied for the sake of traditional ethics.
The traditional translation ethics have also been reinvented. There has been a massive rejection of old principles and universal ethics. The translator has nowadays a larger wiggle room. Even an unusual translation can be considered as a masterpiece as far the translator remains consistent with his personal ethics and is able to justify them.
In this paper I will portray the translator in three kinds of ethically problematic situations - asymmetric power relations, confidentiality and rudeness – in order to define his position and possible choices. After this reflection, I will eventually formulate my personal translator’s code of ethics.
Table of Contents
1. Introduction
2. Asymmetric power relations: translation in post-colonial context
2.1. Reflections on African literature and its translation
2.2. The African literature translator’s choices and responsibilities
3. Translating confidential documents
3.1. The man who had his wife’s diary translated
3.2. The translator’s choices and responsibilities towards “illegal” translation jobs
4. Translating rudeness
4.1. Rudeness in La Haine
4.2. The translator’s choices and responsibilities in translating rudeness
5. My translator’s Code of Ethics
6. Conclusion
Objectives and Themes
This academic paper explores the evolving role of the translator within the postmodern era, specifically addressing the ethical challenges encountered in diverse and often problematic professional situations. By examining the complexities of power imbalances in post-colonial translation, the confidentiality of sensitive materials, and the linguistic difficulties of translating coarse or rude language, the author aims to define a personal framework for responsible decision-making.
- Ethical dilemmas in translating African literature within post-colonial power structures.
- The responsibility of translators dealing with illegally obtained or confidential documentation.
- Methodological approaches to rendering slang and offensive language from film scripts.
- The critical importance of cultural competence and professional detachment.
- The formulation of a personal Code of Ethics for modern translation practices.
Excerpt from the Book
2.1. Reflections on African literature and its translation
Translating African literature was initially meant as a means to import some of the African culture to Europe. Although the term is often used in singular, we should talk about “African cultures” as each country – delimited by the colonization - shelters numerous tribes with their own languages and traditions. There are about 2110 spoken languages in Africa, with incredible densities of language groups: 278 and 215 living languages only in Cameroon and Democratic Republic of the Congo respectively. These 2110 languages are dividable in four main groupings: (1) Afro-Asiatic, covering most of Northern Africa, (2) Nilo-Saharian scattered in Central and Eastern Africa, (3) Niger-Saharian covering the two third of Africa with the Niger-Congo as a principal branch and the Bantu languages as a sub-group of the Niger-Congo branch, (4) Khoisan gathering about thirty languages in the Western part of Southern Africa.
Superposing this indigenous high linguistic diversity with the languages imposed during the colonization point out the complexity of each writing process. In such a cultural context, every written production is already a translation. The African writer (for example Achebe, Munonye, Tutuola or Diabaté) thinks in his mother language and writes in English or French, taking liberties with these two in order to restitute his thoughts in the most faithful way. According to Akakuru and Chima, trying to translate Kourouma in English means adding new difficulties emanating from the differences between French and English to the Malinke/ French dialectic of the original. Another major problem is that the first translations of African literature were made by Europeans whose cultural competence was extremely poor.
Summary of Chapters
1. Introduction: This chapter defines postmodernity and discusses the shift in translation ideals, arguing against the demand for translator invisibility and for the necessity of personal ethical frameworks.
2. Asymmetric power relations: translation in post-colonial context: This section investigates the cultural and linguistic challenges of translating African literature and the resulting responsibilities for the translator.
3. Translating confidential documents: The author analyzes the ethical conflict between professional duty and the handling of private, potentially illegally obtained materials through case studies.
4. Translating rudeness: This chapter examines the difficulty of rendering vulgarity and slang in audiovisual translation, using the film La Haine as a primary example.
5. My translator’s Code of Ethics: The author proposes a set of personal guidelines for professional conduct, emphasizing consistency and the ability to justify one's translational choices.
6. Conclusion: The paper summarizes the importance of professional detachment, cultural immersion, and the primary goal of the translator as a mediator in modern, ethically complex contexts.
Keywords
Translation Ethics, Postmodernity, African Literature, Asymmetric Power Relations, Confidentiality, Rudeness, Audiovisual Translation, Cultural Competence, Professionalism, Code of Ethics, La Haine, Linguistic Diversity, Interpretation, Source Text, Target Culture.
Frequently Asked Questions
What is the primary focus of this paper?
The paper examines the changing ethical responsibilities of translators in the postmodern era, specifically when facing morally complex challenges like post-colonial power dynamics, confidential leaks, and offensive or vulgar language.
What are the main thematic areas covered?
The core themes include the translation of African literature, the handling of sensitive/illegal documents, and the preservation of tone and meaning when translating coarse slang in film.
What is the author's research question or main goal?
The goal is to analyze the translator's position in diverse, ethically problematic scenarios to establish a personal, defensible Code of Ethics for literary and professional translation.
Which scientific methods does the author use?
The author employs a comparative analysis of source and target texts, integrates critical theory on postmodern translation, and utilizes qualitative case studies—such as the analysis of La Haine and media reports on medical ethics.
What does the main body of the work address?
The main body breaks down three distinct ethical domains: asymmetrical power contexts in African literature, privacy issues in translating confidential papers, and the challenges of translating rudeness and slang while maintaining cultural authenticity.
How can the work be characterized by its keywords?
The work is characterized by its focus on professional ethics, cultural sensitivity, linguistic mediation, and the necessity for translators to act as conscious agents rather than passive conduits.
How does the author view the translator's role in confidentiality cases?
The author argues that the translator acts as a neutral agent/go-between. If the documents are obtained by a client, the moral responsibility lies with the client, not the translator, whose role is simply to fulfill the professional request.
What conclusion does the author draw regarding the translation of vulgar language?
The author concludes that vulgar language serves a documentary purpose in many texts. Therefore, translating such expressions requires understanding their specific function rather than merely aiming for a word-for-word translation, provided the translator preserves the tone of the original.
- Quote paper
- Carmen Odimba (Author), 2010, The Translator and his Choices in Ethically Problematic Situations, Munich, GRIN Verlag, https://www.grin.com/document/299081
