Eco himself establishes this status of translator and translatee, to coin a term, as a fundamental condition for anyone wishing to write about translation from a more theoretical point of view. and as a successful writer of international repute who has, over time, become a much-translated author. The task is rendered somewhat daunting by Eco’s threefold relationship with translation: not only has he written much and so famously on translation himself but his writing on the subject is clearly informed by his position both as a translator himself. When I was first asked to write a contribution on Umberto Eco and translation for this volume, I was uncertain as to how to approach the subject. The present article aims at classifying the outcome of this role exchange as either a translation or an adaptation of the original work. Faithfulness to the receiver demands that the translator sometimes shuttles between the role of a translator and that of an adapter. The new receiver also has linguistic and cultural references that import much on what is said to him, how it is said, what he hears and what meaning he makes out of a message. The representer, be he called translator or adapter lets out his human nature in the course of his work, even without knowing it. Cet article ambitionne de classer le résultat de cet échange, soit comme traduction soit comme adaptation.įree or interpretive translation and adaptation are forms of representation of an original text to a second receiver. La fidélité au destinateur exige parfois du traducteur d’échanger entre traducteur et adaptateur. Le nouveau destinataire a lui aussi des références linguistiques et culturelles qui importent beaucoup sur ce qu’on lui dit, comment on le lui dit, ce qu’il entend et ce qu’il interprète comme message. Le représentateur, qu’il se désigne par traducteur ou adaptateur, laisse échapper sa nature humaine, même à son insu. In my opinion, this has not so much to do with the government but with a generation of soldiers who prefer Hip-Hop to old Folk songs.La traduction libre ou interprétative et l’adaptation sont desformes de représentation d’un texte original àun deuxième destinataire. I don't know what has changed since then, but I guess that the order "Ein Lied!" has become nearly distinct in most units. Anyway, I'm in the possession of "Kameraden singt!", the "Liederbuch der Bundeswehr" from 1991. I didn't sing a single time during my Dienstzeit, and I can't say that I missed it. As for the Soldatenlieder that hat no political text, they are often considered to be too sentimental or schmalzig by the young soldiers of today. As many texts were militaristic, aggressive and offending to other nations, they are not played officially anymore, although some people in the Marine or the Fallschirmjäger may still sing songs that are not PC. They were mostly from the times of the Kaiserreich or the Third Reich. A Soldatenlied is a song with a text that could be sung both on the march and at the campfire, usually by the soldiers themselves. As I said, with the exception of Hitlers favorite, the Badenweiler, they are as frequently played as ever. The Bundeswehr continue to perform traditional German Military marches.īut must exclude those related to Hitler's reign, or any percieved reference to it.Ī march is a marching tune without text to be performed by a Musikkorps. They obliged by giving a great rendition of U-Boote am Fiend to the applause of the customers and staff. In a popular, city-centre pub, sailors from the ship were encouraged to sing a German song. I recall, four years ago, a German warship visited Scotland. They continue to rehearse the military marches of the past, perhaps though, not in view of their political masters in Germany. The men of the Bundeswehr have not forgotten their forefathers. Even the non-political march 'Panzerlied' was subject to scrutiny, as it could be conceived as 'aggressive'. It was then frowned upon by certain German politicians, under pressure from a pacifist lobby in the German parliament. To my knowledge the Bundeswehr were marching to the tunes of traditional German Military compositions, and also to marches composed post World War One, up to 1998-99.
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