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Lidia Vianu - Director of CTITC (CENTRE FOR THE TRANSLATION AND INTERPRETATION OF THE CONTEMPORARY TEXT), Bucharest University, Professor of Contemporary British Literature at the English Department of Bucharest University, Member of the Writers’ Union, Romania.

 

 
 
 
 
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CTITC

CENTRE FOR THE TRANSLATION AND INTERPRETATION OF THE CONTEMPORARY TEXT
CENTRUL PENTRU TRADUCEREA SI INTERPRETAREA TEXTULUI CONTEMPORAN

 

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 TRANSLATION CAFÉ 


 

CTITC
CENTER FOR THE TRANSLATION AND INTERPRETATION OF THE CONTEMPORARY TEXT

MTTLC
MA Programme for the TRANSLATION OF THE CONTEMPORARY LITERARY TEXT

 

TRANSLATION
CAFÉ



 

Review of Contemporary Texts in Translation and E-Learning

 

 

Nr. 85/October 12, 2009

 

 

 

Director: LIDIA VIANU

 

© CTITC

    MTTLC

 

ISSN 1842 – 9149

 

Issue Editor: ALINA-OLIMPIA MIRON

Tehnical Editor: CARMEN DUMITRU

 

 

These translations  are an online seminar of literary translation, part

of Lidia Vianu’s course [Guide to Contemporary Literature and Its Translation],

and a session of E-Learning in the MA Programme for the Translation of the

Contemporary Literary Text, directed by Lidia Vianu.

The texts have also been discussed in translation group at http://groups.yahoo.com/group/translationcafe/ 

 

 

MARGARET ATWOOD, The Handmaid’s Tale

 

  

  

        Margaret Eleanor Atwood is a Canadian author, poet, critic, feminist and social campaigner. She is among the most-honored authors of fiction in recent history; she is a winner of the Arthur C. Clarke Award and Prince of Asturias award for Literature, has been shortlisted for the Booker Prize five times, winning once, and has been a finalist for the Governor General's Award seven times, winning twice. While she may be best known for her work as a novelist, she is also an award winning poet, having published 15 books of poetry to date. Atwood has also published short stories in Tamarack Review, Alphabet, Harper's, CBC Anthology, Ms., Saturday Night, Playboy, and many other magazines.

 

CONTENTS:

 

Translations of fragments from The Handmaid’s Tale by high school pupils in Buzau: Iacob Cristina, Moise Alexandru, Nesu Alina, Udrea Denisa, Florea Florentina, Dragomir Ramona, Ciocan Elena Stefania, Medianu Iris, Manea Ana, Fratiman Isabella, Zaharia Elena, Cojoaca Bianca, Constantinescu Simona, Rimniceanu Alexandra, Moraru Daniel, Irimia Stefan, Toader Alina, Balaban Alina, Posea Dan-Adrian.

 

SUPERVISING TEACHERS:
 

AVRAM DANIELA
Caloianu Liliana
Mihaela Vlad
Haralambie Monica
Balaban Stefan

 

Translations from:
 

Margaret Atwood

 

The Handmaid’s Tale

 

 

Doubled, I walk the street. Though we are no longer in the Commanders' compound, there are large houses here also. In front of one of them a Guardian is mowing the lawn. The lawns are tidy, the facades are gracious, in good repair; they're like the beautiful pictures they used to print in the magazines about homes and gardens and interior decoration. There is the same absence of people, the same air of being asleep. The street is almost like a museum, or a street in a model town constructed to show the way people used to live. As in those pictures, those museums, those model towns, there are no children. This is the heart of Gilead, where the war cannot intrude except on television. Where the edges are we aren't sure, they vary, according to the attacks and counterattacks; but this is the center, where nothing moves. The Republic of Gilead, said Aunt Lydia, knows no bounds. Gilead is within you.Doctors lived here once, lawyers, university professors. There are no lawyers anymore, and the university is closed. Luke and I used to walk together, sometimes, along these streets. We used to talk about buying a house like one of these, an old big house, fixing it up. We would have a garden, swings for the Children. We would have children. Although we knew it wasn't too likely we could ever afford it, it was something to talk about, a game for Sundays. Such freedom now seems almost weightless. We turn the corner onto a main street, where there's more traffic. Cars go by, black most of them, some gray and brown. There are other women with baskets, some in red, some in the dull green of the Marthas, some in the striped dresses, red and blue and green and cheap and skimpy, that mark the women of the poorer men. Econowives, they're called. These women are not divided into functions. They have to do everything; if they can. Sometimes there is a woman all in black, a widow. There used to be more of them, but they seem to be diminishing. You don't see the Commanders' Wives on the sidewalks. Only in cars.The sidewalks here are cement. Like a child, I avoid stepping on the cracks. I'm remembering my feet on these sidewalks, in the time before, and what I used to wear on them. Sometimes it was shoes for running, with cushioned soles and breathing holes, and stars of fluorescent fabric that reflected light in the darkness. Though I never ran at night; and in the daytime, only beside well-frequented roads.Women were not protected then.I remember the rules, rules that were never spelled out but that every woman knew: Don't open your door to a stranger, even if he says he is the police. Make him slide his ID under the door. Don't stop on the road to help a motorist pretending to be in trouble. Keep the locks on and keep going. If anyone whistles, don't turn to look. Don't go into a laundromat, by yourself, at night.

 

by:

 

+  Iacob Cristina

+  Moise Alexandru

+  Nesu Alina

+  Udrea Denisa

+  Florea Florentina

+  Dragomir Ramona

+  Ciocan Elena Stefania

+  Medianu Iris

+  Manea Ana

+  Fratiman Isabella

+  Zaharia Elena

+  Cojoaca Bianca

+  Constantinescu Simona

+  Rimniceanu Alexandra

+  Moraru Daniel

+  Irimia Stefan

+  Toader Alina

+  Balaban Alina

+  Posea Dan-Adrian

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 
 

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