The Scandinavian singer-translator’s multisemiotic voice as performance
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Annjo K. Greenall
Abstract
Most current research on translator’s voice within Translation Studies focuses on voice in written communication. The present chapter seeks to expand the concept to include multisemiotic voice – ways of expressing (inter)subjectivity/agency/identity across several channels, including the visual and auditory. The notion of multisemiotic voice is illustrated through the case of the Scandinavian song translator, more specifically the singer-translator, that is, song translators who translate songs as well as perform them. The chapter also discusses the relationship between the translators’ textual and contextual displays of voice, arguing that they converge on the notion of performativity: they are social rituals whereby (singer-)translators build their identities as performers, in a literal or non-literal sense.
Abstract
Most current research on translator’s voice within Translation Studies focuses on voice in written communication. The present chapter seeks to expand the concept to include multisemiotic voice – ways of expressing (inter)subjectivity/agency/identity across several channels, including the visual and auditory. The notion of multisemiotic voice is illustrated through the case of the Scandinavian song translator, more specifically the singer-translator, that is, song translators who translate songs as well as perform them. The chapter also discusses the relationship between the translators’ textual and contextual displays of voice, arguing that they converge on the notion of performativity: they are social rituals whereby (singer-)translators build their identities as performers, in a literal or non-literal sense.
Chapters in this book
- Prelim pages i
- Table of contents v
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Part I. Opening the field
- Introduction 3
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Part II. Charting the field
- The Scandinavian singer-translator’s multisemiotic voice as performance 21
- Translators, editors, publishers, and critics 39
- The making of a bestseller-in-translation 61
- Contextual factors when reading a translated academic text 81
- When poets translate poetry 101
- Translators in search of originals 119
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Part III. Traveling the field
- Unraveling multiple translatorship through an e-mail correspondence 133
- Silenced in translation 159
- The voice of the implied author in the first Norwegian translation of Simone de Beauvoir’s Le deuxième sexe 181
- Three voices or one? 201
- The voices of Cieza de León in English 223
- References 241
- Index 263
Chapters in this book
- Prelim pages i
- Table of contents v
-
Part I. Opening the field
- Introduction 3
-
Part II. Charting the field
- The Scandinavian singer-translator’s multisemiotic voice as performance 21
- Translators, editors, publishers, and critics 39
- The making of a bestseller-in-translation 61
- Contextual factors when reading a translated academic text 81
- When poets translate poetry 101
- Translators in search of originals 119
-
Part III. Traveling the field
- Unraveling multiple translatorship through an e-mail correspondence 133
- Silenced in translation 159
- The voice of the implied author in the first Norwegian translation of Simone de Beauvoir’s Le deuxième sexe 181
- Three voices or one? 201
- The voices of Cieza de León in English 223
- References 241
- Index 263
