Cloak and Dagger Exposé: Ars Poetica in the Halls of Justice
Yehouda Shenhav-Shahrabani’s text describes two bizarre scenes from the courtoom during the trial of Dareen Tatour, a Palestinian citizen of Israel, who lives in the village of Reineh ( الرينة ), near Nazareth. The Israeli police arrested Tatour in October 2015, and in November 2015 an indictment was filed against her for incitement to violence and support for a terrorist organization. At the center of the indictment appears a poem that was published on YouTube and Facebook under the title “Qawem Ya Shaabi Qawemahum” (Resist, my people, resist them). A full—and distorted—translation of the poem as made by a police officer is cited in the indictment document. Tatour remained in detention for three months, then spent eighteen months under house arrest at her parents’ home in Reineh. She was convicted on May 3, 2018, and on July 31, 2018, she was sentenced to five months’ imprisonment. She was released in September 2018.
In a Third Voice
An excerpt from the introductory chapter of Elias Khoury‘s new novel Stella Maris (Beirut: Dar Al-Adab, 2019), translated from the Arabic by Yehouda Shenhav-Shahrabani.
.(إلياس خوري, نجمة البحر: أولاد الغيتو 2 (بيروت: دارالآداب، 2019
The Political Syntax of the Absentees: A Translator’s Reflection on Stella Maris
Stella Maris, by Elias Khoury, is the follow-up novel to My Name Is Adam: Children of the Ghetto, Volume I, but the two novels can be read out of sequence, since they do not follow a linear narrative. Each is made up of multiple layers of space and time, entwined with the history and biography of Adam Danoun, as they move in a time machine-like fashion between past and future, and parallel worlds.
Guest Editors’ Note: From the Neoclassical to the Binational Model of Translation
Literary translation—whether a branch within comparative literature, linguistics, hermeneutics, or elsewhere in the academic disciplinary maze—has grown and developed mainly in accordance with the European neoclassical tradition. The previous issue of JLS was dedicated to the critique of the neoclassical model’s supposed transparency and impartial representation of the original source, allegedly trying to reach a “fluent” translation of the original.
To cope with translation from Arabic to Hebrew under the conditions of the present time, the Translators’ Circle in Maktoob proposes a pragmatic model of translation that transcends the comfort zone and is open to negotiation and a dialogical process of movement and wrestling in a dynamic relationship of dialogue. Although the model is fraught with practical, economic, and empirical difficulties, and is not necessarily pragmatic, it relies on the philosophy of pragmatism, according to which translation is not only a textual achievement but also action in the real world, which seeks to overcome the elements of alienation and degeneration of the individual, nationalistic portrait of translation. The translation turns from a metatext, which is placed behind the text and whose function is to explain and illuminate, into a social text, as a basis for communication and for expression of collective consciousness. In other words, and paraphrasing Ferdinand de Saussure’s notion that language should be studied in and for itself, we argue that translation is not only a thing in and for and of itself but also a communication tool, a byproduct of a comprehensive political process. To this end it expands the concept of intertextuality from hermeneutics to sociology. That is, intertextuality is not just an encounter between textual units, as is commonly the case in the fields of hermeneutics, linguistics, and literature, but also an interactive sociological mechanism based on encounter and reciprocity between people.
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