https://journals.qucosa.de/yth/issue/feed Yearbook of Translational Hermeneutics 2025-04-04T20:28:14+02:00 Larisa Cercel larisa.cercel@uni-leipzig.de Open Journal Systems <p>The <em>Yearbook of Translational Hermeneutics</em> is the journal published by the research center <em>Hermeneutik und Kreativität</em> to bring translational scholarship and hermeneutics into conversation. Starting in 2021, the journal will be published on an annual basis. The research center is located at the <em>Institute for Applied Linguistics and Translatology</em> (<em>IALT</em>) at the University of Leipzig.</p> https://journals.qucosa.de/yth/article/view/75 Translation as a form – A new Guide to Benjamin’s “The Task of the Translator” 2025-03-15T20:06:49+01:00 Burghard Baltrusch larisacercel@web.de <p>Review Article on: Robinson, Douglas (2023): <em>Trans­la­tion as a Form. A Centennial Commentary on Walter Ben­jamin’s “The Task of the Translator”</em>. London&nbsp;/ New York: Rout­ledge. 216&nbsp;pp. ISBN 9781032161389.</p> 2025-04-04T00:00:00+02:00 Copyright (c) 2025 Burghard Baltrusch https://journals.qucosa.de/yth/article/view/76 Sondierungen und Reflexionen. 2025-03-15T20:08:56+01:00 Aleksey Tashinskiy tashinsk@uelex.de <p>Rezensionartikel zu: Schippel, Larisa&nbsp;/ Richter, Julia [Hrsg.] (2021): <em>Translation und „Drittes Reich“ II. Trans­lationsgeschichte als methodologische He­raus­for­de­rung</em>. Ber­lin: Frank &amp; Timme. 352 S. ISBN: 978-3-7329-0302-3.</p> 2025-04-04T00:00:00+02:00 Copyright (c) 2025 Aleksey Tashinskiy https://journals.qucosa.de/yth/article/view/77 Review of: HRNJEZ, Saša / NARDELLI, Elena [a cura di] (2020): Verifiche XLIX/1–2: Hegel and/in/on Translation. 333 pp. 2025-03-15T20:11:07+01:00 Giacomo Petrarca larisacercel@web.de 2025-04-04T00:00:00+02:00 Copyright (c) 2025 Giacomo Petrarca https://journals.qucosa.de/yth/article/view/78 Recension de: MESCHONNIC, Henri (2007/2021): Ethik und Politik des Übersetzens. Aus dem Französischen von Béatrice Costa, mit einem Nachwort von Hans Lösener und Vera Viehöver. Berlin: Matthes & Seitz. 256 pp. ISBN: 978-3-7518-0349-6. 2025-03-15T20:12:24+01:00 Christian Berner larisacercel@web.de 2025-04-04T00:00:00+02:00 Copyright (c) 2025 Christian Berner https://journals.qucosa.de/yth/article/view/80 Review of: SIMON, Sherry (2019): Translation Sites. A Field Guide, London / New York: Routledge. 282 pp. ISBN 978-1-131-53110-9 (eBook). 2025-03-15T20:15:23+01:00 Iulia Cosma cosmaiulia.m@gmail.com 2025-04-04T00:00:00+02:00 Copyright (c) 2025 Iulia Cosma https://journals.qucosa.de/yth/article/view/66 On the Eventful Nature of Translations 2025-03-15T19:42:46+01:00 Brian O'Keeffe bokeeffe@barnard.edu Larisa Cercel larisacercel@web.de Marco Agnetta Marco.Agnetta@uibk.ac.at 2025-04-04T00:00:00+02:00 Copyright (c) 2025 Brian O'Keeffe, Larisa Cercel, Marco Agnetta https://journals.qucosa.de/yth/article/view/67 Zur Ereignishaftigkeit von Übersetzungen 2025-03-15T19:47:17+01:00 Brian O'Keeffe bokeeffe@barnard.edu Larisa Cercel larisacercel@web.de Marco Agnetta Marco.Agnetta@uibk.ac.at 2025-04-04T00:00:00+02:00 Copyright (c) 2025 Brian O'Keeffe, Larisa Cercel, Marco Agnetta https://journals.qucosa.de/yth/article/view/68 The Events and Non-Events of Translation 2025-03-15T19:49:08+01:00 Brian O'Keeffe bokeeffe@barnard.edu <p>The aim of this essay is to gain critical and theoretical purchase on the notion of an “event” as it may or may not relevantly apply to the practices of translation. The essay allows itself to be quizzical as regards the possibility that translation can be called an event at all, but it also inspects the ways in which, nonetheless, it is meaningful – and indeed useful – to consider the event­hood, or eventuality of translation. In that regard, I suggest that Trans­la­tion Studies can avail itself of philosophical accounts of the “event,” and more­over relate translation to the ways in which reading has been called an event. This essay concludes on a set of observations concerning how one might widen the scope beyond considerations concerning the event of trans­la­tion restricted to texts and consider other, multi-medial events of trans­la­tion.