exoticism in translation

Goethe was particularly interested in the European reception of the foreign, which points towards the Eurocentric perspective underpinning world literature. 4149. 93-128. It thus follows that, the exotic is not [] an inherent quality to be found in certain people, distinctive objects or specific places (Huggan, 2001: 13), but instead denotes a particular perception of cultural difference that arises from the encounter with foreign cultures, landscapes, animals, people and their customs that are either geographically remote or taken out of their original context and absorbed into a home culture, essentialized, simplified and domesticated (Forsdick, 2003: 48). International Encyclopedia of the Social Sciences. find that literal translation would result in awkward or unnatural translation. Since exoticism invariably spectacularises cultural difference, it is regularly censured for concealing the uneven power hierarchies that undergird colonialism and its ideological and aesthetic legacies by offering visual pleasure, the implication being that visual pleasure is something like an opiate that anaesthetises the spectators critical capacities, thereby precluding intellectual interrogation and critical distance. The translations of exoticism from English to other languages presented in this section have been obtained through automatic statistical translation; where the essential translation unit is the word exoticism in English. Experience the exoticism of the Medina of Marrakech. History Get ready with Test&Train, the online practice tool from Cambridge.Build your confidence with hundreds of exam questions with hints, tips and instant feedback. Racial Attitudes and Exoticism in the Old English 'Wonders of the East' The flare of recent racial tensions, especially in the wake of the Trump administration's xenophobic rhetoric, has had repercussions in Charlottesville and across the United States. Negra, Diane (2002). The foreignizing method of translating, a strategy Venuti also termed ' resistancy ' , is a non-fluent or estranging translation style designed to make visible the persistence of translator by highlighting the foreign identity of ST and protecting it from the ideological dominance of the target culture. This is, however, not to say that all exotic films substitute glossy surfaces for deep meaning, thereby effectively compensating for the hermeneutic deficit that may arise when world cinema travels. Change). Princeton, N.J.: Princeton University Press. Google Translate is going to not make this decision, I think. Clarke, Roger (2016). Forsdick, Charles (2003). 65: Arts of Display. Leiden circa 1630: Rembrandt Emerges, (Agnes Ethering Art Centre, Kingston ON; Art Gallery of Alberta, Edmonton AB; MacKenzie Gallery, Regina SK; Art Gallery of Hamilton, Hamilton ON; Vereniging van Nederlandse Kunsthistorici, Saul in Story and Tradition (Series Forschungen Zum Alten Testament), Netherlands Yearbook for History of Art vol. Although world cinema inevitably reflects the look from the outside and therefore anticipates what the transnational critic/festival jury/spectator wants to see, and although exoticism is an appropriate aesthetic strategy to fulfil these expectations, I am not suggesting that exoticism is the only or dominant mode of representation in world cinema. I think it depends on the context and situation. Hou Hsiao-hsiens first foray into the wuxia genre, The Assassin, deftly illustrates this. This is certainly not the case. Entirely apart from the plot, there is the sensuous pleasure of the architecture, the fabrics, the color contrasts, the faces of the actresses.. It is not suitable for many language pairs . To be sure, this does not normally apply to popular genre films predominantly targeting domestic viewers, although these sometimes become art films when exhibited abroad (Galt and Schoonover, 2010: 7) or, as the case of the wuxia pian (Chinese swordplay film) illustrates, are adopted by world cinema auteurs like Wong Kar-wai (Yi Dai Zong Shi/The Grandmaster, Hong Kong/China, 2013) and Hou Hsiao-hsien (Cike Nie Yin Niang/The Assassin, Taiwan/China/Hong Kong/France, 2015), who transform them into refined arthouse films. Una experiencia donde el exotismo y la pasin hablan el mismo lenguaje. 1839, in English. the quality of being unusual and exciting because of coming (or seeming to come) from far away, especially a tropical country: the exoticism of the East SMART Vocabulary: related words and phrases Exceptional qualities, things and people a gift from the gods idiom be a one idiom character curiosity distinction distinctiveness favoured gift Bradshaw, Peter (2016). v1f@1Nk8>{00U@]8>Y{Zl+ bD0 fi:N^o|CB9%F!6 .>.y8LWv rogerebert.com 27 March. Introduction. Ungarn Jahrbuch. In: Sheldon, Hsiao-peng Lu, ed., Transnational Chinese Cinemas: Identity, Nationhood, Gender. Mulvey, Laura (1975). London: Macmillan. 