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• W798688850 abstract "fact that Iam writing youin Englishalready falsifies what Iwanted tell you.My subject:how explain you that Idon't belong Englishthough I belong nowhere else.Gustavo Perez Firmat, DedicationThis article brings together two New Yorker fiction podcasts featuring the works of Junot Diaz and Edwidge Danticat in order read their complementary stories of Caribbean-American immigration through the lens of studies. In the 2007 podcast episode The Dating Game, Danticat and New Yorker editor Deborah Treisman listen and discuss a recording of Diaz reading his short story, How a Brown Girl (Black Girl, White Girl, or Halfie). Two years later, Diaz and Treisman read Water Child, one of Danticat's short stories in the episode Unspoken. In of these podcast episodes, Haitian-American Danticat and Dominican-American Diaz are asked explain each other's fiction the New Yorker's audience, which is primarily white and upper-middle class.Linguistic translations in the podcasts and their featured stories occur in several registers, including English, Dominican Spanish, and Haitian Kreyol. Despite the presence of non-English phrases in How Date and Water Child, the fact that the New Yorker podcast is broadcast in English and these stories are written in English means that translation, in this case, does not necessarily refer linguistic formalism. Nor does it refer the production of a new text that is written in a different language from its original, but is consistent with the form of the original (Gentzler, Contemporary 1). Rather, my study of vexed communication benefits from what Susan Bassnett and Andre Lefevere call the turn in studies. In the late 1980s, the turn shifted approaches away from formalism and towards the study of texts as embedded in cultural networks of both source and target cultural (Bassnett and Lefevere 12). practice of linguistic translation, then, can be analyzed as a negotiation between the signs of two or more cultures, as in the case of these two podcasts. Through her pointed questions that couple the pressure represent their with the authors' similar poly-lingual styles, Treisman links source language with source populations and in doing so, encourages Diaz and Danticat act as cultural translators. two Caribbean authors are asked translate the poly-lingual complexities of Dominican and Haitian immigrant communities to the larger of New Yorker readers. In the two episodes, Diaz and Danticat use each other's stories in order respond the pressures of community representation and the complex negotiation processes of that manifest in their own literature and public literary careers.The digital reach of these podcasts, along with the material networks of and print the episodes represent, create an alternative space for critical inquiry about translation, one which allows us recognize what I will call black hemispheric internationalism in translation. Emily Apter uses the term translation indicate a broad intellectual topography that is neither national nor postnational (5). I extend Apter's concept the digital medium of these free New Yorker podcasts, which, unlike the print magazine, can be downloaded from the internet without a subscription. This global, digital zone transcends national boundaries while still adhering the inevitable limitations of access technology. Apter's definition of translation also allows us think about the translations that take place when a person moves from one community another. According Danticat, people often miss the complexity of [her and Diaz's] particular community, because write in English while incorporating words and phrases from their native countries (Dating Game). …" @default.
• W798688850 created "2016-06-24" @default.
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• W798688850 date "2013-10-01" @default.
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• W798688850 title "Caribbean Collusion: Junot Díaz, Edwidge Danticat and the New Yorker Fiction Podcast" @default.
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