“Translation is defined as a second-order representation: only the foreign1 text can be original, an authentic copy, true to the author’s personality or intention, whereas the translation is derivative, fake, potentially a false copy” (Venuti 1995: 7). Although their effort is considerable, they remain unseen, unacknowledged when their work is qualitative, and poignantly visible when it is otherwise. Translators usually have an unappreciated position in the literary universe. Such aspects are then considered from the perspective of adaptation and translation theories: contrasting the literary translation with the audiovisual one, the paper means to highlight the losses in the latter mode of expression and the extent to which the defining elements aforementioned are preserved in the Romanian language. In particular, drawing on the critical apparatus of feminism(s), the paper lays emphasis on the way in which the metafictional texture of the novel captures instances of reality into fiction, glimpses of autobiography and, of course, femininity at the level of the filmic text. Gillian Armstrong), reworking the classic nineteenth-century American best-seller Little Women by Louisa May Alcott. All translations in the text are mine.ĪRGUMENT Aiming at both identifying the representation of femininity – as a social construct – and analysing the way in which it can be translated into film adaptations of novels, this paper focuses on the interpretations of a famous and, at the same time, problematic literary work, namely the 1994 film Little Women (dir. I would also want to thank the academics at the Department of English, Faculty of Letters, ”Dunarea de Jos” University of Galati, Romania, for the incredible 8-year journey through the worlds of words and fiction. Without her constant encouragement, this work would not have been possible. I would like to express my gratitude to Professor Michaela Praisler, for her helpful suggestions, support and understanding throughout my research. Final remarksĪppendix A: Little Women by Louisa May Alcott (literary translation) Appendix B: Little Women (1994) (Romanian subtitles) From page to screen: Gillian Armstrong’s Little Women (1994) 3.2. Intersemiotic translation of Little Women. Dialect and idiolect CHAPTER III Representation and Translation of Femininity on Film. Interlingual translation of Little Women 2.3.1. ‘Victorianism overseas’ or proto-feminism in Louisa May Alcott’s Little Women 2.2.1. Subtitling between technicality and artistry 25 CHAPTER II From Context to Text: Louisa May Alcott’s Little Women 2.1 Women’s role in nineteenth century America 2.2. Standard language versus dialect and idiolect 22 1.4. Archaisation versus synchronisation 20 1.3.3. Domestication versus foreignisation 19 1.3.2. Strategies in literary translation 18 1.3.1. Views on translation: from equivalence to skopos theory in translating 16 literary texts 1.3. Theoretical Approaches to Literary Translation and Subtitling 1.1. From 19th Century Femininity in Literature to 20th Century Feminism on Film Discourse Translation and AdaptationĬHAPTER I.
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