Canadian Cultural Exchange / Échanges culturels au Canada

Description

The essays in Canadian Cultural Exchange / Échanges culturels au Canada provide a nuanced view of Canadian transcultural experience. Rather than considering Canada as a bicultural dichotomy of colonizer/colonized, this book examines a field of many cultures and the creative interactions among them. This study discusses, from various perspectives, Canadian cultural space as being in process of continual translation of both the other and oneself.

Les articles réunis dans Canadian Cultural Exchange / Échanges culturels au Canada donnent de l’expérience transculturelle canadienne une image nuancée. Plutôt que dans les termes d’une dichotomie biculturelle entre colonisateur et colonisé, le Canada y est vu comme champ où plusieurs cultures interagissent de manière créative. Cette étude présente sous de multiples aspects le processus continu de traduction d’autrui et de soi-même auquel l’espace culturel canadien sert de théâtre.

Sujets

• Cultural studies
• Translation

Informations

• Publié par: Wilfrid Laurier University Press
• Date de parution: 23 juillet 2007
• Nombre de lectures: 1
• EAN13: 9781554580781
• Langue: English
• Poids de l'ouvrage: 3 Mo

Extrait

Canadian Cultural Exchange

Échanges culturels au Canada

Cultural Studies Series Cultural Studies is the multi- and interdisciplinary study of culture, defined anthropologically as a “way of life,” performatively as symbolic practice, and ideologically as the collective product of media and cultural industries, i.e., pop culture. Although Cultural Studies is a relative newcomer to the human- ities and social sciences, in less than half a century it has taken interdiscipli- nary scholarship to a new level of sophistication, reinvigorating the liberal arts curriculum with new theories, new topics, and new forms of intellectual partnership. The Cultural Studies series includes topics such as construction of iden- tities, regionalism/nationalism, cultural citizenship, migration, popular cul- ture, consumer cultures, media and film, the body, postcolonial criticism, cultural policy, sexualities, cultural theory, youth culture, class relations, and gender. The Cultural Studies series from Wilfrid Laurier University Press invites submission of manuscripts concerned with critical discussions on power rela- tions concerning gender, class, sexual preference, ethnicity, and other macro and micro sites of political struggle. For further information, please contact the Series Editor: Jodey Castricano Department of Critical Studies University of British Columbia Okanagan 3333University Way Kelowna,1v7bc v1v

Canadian Cultural Exchange Translation and Transculturation

Échanges culturels au Canada Traduction et transculturation

Edited by / Sous la direction de norman cheadle lucien pelletier

We acknowledge the support of the Canada Council for the Arts for our publishing program. We acknowledge the financial support of the Government of Canada through the Book Pub- lishing Industry Development Program for our publishing activities.

Library and Archives Canada Cataloguing in Publication Canadian cultural exchange : translation and transculturation / edited by Norman Cheadle, Lucien Pelletier = Échanges culturels au Canada : traduction et transculturation / sous la direction de Norman Cheadle, Lucien Pelletier. (Cultural studies series) Texts in English and French. Includes bibliographical references and index. isbn 978-0-88920-519-2

1. Translating and interpreting—Canada.2. Canadian literature—Translations—History and criticism.3. Literature—Translations—History and criticism.4. Multiculturalism— Canada.5. Cross-cultural studies—Canada.i. Cheadle, Norman,1953–ii. Pelletier, Lucien, 1958–iii. Title: Échanges culturels au Canada.iv. Title: Translation and transculturation. v. Title: Traduction et transculturation.vi. Series: Cultural studies series (Waterloo, Ont.) fc95.c339 2007 418'.020971 c2007-902336-3e

Cover art:¡Bailamos!by Michel Galipeau (1953–2006). An important participant in the cul- tural movement of Nouvel-Ontario since the1970s, Galipeau and his work ceaselessly evolved across artistic and cultural boundaries. His works are found in collections throughout Canada, Great Britain, Spain, and Côte d’Ivoire.¡Bailamos!now forms part of the Shriver-King collec- tion in Sudbury. Illustration de la page couverture :¡Bailamos!, par Michel Galipeau (1953–2006). Michel Gali- peau a été un important acteur dans le mouvement culturel du Nouvel-Ontario dès les années 1970. Sa production a sans cesse évolué à la croisée des arts et des cultures. Ses œuvres font par- tie de collections au Canada, en Grande-Bretagne, en Espagne et en Côte-d’Ivoire.¡Bailamos! fait maintenant partie de la collection Shriver-King à Sudbury. Cover design by P.J. Woodland. Text design by Catharine Bonas-Taylor. ©2007Wilfrid Laurier University Press, Waterloo, Ontario, Canada, www.wlupress.wlu.ca “Repatriating Arthur Nortje” ©2007George Elliott Clarke

This book is printed on Ancient Forest Friendly paper (100% post-consumer recycled).

