A Breakdown of the Mandatory Stages of French Translation

In an interliguistic translation, part of the translation loss is the result of the dual translation that takes place in the translator’s mind – a process that he or she is unaware of for most part. The place where part of the message is most often lost what Freud calls the unconscious. Most of Freud’s works have been translated by German Translation, and the basic idea in them is that the emphasis falls on something we are ignorant of – the existence of an internal language. Being actively occupied with interpreting the text, as it is with any other reading process, the translator’s mind does this but without the knowledge that it is on an unconscious level. Therefore during the interpretation process, the translator will inevitably draw from his or her own personal experience consisting of impressions, sentiments, memories, passions, pains, and downfalls. Consequently, the translator is unconsciously bound to manipulate the text.

Theorists of translation whose occupation lies in researching the area in-between the translation and the original are interesting to observe. It is in this zone that the two languages and/or cultures collide and intercept, so the resulting mixture is a kind of cross-fertilization which perverts and mistakes their distinctive characteristics, claims Italian to English Translation ideologist, Paolo Bartoloni. Thus we come to the so called interstitial area, which places in the same discourse both the memory of origin and enigma of arrival, but is actually neither of them. As a matter of fact, a demonic place like this is not easy to live in, because it is under constant change and therefore insecure.

Translating the text is followed by yet another critical challenge, the translator has to review and evaluate his or her work. The revision stage involves the translator who must return to the interstices where he will find the first draft, which is neither a translated text nor any more a source text. Anyone who has done translation work knows how it feels to be in a state of uncertainty. No less important than the revision work is the editorial policy adopted by the publishers. Many is the time when editors have tried to influence the translator’s methodology. One such instance is a Portuguese Translation Services editor who has spoilt the whole process. Quite frequently, editors do incorrect research of the model reader and the dominant of the text, and fitfully rework the translations that are to become publications, governed only by the rules of literature for mass consumption.

Interventions on the text, though ill-considered at first glance, are actually wholesome to the final product and should always be encouraged by translators. If the person who is going to review the translated work has enough expertise in the field, then translator’s attitude should be positive. It is very important to have a referee, a third party that can suggest other possible options, as quite often the translator driven by emotions considers him/herself the best possible judge. To translate means to accept the culture of the other and assume that others are invited to contribute to its development as well, according to French to English Translation theorist Antoine Berman. Cinema, music and theater which are performing arts also demand such support. A translator who has decided to translate an author coming from the margins of the world, he/she must also bear in mind that his/her culture is a border culture. This leaves him with the almost impossible task of balancing on the tightrope being left with the unpleasant feeling of vertigo.

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