International Conference
On
Language, Culture and Cognition
March 14-16, 2024
Venue : Adamas University, Kolkata, India
Organized by
The Centre for Study of Contemporary Theory and Research (CSCTR),
Adamas University,
In collaboration with the
School of Language and Linguistics,
Jadavpur University
and the
Department of Psychology,
Sister Nivedita University.
Exploring The Cultural and Linguistics Gain and Loss Through the
English and Bengali Translated Version of Haruki Murakami
-Simanta Nandi, Barna Mondal
(Department of Comparative Literature, Jadavpur University)
Exploring The Cultural and Linguistics Gain and Loss Through the
English and Bengali Translated Version of Haruki Murakami
-Barna Mondal, Simanta Nandi
Abstract :
Our research paper investigates the cultural and linguistic nuances experienced in the
translated versions of Haruki Murakami's works, specifically focusing on the English and
Bengali renditions. As Murakami's literary prominence extends globally, understanding the
impact of translation on the preservation or alteration of cultural and linguistic elements
becomes imperative.
The study delves into the intricate web of Murakami's narratives, exploring how the essence
of his Japanese cultural references and linguistic subtleties are retained or transformed in
English and Bengali translations. It aims to unravel the layers of cultural context embedded in
Murakami's original texts and examine how these layers are either preserved or lost during
the translation process. It employs a comparative analysis approach, scrutinizing select
passages from Murakami's acclaimed works in both English and Bengali translations.
Through a meticulous examination of lexical choices, idiomatic expressions, and cultural
references, the paper seeks to identify instances of gain or loss in conveying the intended
meaning and cultural connotations. It also explores the role of translators as cultural
mediators and language transcribers, shedding light on the challenges they face in bridging
the gap between Japanese, English, and Bengali. It investigates how linguistic and cultural
gaps may be navigated to ensure a faithful representation of Murakami's literary artistry.
The findings of this research contribute to the broader discourse on the complexities of
literary translation, particularly in the context of a globally acclaimed author like Murakami.
By understanding the cultural and linguistic transformations that occur in the process of
translating his works into English and Bengali, this study offers insights into the dynamic
interplay between language, culture, and literature. In conclusion, the study contributes to the
ongoing dialogue about the multifaceted nature of translation, emphasizing the need for a
nuanced approach that goes beyond linguistic accuracy to capture the richness of cultural
dimensions. As literature serves as a vessel for cultural exchange, investigating the gains and
losses in translation becomes crucial for fostering a more profound appreciation of global
literary diversity.
Keywords : Translation, Linguistic, Culture, Narrative, Global
Bio-note :
⮚ Barna Mondal pronounced as she/her, she is a BA Third year student, department of
Comparative Literature, Jadavpur University.
⮚ Simanta Nandi is BA 2nd year’s student from Department of Comparative Literature,
Jadavpur University. Currently he is working as a Translator. He is trained as a
Translator from The Centre of Translation of Indian Literatures (CENTIL), Jadavpur
University. He is a writer of short stories, poems, analytical essays, criticism article.
He is content writer in The Times of India, Youth Ki Awaz and etc. He working as a
volunteer at CRY. He has research interests in various subjects like – Literature,
Politics, Economics, Various controversial matter of nationally and internationally
and so on. He is awarded from ‘Oxford University Press-2021’, ‘Times of India-2021’
for his literary works. He is author of the year 2021 and also 2022- Nominee from
Storymirror. He writes at various reputed web portals and various magazines in West
Bengal. He is also the executive editor of a little magazine. His first published book-
'Dhaner Niche Klanto Machranga', Published from Kochipata publication at
International Kolkata Book Fair-2023.
Main Paper :
Translation is a magnificent work of all time. From the time of creation everything is being
translated, the medium is different. In the world of literature and other discourses Translation
plays a very crucial role, without translation everything is new. This is right, that there are so
many controversies about the clarity of translation, this is not the thing for focus but we have
to find the hidden and also wide-open utilities of translation. Like Derrida has said that “The
translation will truly be a movement in the growth of the original which will complete itself
in enlarging itself”. It means Translation is not static; it flows like a river through time and
the readers’ reception. Translation is not only about texts it includes all the other things also
like socio-cultural background, historical context, politics behind the text, generic study,
thematic study, the necessity of the language. There are two matters in Translation Source
text and Target text. Source text is from where is being translated and the Target text is in
where the text is being translated. Through the process of Translation the Target text is the
most important for the Translator, though it is a translation, it is a new creation after all. Like
Walter Benjamin has finely pointed out that “Translations that are more than transmissions of
subject matter come into being when in the course of its survival a work has reached its. The
life of originals attains in them to its ever renewed latest and most abundant flowering”.
