Translation Matters of Narrative Structure in German Contemporary Novels: A Case of W. G. Sebald
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It is difficult to discuss narrative structure in the texts of German writer W. G. Sebald (1944-2001), because he tries to deconstruct conventional narrative theories. This means that his writings tend to reject traditional narratology, whilst he prefers the collection of fragmentary memories and facts out of different resources rather than a traditional storytelling according to deliberate plots. In terms of translation, narrative structure in Sebald’s texts causes therefore plenty of problems with regards to tense, mode, viewpoint etc.: In his extremely long sentences, for example, which go almost beyond the limit of German grammar and approach to the impossibility of translation, various narrators who are often unimportant, anonymous, and already forgotten like in oral history, appear in a single sentence. As a result, translator takes part in searching for unidentified narrators and finding out their own voices as well as their stories which had disappeared and been erased in history. In this aspect, translator could contribute not only to literary criticism, as Marilyn Gaddis Rose argues, but also to cultural intervention and cultural criticism as well, whilst he could (re-)interpret their narratives based on his re-reading and re-writing.
Abstract
It is difficult to discuss narrative structure in the texts of German writer W. G. Sebald (1944-2001), because he tries to deconstruct conventional narrative theories. This means that his writings tend to reject traditional narratology, whilst he prefers the collection of fragmentary memories and facts out of different resources rather than a traditional storytelling according to deliberate plots. In terms of translation, narrative structure in Sebald’s texts causes therefore plenty of problems with regards to tense, mode, viewpoint etc.: In his extremely long sentences, for example, which go almost beyond the limit of German grammar and approach to the impossibility of translation, various narrators who are often unimportant, anonymous, and already forgotten like in oral history, appear in a single sentence. As a result, translator takes part in searching for unidentified narrators and finding out their own voices as well as their stories which had disappeared and been erased in history. In this aspect, translator could contribute not only to literary criticism, as Marilyn Gaddis Rose argues, but also to cultural intervention and cultural criticism as well, whilst he could (re-)interpret their narratives based on his re-reading and re-writing.
참고문헌 (19)
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