2023. The visual pleasure afforded by exotic cinemas sumptuous style is arguably the chief vehicle that allows world cinema to travel and be understood, or misunderstood, as the case may be, by transnational audiences who are potentially disadvantaged by a hermeneutic deficit of culturally specific knowledge when trying to understand films from outside their own cultural sphere. This usually takes two forms: either discovering a common humanity that transcends cultural differences or recognising aesthetic forms and patterns familiar from European art cinema in world cinema. Persian Art and the Crafting of Polish Identity. Amsterdam: Rodopi, pp. Framegrab. Films like Tanna, Embrace of the Serpent, Three Seasons, The Scent of Green Papaya and numerous other exotic films referenced in this essay are easily accessible in terms of their narrative and historical background to transnational audiences. Although the dynamics of globalisation have profoundly changed the configurations of Self and Other and challenged the Western ethnographers authority to interpret the signifying systems of supposedly subordinate societies, according to Rey Chow (1995: 177), we still cannot write/think/talk the non-West in the academy without in some sense anthropologizing it. This explains why non-Western filmmakers are often expected to act as native informants and interpreters whose role it is to provide authentic accounts of their cultures of origin. Raise the Red Lantern is set in the 1920s and tells the story of Songlian (Gong Li), a nineteen-year-old girl who is forced by her stepmother to marry the much older Master Chen after her father dies and her family goes bankrupt. Benedict, Ruth Reading Formations and Chen Kaiges Farewell My Concubine. In fact, as Charles Forsdick (2001: 21) has persuasively argued, the exotic gaze is a perspective from the other side, from outside and across geographical [or cultural] boundaries. It depends on the maintenance of boundaries, lest cultural difference and the sense of astonishment and wonder it evokes in the beholder, be preserved. Nichols, Bill (1994). Ruth Fulton Benedict (18871948), originator of the configurational approach to culture, was a mature woman when she en, Culture areas are geographical territories in which characteristic culture patterns are recognizable through repeated associations of specific traits, Exoteric-Esoteric (Kenmitsu) Buddhism in Japan, Expanded Food Nutrition and Education Program, Expanding Educational Opportunities for the Masses, https://www.encyclopedia.com/social-sciences/applied-and-social-sciences-magazines/exoticism, Transculturation and Religion: An Overview. by Erik Hinterding and Jaco Rutgers, Rubens and the bird of paradise. Hou reduces the customary fast-paced battle scenes, which are the genres main attraction, to just a few brief moments. Spaces set aside for expatriate consumption in international four- and five-star hotel chains (such as the Safari Bar in the Hyatt in Muscat, Oman) promise a sanitized encounter with a non-European subject that guarantees the absence of emotional involvement. Connell, John (2003). Similarly, exoticism, though a prevalent interpretative model in the transnational reception of world cinema, competes with other ones, such as those which, indebted to Fredric Jamesons influential but controversial essay Third-World Literature in the Era of Multinational Capitalism (1986), conceive of world cinema in terms of national (or political) allegory. In contrast to other scholars, who harshly criticise certain world cinema filmmakers for becoming complicit in Western cross-cultural modes of representation, such as exoticism and Orientalism, when making films about their own cultures, Chow regards it as the inevitable consequence of bearing the memory of past objecthood the experience of being looked at which lives on in the subjective act of ethnographizing like an other, an optical unconscious (Chow, 1995: 180). Huggan, Graham (2001). 295 0 obj Taking our cue from Al-Najjar (1989), the paper shows that employing Arabicisation can be through (1) loanword in which traits of exoticism are observed in Arabic; (2) loanblend: a hybrid form of the translated item consisting of two parts, one belongs to the Source Language (SL) and another belongs to the Target Language (TL); (3) translation . Mark Lee Pin Bins cinematography has been praised for its matchless compositional artistry (Bradshaw, 2016) and Wen-Ying Huangs production design for the visual extravagance of Oriental fantasies illuminated by brightly colored silk robes [] and sensual atmosphere (Young, 2015) (Figure 3). A +2 translation. I seek to show that through vision and touch, and the proximity of objects to bodies in domestic environments, goods from all over the world become part of the material culture of the seventeenth-century Netherlands. Nevertheless, these films also rely on pictorialism, spectacle and visual pleasure for their transnational appeal. Young, Deborah (2015). Taxonomy of a Translation Thank you! <> For the twenty-first century, the experience of the exotic frequently thrives on an imitation of a ritual presumed to be authentic, involving an act of mimicry whose comic potential is easily glazed over. This is why I also think that Google Translate is not a perfect solution for translation at a professional level. The Lords of Humankind: European Attitudes to the Outside World in the Imperial Age. Kaplan, E. Ann (1997). 302 0 obj % Offering a theoretical discussion of exoticism, alongside the closely related concepts of autoethnography and cultural translation, it proposes that the exotic gaze is a particular mode of aesthetic perception that is simultaneously anchored in the filmic text and elicited in the spectator in the process of transnational reception.

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