It means he is talking about the “after life” text. Through translation not only the Target text
is being created but also the Source text is living in its new manner. In the process of
translation work the Target language is being enriched also the Culture and the source text
and source language is being recognised more widely than before. We would like to say there
is more gaining than loss in the process of Translation. It is a creation of a new text after all.
In our paper we will delve into the further about the cultural and linguistic gain and loss
through the English and Bengali translations of Japanese writer Haruki Murakami. The
research gives important interpretations in the complex task of translating works by globally
known authors such as Murakami, in which it highlights the challenges and subtleties
involved in literary translation. Through examining specific translation strategies and their
effect on revealing the quintessence of Murakami`s prose, this research deepens our
understanding of the intricacies surrounding literary translation. For instance, it might focus
on how translators could negotiate cultural nuances, language idiosyncrasies and surreal
elements that characterize Murakami's writing.
Haruki Murakami is a contemporary writer of Japan. The speciality of Murakami is he writes
more about post modernism mixed with the sense of mystery, adventure, thriller, science
fiction, magic realism, Japanese folk traditions, American music movie, and many more, and
the reception of Greek play, European modern literature, Freudian psychoanalysis and his
own uniqueness, what makes his writings beyond the “Junbungaku” (higher literature) the
post-modern Japanese literature movement inspired by European modernism.
So this is a really different experience for both culture and readers. ThoughSeveral of the
Japanese literary figures of the modern era—such as Nobel laureate Yasunari Kawabata,
Kenzaburo Oe or Yukio Mishima—were deeply influenced by European modernism.
One of the best-selling authors. We would speak about the translated work of his writings.
His work has been translated in 50 languages. So we can imagine how famous he is. Without
translation it would have been an impossible task.
In this paper, We would speak about the English and Bengali translations. One of His Novels
“Umibe no Kafuka”, published in 2002. Philip Gabriel, translated it into English in 2006, he
is an American Translator and Japanologist translated “Kafka on the Shore” in 2005. As we
can see, right after the original text was published the translated version was published.
Whereas the Bengali translated version named “সমু তেট কাফকা” of this text was published in
2016. Translated by Abhijit Mukherjee, retired professor of electrical engineering department
and director of school of linguistics and languages, Jadavpur University, now he teaches
Japanese language.
“Umibe no Kafuka '', a novel about a 15 years old boy named Kafka Tamura who is suffering
from Oedipal curse and the story goes on, there is thriller, psychoanalytic stages, magic
realism, coming of age story situation and so on.
Though these are the translations, the ‘coming of age’ theme is not unknown by the target
readers from both languages, English and Bengali. In English from neo-classicism era the
coming of age themed story became so important for society and the didacticism also, and
similarly In Bengali literature, from 19th century the coming of age themed story became so
important as well, this particular novel is also coming of age themed, so for both languages
and literature it is a gaining, provoking and enriching also. Not only in translation but also in
literature area this is a very excellent experience.
These are the perspectives of the literature, now we will shift to the aspect of translation.
If we keep these two translations of the text we can see these are differences between two
texts instead of being translated from a similar book. These differences are because of the
languages and their socio-cultural, geographical background. English and Bengali belong
from two very different sides of the world. So, we will try to understand the differences, the
gain and the loss through these two translations. Like Maurice Blanchot said correctly, “The
translator is a writer whose singular originality lies in the fact that he seems to make no claim
to any”.
Danish Translator Mette Holme in her essay named, “Translating Haruki Murakami as a
Multilingual Experience” said that in the writing style of Murakami, there are anglicized
versions of Japanese language. So while translating in English language it can't be the same
reading like it was in original language. But in Danish it can be kept, similarly we can see this
in Bengali translation the word “tough” is like this, that means within Bengali narrative it
looks anglicized, but not in English translation.
According to her, Philip Gabriel used a different idiom for a Japanese phrase - (“kyūri no
gotoku kūru ni, Kafuka no gotoku misteriasu ni”.) It means cool as cucumber, mysterious as a
real Kafka, but he wrote “blended back”. Also, there is a bit of a different reading experience
of English translation because the Japanese characters are present in Japan using the dollar,
(like – ‘Hoshino went ahead and paid his eight dollars”.) where in Bengali Abhijit Mukherjee
kept Yen as yen, (like- “নগেদ িকছু চার লাখ ইেয়ন আর অ িকছু টাকা এিটএম কােড পাওয়া যােব।”).
Also the measurements are different in the two translations like “five-inch blade and a nice
heft.” In English and “ফলাটার দঘ বােরা সি িমটার মত, বশ ভাির।” In Bengali.
By the reading of these two translations parallelly,we can understand that Philip Gabriel
changed some words according to his preference like the first chapter called “The Boy
Named Crow”, in Bengali Abhijit Mukherjee kept the name as “কারাসু নােম ছেলটা” and gave
footnote that ‘karasu’ means crow in Japanese language. He tried to keep the words as it is
like the word ‘konnichiwa’. In English the word is used: “Rice ball” for “Nigiri meshi”,
“Plum” for “Ume”, in Bengali the names are the same as the Japanese word with footnotes.