Printed in Canada

Every reasonable effort has been made to acquire permission for copyright material used in this text, and to acknowledge all such indebtedness accurately. Any errors and omissions called to the publisher’s attention will be corrected in future printings.

No part of this publication may be reproduced, stored in a retrieval system or transmitted, in any form or by any means, without the prior written consent of the publisher or a licence from The Canadian Copyright Licensing Agency (Access Copyright). For an Access Copyright licence, visit www.accesscopyright.ca or call toll free to1-800-893-5777.

Table of Contents / Table des matières

Acknowledgements/Remerciements vii Introductionby Norman Cheadleix I TRANSITIVE CANADA (1): From where to here? / UN CANADA TRANSITIF (1). En amont La voix de l’Autre dans certains récits de voyages de l’Ouest canadien au temps de la Nouvelle-Francepar Alexandra Kinge et Alan MacDonell3 The Creative Translator: Textual Additions and Deletions inA Martyr’s Folly by Albert Braz15 “I am become Aaron”: George Elliott Clarke’sExecution Poemsand William Shakespeare’sTitus Andronicusby Susan Knutson29

II CULTURAL APPROPRIATION REVISITED / L’APPROPRIATION CULTURELLE RECONSIDÉRÉE Latin-Americanizing Canadaby José Antonio Giménez Micó59 Transculturation and Cultural Exchange in Jane Urquhart’sAwayand Eden Robinson’sMonkey Beachby Shelley Kulperger75 Transculturation in George Elliott Clarke’sWhylah Falls: or, When Is It Appropriate to Appropriate?by Laurence Steven99 Repatriating Arthur Nortjeby George Elliott Clarke121

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Table of Contents / Table des matières

III THE TRANSCULTURAL BODY / LE CORPS TRANSCULTUREL I Write My Self: The Female Body as a Site of Transculturation in the Short Stories of Carmen Rodríguezby Carol Stos141

Cantique du corps métis. La critique du mythe colonial dansCantique des plainesde Nancy Hustonpar Jimmy Thibeault159

IV RECONFIGURING THE SOLITUDES: Two plus other(s) / DEUX SOLITUDES ET QUELQUES AUTRES La migration culturelle de Robert DicksonPropos recueillis par Lucien Pelletier177 A Reduced Solitude: Eugen Giurgiu’sEwoclem sau întortocheatele c  ar  ari [Ewoclem, or The Twisted Paths] as Romanian-Canadian Literature by Stephen Henighan203 Polylingual Identities: Writing in Multiple Languagesby Hugh Hazelton225 La « latinité » des Québécois à l’épreuvepar Victor Armony247 Canadian Counterpoint: Don Latino and Doña Canadiense in José Leandro Urbina’sCollect Call(1992) and Ann Ireland’sExile(2002) by Norman Cheadle269 Appendix: The Uninvited Guestby Ann Ireland297

V TRANSITIVE CANADA (2): From here to where? / UN CANADA TRANSITIF (2). En aval Translating North and South: Elizabeth Bishop, Biography, and Brazil by Neil Besner307 Dry LipsMoves to Tokyo: Does Indigenous Drama Translate? by Beverley Curran323 Out of the Shadows: Translators Take Centre Stageby Judith Woodsworth341

Postface. Transculturation et mémoirepar Lucien Pelletier363 List of Contributors / Liste des collaborateurs379 Name Index / Index onomastique385 Subject Index / Index des matières391

Acknowledgements / Remerciements

es directeurs de cet ouvrage remercient le Fonds de L recherche de l’Université Laurentienne et le programme de maîtrise interdisciplinaire en humanités de l’Université Laurentienne pour leur appui pécuniaire. Norman Cheadle gratefully acknowledges the support of the Social Sciences and Humanities Research Council of Canada. Special thanks are extended to the following individuals: Laurence Steven and Carol Stos of Laurentian University, for their valuable participation in the editorial discussions that gave birth to this project; Jacqueline Larson at Wilfrid Lau- rier University Press, for her vision and skill at navigating the pitfalls involved in publishing a work of this nature; Rob Kohlmeier and Leslie Macredie for their savoir-faire in book production; copy editors Karen Rolfe and Anne Deraspe; and indexers Cheryl Lemmens and Louise Saint-André. Merci aux nombreux savants canadiens et québécois qui ont généreusement accepté d’évaluer de manière anonyme les textes du présent ouvrage. Thanks as well to those readers at Wilfrid Laurier who made helpful comments on the man- uscript as a whole. Finally, special thanks to Meredith Eles, whose sharp eye, critical acumen, and unstinting hard work were indispensable to the produc- tion of this book. Permission has been granted by the copyright holders to reproduce excerpts from the following texts:

