Opportunites Global Beginner

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Harwood re-creates the tone and the spirit of Francoeur’s original blend of American rock culture and French poetry of transgression. Here is the beat of French America, transferred from hybridized French back into English, but transformed again through this additional border crossing. 30 GENDER IN TRANSLATION Harwood explains that Francoeur was the first and last male poet she translated. During the three years she spent on his poetry, she realized that she was being forced by the poems’ stance, by language, to “speak in the masculine…as if the only speaking place available, and the only audience possible, were male-bodied” (de Lotbinière-Harwood 1995: 64).

His latest work (Pour une critique des traductions: John Donne, 1995), however, somewhat modifies this position. To the extent that the translator makes explicit his or her project, and constructs a translating relationship based on coherent esthetic and ethical principles, the translation can be considered successful. Of course, these principles necessarily imply a translation which opens, amplifies and enriches a work; reductive, ethnocentric translations would not be acceptable within this framework.

While Berman would certainly agree with feminist translators that the translating subject carries critical authority, he might not agree to the specific contents which could be conveyed by such authority. In particular, it is not entirely certain that the very conscious intervention into identity politics which gives rise to the alternative translation of Madame de Staël’s text would fit the definition which Berman gives to the creation of an esthetic object. : 74–75). : 75) has resonance for theoreticians of feminist translation.

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