Telling Canada’s “Story” in German: Using Cultural Diplomacy to Achieve Soft Power
From: Translating Canada
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We want to understand why certain texts are selected for translation and why others are left aside. Which aesthetic, economic, or ideological considerations enter into the selection process? In what condition do Canadian stories arrive in the target language, German? And how are they read once they have been translated into the new cultural environment?
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Contributors
Luise von Flotow
Luise von Flotow is a professor of Translation Studies at the University of Ottawa. She has taught at the Universities of Freiburg, Strasbourg, and Vienna and as a visiting professor in Chile, Turkey, Iran, and Ecuador. Her research is focused on cultural and political differences between cultures and eras and their expression in translation; she has published extensively in this area: Translation and Gender: Translating in the “Era of Feminism” (1997), also available in Chinese and Czech translation; The Politics of Translation in the Middle Ages and the Renaissance(coedited with Daniel Russell and Renate Blumenfeld-Kosinski, 2001); How Simone de Beauvoir Talks Sex in English (2002), Julia Evelina Smith, Traductrice de la Bible: Doing More Than Any Man Has Ever Done (2002); Sacrificing Sense to Sound:Mimetic Translation and Feminist Writing (2004); Self-Translation and Exile: Nancy Huston, ‘Passing’ in Paris (2006); La traducción a principios del siglo XXI: El fin equivalencia (2006); Frenching the Feature Film Twice(2006). She is also a translator of literary texts from German and French and is currently translating a selection of texts by Ulrike Meinhof as well as La langue et le nombril (1998), a history of Quebec’s obsession with language.The Third Shore, an anthology of East-Central European women writers (post-1989), which she coedited and translated with Agata Schwartz, has come out with Northwestern University Press (2006).