</p> 2025-04-04T00:00:00+02:00 Copyright (c) 2025 Brian O'Keeffe https://journals.qucosa.de/yth/article/view/69 Die Metapher als hermeneutisch-performatives Sprachereignis 2025-03-15T19:51:33+01:00 Radegundis Stolze radi.stolze@t-online.de <p>Translation is a performance in between collectivity and in­di­vid­u­ality. Literary translation as a social action in language combines knowledge and feeling of a person. It involves an informed openness towards the world and, as a result, responsible introspection as a reflection on one’s own ac­tions. Translation as performance does not happen without the mental frame­work of enculturation, and this in turn includes personal and collective knowl­edge of the world and language, as well as emotionality in individual creative writing. This problem is illustrated by comparing German trans­la­tions of the poem “The Hill we Climb” by Amanda Gorman read at the in­auguration of the new U.S. President Joe Biden in January 2021. Aspects of trans­la­tion such as language imagery, spoken style, and emotional prosody in the text show how a personal identity that becomes meaningful is in ten­sion with an author’s collective identity brought in from the outside. In terms of trans­lation hermeneutics, a translator will try to convey the message rec­og­nized as authentic.</p> 2025-04-04T00:00:00+02:00 Copyright (c) 2025 Radegundis Stolze https://journals.qucosa.de/yth/article/view/70 Performance as Translation. 2025-03-15T19:53:27+01:00 Ralf van Bühren buhren@pusc.it Alberto Gil a.gil@mx.uni-saarland.de Juan Rego rego.juan@gmail.com <p>An instructive perspective of translatology is that of examining trans­lation as performance. Here, key questions are for what purpose a trans­la­tion is made and how it was prepared for that purpose. Regarding method, how­ever, it would be an original move if one looked at the performance it­self in its translational dimension. Following such a perspective, this essay examines how performative actions can translate the transcendent or in­vis­i­ble ‘sacred’ into an aesthetic experience. The authors explain their approach by looking at a significant event, the dedication of the church of the Sagrada Fa­milia in Barcelona (2010) together with the homily of Pope Benedict XVI. The main reason for that choice is that the liturgy is not only an issue of theological reflection, since it also allows one to examine translational pro­cess­es in a polysemiotic-performative way. Indeed, in the liturgy the rite, text lan­guage, art and architecture work together harmoniously into an in­te­gra­tive action that can shape the aesthetic experience of the “sacred”. As a trans­dis­ciplinary study, this essay seeks to provide further perspectives for future research in many areas of the humanities.</p> 2025-04-04T00:00:00+02:00 Copyright (c) 2025 Ralf van Bühren, Alberto Gil, Juan Rego https://journals.qucosa.de/yth/article/view/71 Translating Divinity in the Liminal Space. Performative Translations in the Medieval and Early Modern Period in India 2025-03-15T19:57:56+01:00 Priyada Padhye priyada67@gmail.com <p>This essay investigates the <em>Bhāvārthadeepikā</em> (1290) of the saint poet Dnyāneshwar and Father Thomas Stephens’ <em>Kristapurān</em> (1616) in the light of the performative turn in the field of translation studies. The aim of this essay is to explore performativity in these medieval and early modern period Indian translations by culling academic discussion from existing schol­arship in translation studies and theatre studies. Attempt will also be made to expand the existing notions of performativity by adding inputs from the Indian discourse on translation. The essay con­cludes with the finding that the dialogic form of the translations with the use of a qua­train folk meter call­ed the <em>ovi</em>, appear to be the common elements which contribute largely to making the <em>Bhāvārthadeepikā</em> and the <em>Kristapurān</em> per­for­mative and event­ful translations.</p> 2025-04-04T00:00:00+02:00 Copyright (c) 2025 Priyada Padhye https://journals.qucosa.de/yth/article/view/72 Translation as Multi-Layered Performance: The Case of “Le Feu au cœur,” Bertrand Belin’s French Cover of Bob Dylan’s “Ain’t Talkin’” 2025-03-15T20:00:14+01:00 Marie Herbillon Marie.Herbillon@uliege.be <p>Ten years before being awarded the Nobel Prize for Literature (October 2016), Bob Dylan released the album <em>Modern Times</em> (2006). The album’s closing song, entitled “Ain’t Talkin’,” is an epic, dark and enigmatic eight-minute piece featuring a first-person narrator, more specifically a dis­il­lu­sioned ‘lone pilgrim’ figure that travels through defamiliarised, post-apoc­a­lyptic landscapes. On the second edition of his sixth album<em> Persona</em> (Oc­to­ber 2019), French singer-songwriter Bertrand Belin published “Le Feu au cœur,” which, to this