Translated by Goblin
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Vlad Strukov
Abstract
In this chapter translation is employed as a metaphor for the process of re-examining and re-deploying previous cultural myths, paradigms, and discourses that has been at work in Russia since 1991 as part of the post-communist nation building project. The chapter provides an analytical account of film translations made by Goblin (aka Dmitrii Iur’evich Puchkov) in relation to digital technologies, the film industry and the associated artistic environment in post-Soviet Russia. The chapter focuses on the translator as a figure of cultural authority in a post-censorship state, which is in the process of re-negotiating economic and financial conditions, including intellectual property, in a more globalized world. The chapter traces the changes in the ideological and aesthetic role of translation since the collapse of the Soviet Union. The analysis focuses on the global flows of cultural production and on the role of translators in the process of domestication of global products. The chapter advances the notion of translation as a creative means of cultural opposition and productive transformations.
Abstract
In this chapter translation is employed as a metaphor for the process of re-examining and re-deploying previous cultural myths, paradigms, and discourses that has been at work in Russia since 1991 as part of the post-communist nation building project. The chapter provides an analytical account of film translations made by Goblin (aka Dmitrii Iur’evich Puchkov) in relation to digital technologies, the film industry and the associated artistic environment in post-Soviet Russia. The chapter focuses on the translator as a figure of cultural authority in a post-censorship state, which is in the process of re-negotiating economic and financial conditions, including intellectual property, in a more globalized world. The chapter traces the changes in the ideological and aesthetic role of translation since the collapse of the Soviet Union. The analysis focuses on the global flows of cultural production and on the role of translators in the process of domestication of global products. The chapter advances the notion of translation as a creative means of cultural opposition and productive transformations.
Chapters in this book
- Prelim pages i
- Table of contents v
- Acknowledgments vii
- Notes on contributors ix
- Introduction 1
-
Part I. Contexts
- Shifting contexts 19
- Nation and translation 33
- Vasilii Zhukovskii as translator and the protean Russian nation 55
- Romania as Europe’s translator 79
- Translating India, constructing self 97
- The water of life 117
- Translation trouble 137
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Part II. Subtexts
- Between the lines 149
- Translation theory and cold war politics 171
- The poetics and politics of Joseph Brodsky as a Russian poet-translator 187
- Squandered opportunities 205
- Meaningful absences 219
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Part III. Pretexts
- Translated by Goblin 235
- “No text is an island” 249
- Russian dystopia in exile 265
- Between cosmopolitanism and hermeticism 277
- The other polysystem 295
- Translation as condition and theme in Milan Kundera’s novels 317
- Index 323
Chapters in this book
- Prelim pages i
- Table of contents v
- Acknowledgments vii
- Notes on contributors ix
- Introduction 1
-
Part I. Contexts
- Shifting contexts 19
- Nation and translation 33
- Vasilii Zhukovskii as translator and the protean Russian nation 55
- Romania as Europe’s translator 79
- Translating India, constructing self 97
- The water of life 117
- Translation trouble 137
-
Part II. Subtexts
- Between the lines 149
- Translation theory and cold war politics 171
- The poetics and politics of Joseph Brodsky as a Russian poet-translator 187
- Squandered opportunities 205
- Meaningful absences 219
-
Part III. Pretexts
- Translated by Goblin 235
- “No text is an island” 249
- Russian dystopia in exile 265
- Between cosmopolitanism and hermeticism 277
- The other polysystem 295
- Translation as condition and theme in Milan Kundera’s novels 317
- Index 323