Neil Besner, translator.Rare and Commonplace Flowers: The Story of Elizabeth Bishop and Lota de Macedo Soares, by Carmen M. Oliveira (Rutgers UP, 2002), by per- mission of the translator.

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Acknowledgements / Remerciements

Dionne Brand. PoemxxiiinThirsty(M&S, 2002), by permission of McClelland & Stewart. George Elliott Clarke.Executions Poems: The Black Acadian Tragedy of “George and Rue”(Gaspereau, 2001);Québécité: A Jazz Fantasia in Three Cantos(Gaspereau, 2003);Whylah Falls(Polestar, 2000), by permission of the author. Robert Dickson.Or«é»alité(Prise de parole, 1978);Abris Nocturnes(Prise de parole, 1986);Grand ciel bleu par ici(Prise de parole, 1997); poème « And Even Earlier » dansNorthern Prospects: An Anthology of Northeastern Ontario Poetry(Your Scrivener Press, 1998);Humains paysages en temps de paix relative(Prise de parole, 2002). Passages reproduits avec la permission des éditeurs. Blanca Espinoza Cáceres. “Tango” (Ed. Cielo Raso, 2001), by permission of the author. Jorge Etcheverry.Tánger(Ed. Cordillera, 1990) andTangier(Ed. Cordillera, 1997), by permission of the author. Margarita Feliciano. “Océano Pacífico/Pacific Ocean” (Latin American Literary Review, 1981), by permission of the author. Nancy Huston.Cantique des plaines(Actes Sud, 1993). Passages reproduits avec la permission de l’éditeur. Arturo Kurapel.Prométhée enchaîné selon Alberto Kurapel/Prometeo encadenado según Alberto Kurapel(Humanitas, 1989), by permission of the publisher. Ann Ireland.Exile(Dundurn, 2002), by permission of the author. Alfredo Lavergne. “La conocí” (unpublished poem), by permission of the author. Arthur Nortje. Poems fromDead Roots(Heinemann, 1973), by permission of the Unisa Library of the University of South Africa. F.R. Scott. “On Saying Good-bye to My Room in Chancellor Day Hall” (Oxford UP, 1982), by permission of William Toye for the literary estate of the author. Carol Shields.Unless(Vintage Canada, 2003), by permission of Random House Canada. Luis Torres.El exilio y las ruinas(Ril, 2002), by permission of the author. Julio Torres-Recinos.Una tierra extraña(Split Quotation, 2004), by permission of the author.

norman cheadle

Introduction

i nombre es Ana … y cuando sea grande voy a ser “M intérprete,” announces the Latina-Canadian pro- tagonist in the last sentence of Camila Reimers’s2005prize-winning short story (Reimers n.p.). Under questioning in English in an Ottawa courtroom, Ana knows that she is being asked her name, but literally cannot say it until the interpreter, her new friend Nawal, intervenes and talks with Ana in Span- ish—kindly, somatically even—and thus lays the bridge that enables the lit- tle girl to not only cross from one culture to another, but also reinvent who she will be when she grows up: a Canadian and an interpreter. Little Ana, as she makes the difficult transition from her unnamed Spanish-American coun- try of origin to Canada, has learned that translation is a key gateway to citi- zenship, as Sherry Simon recently remarked in a plenary address. Perhaps nowhere is this truer than in bilingual, multicultural Canada. Furthermore, Ana’s story clearly illustrates thattranslationandtransculturation, though ana- lytically distinguishable terms, are nevertheless processes that in practice over- lap. Just as the act of translation willy-nilly adds layers of meaning, so does the process of transculturation:Adoes not merely pass over and disappear into B; rather, the two interact in complex and unpredictable ways to produce something new, sayA1andC, to cite the variables beautifully conjugated by Alejandro Saravia in a passage from his novel quoted byJosé Antonio Giménez * Micó a word, the peculiarly Canadian inflections of this unpredictable. In complexity constitute the overarching theme of this volume of essays.

* Highlighted names indicate contributors to this volume.

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