day, is the only existing French version of “Ain’t Talk­in’.” This cover can arguably be considered a performance on at least two counts. Firstly, Dylan’s lyrics were translated by Belin, who is also an ac­claimed writer and stylist. As he performed the act of translating Dylan’s words, Belin made them entirely his own, thus moving away from literalism and static structures of equivalence and producing, instead, a unique and high­ly personal text. Secondly, this translation was self-used by Belin, who also performed it as a studio recording and on stage, so that various electric and acoustic renditions of the French cover are now available. In this article, I propose to analyse how Belin, as a translator-performer, goes beyond trans­posing “Ain’t Talkin’” as a purely literary text. As we will see, he never loses sight of the need to make “Le Feu au cœur” singable in French. Indeed, the oralised and embodied dimensions involved in the musical performing of the French lyrics determine most of his translational choices, not least those concerning the adaptation of rhyme schemes, which undoubtedly contributes to shaping the performed material and to turning his French trans­lation of Dylan’s song into a thoroughly transformative work – a re-creation in its own right.</p> 2025-04-04T00:00:00+02:00 Copyright (c) 2025 Marie Herbillon https://journals.qucosa.de/yth/article/view/73 When Performance is not a Metaphor for Translation: Translation as “Performative Event” 2025-03-15T20:02:57+01:00 Angela T. Tarantini a.t.tarantini@uu.nl <p>The aim of this article is to theorise translation as a performative event (term coined by Stuart Grant 2013). Theories on translation and per­for­mativity in Translation Studies have historically been developed from Lin­guistics or from Performance Studies. Perhaps less known among Trans­la­tion Studies scholars is the work of performance theorist and philosopher Grant, who recognises the need for a clearer definition of terms related to per­formance theory and practice. He therefore draws a clear distinction be­tween “<em>the performative event, performance, the moment of performance,</em> and<em> the theatrical as opposed to the performative</em>” (Grant 2013: 127). These con­cepts provide a start­ing point for my theoretical analysis of sign language in­terpreting of popular mu­sic and live concerts. In my research I have demon­strated that in the work of sign language interpreter-performers, the per­formative event as intended by Grant (2013, 2015) is itself the translation, and the moment of per­for­mance is itself performative not in a metaphorical sense, but in its tangible em­bodiment and in its very essence (see Tarantini 2023). In this article I will look at how Grant’s theories are applicable to trans­lation more broadly, and can be functional to theorise translation as an event: a performative event.</p> 2025-04-04T00:00:00+02:00 Copyright (c) 2025 Angela T. Tarantini https://journals.qucosa.de/yth/article/view/74 Translation and Dance. The Case of Matthew Bourne 2025-03-15T20:05:04+01:00 Carmen África Vidal Claramonte africa@usal.es <p>This chapter takes Matthew Bourne’s <em>The Car Man</em> as an example of today’s enlarged definition of translation, following the new approaches to contemporary translation. Taking this expanded way of seeing translation, I will analyze many of his choreographies as performances of previous lit­er­ary and operatic works. He translates through embodied performances, through bodies, understood here as semiotic systems that transmit meaning. Bourne’s ballets translate the classics through dance. He uses bodies to re­trans­late in order to update old meanings. The second part of the chapter will concentrate on how Matthew Bourne’s ballets offer an up-to-date ver­sion of Bizet’s world, of Cinderella and other. Using the body, he retranslates by performing the classics through movement and music: he deconstructs gen­res and genders by subverting opera and dance, but also straight and gay binary oppositions, thus creating richer and more ambiguous identities and characters.</p> 2025-04-04T00:00:00+02:00 Copyright (c) 2025 Carmen África Vidal Claramonte https://journals.qucosa.de/yth/article/view/81 Translation as Event. Performing and Staging Translations 2025-04-04T17:19:09+02:00 Brian O'Keeffe bokeeffe@barnard.edu Larisa Cercel larisacercel@web.de Marco Agnetta Marco.Agnetta@uibk.ac.at 2025-04-04T00:00:00+02:00 Copyright (c) 2025 Brian O'Keeffe, Larisa Cercel, Marco Agnetta