Only for “Udon” (one type of Japanese noodles), same in both languages but the “Karria” in
English, has become “হলু দ গালাপ” in Bengali from Japanese.
It is visible that in English translation the mostly the ‘Domestication’ process is happening
means translating a text closure to the Target readers’ language and in Bengali translation
mostly the ‘Foreignization’ process is happening means keeping the translated text intact to
it's source’s culture and language.The balance between keeping fidelity and personalizing is
there always.
Where for Target readers Philip Gabriel is naturalizing the words, In Bengali Abhijit
Mukherjee is keeping the words as it is. So, for the English culture there are so many known
words and for the words it's more familiar for the readers whereas for the Bengali readers it's
a bit different type of experience to get a taste of a new culture, it also increases readers’
interest in a different way, and maybe it is also a trick for knowing the different culture.
Like Nida said that Translation is like coding theory, it is all about ‘decoding’ (changing the
word for the help of target readers) and ‘recording’ (keeping the word as it is), the
‘equivalence’ between the two languages' source language and target language.
There are references of American jazz music, the occurrence of Beethoven tunes and the
anglicized things which are very different from Bengali culture, it is more unfamiliar to the
Bengali readers where for the English readers these are familiar as it is related to western
culture.
Murakami has mentioned ‘Tanka’, ‘Haiku Poems', the ancient traditional poems of Japan,
and mentioned about the Japanese own historical periods like ‘Edo period’. These are things
where readers are getting new information about Japan and its own culture. Which is very
different from both English and Bengali Culture.
The other writing of Murakami is “Zō no Soumetsu”, a collection of short stories, published
in 1984. The English translation is named “The Elephant vanishes”, published in 1994, By
Alfred Birnbaum and Jay Rubin. The Bengali Translation is named “হািতটা উধাও” published
in 2021 by Abhijit Mukherjee, Anuradha Chattopadhyay, Rima Roy and Subha Basu.
The stories are all about Japanese culture and the expectations of society. Relationship
between different genders. The usage of Japanese landscapes. In the stories “The little green
monster” and “A window” in English translation and “ ছা একটা সবুজ রা স”, “একটা জানালা”,
in Bengali, the stories are about a strange animal and a relationship between a man worked in
a letter company and a letter writer woman. But the usages of the words like in bengali “আসা
একটা ঁিশয়াির”, it is in english is “a warning from dark cocoon my body was spinning”, a
slightly different meaning and in the bengali translation it has some colloquial understanding.
The bengali word is “ ব - আে েল আ া” and the english is “rude and presumptuous for a
creature”. From these examples we can see the differences.
An allegation against Murakami has surfaced repeatedly in Japan. It is said that he writes
American novels in Japanese. And that is why his novels are mostly in translation; More than
the number of foreign readers, who find in his stories a reflection of their own social
condition. In fact, the world that he portrays is a product-based world-wide ultra-modern or
post-modern civilization of the age of globalization. The young people who are part of that
civilization listen to western music, eat pizza-sandwich-spaghetti, go to the gym, exercise,
and read world literature instead of their homeland. The restrained, industrious, disciplined,
work-oriented way of life that modern Japan is famous for is largely absent in Murakami's
novels. Of course, all the ingredients for a happy life are within reach of Murakami's heroes
and heroines. However, their world is filled with a strange sadness and loneliness. Symbolic
reflections of that melancholy are everywhere. The latent desires, fears, desires of these
lonely people take a strange form, through a few symbolic events, shaking their accustomed
lives, making them uneasy. What is the meaning of this turmoil, what is its relief, is at the
heart of Murakami's 'strange story'. The stream of ordinary people's lives, which might seem
shallow, transparent or monotonous, instead becomes painful, dangerous, and a little magical.
Meanwhile, Murakami's heroes and heroines repeatedly lose themselves in search of comfort
or love or truth. In this lostness there is hope to find yourself. We are thus drawn into the
illusory world of illusion by the story of these characters, where everything that happens or is
seen has a symbolic meaning, none of which can be assumed to be merely 'real' or
'imaginary'. ‘হািরেয় যাওয়া বড়াল’, “ ছা একটা সবুজ রা স” and other stories of Murakami's
story can at any moment become signs or symbols of an unknown hyper-reality.
Murakami has written the introduction to one of his collections of stories, said that whatever
he turned to, it became 'a strange story' he is world famous as a writer of strange stories. In
the world of his stories we see the use of conventions of illusory realism, but overall he
transcends any particular aspect. Through the pull of his story we reach an environment
where everything is so familiar, so ordinary—yet terrifyingly unfamiliar, extraordinary,
outside the realm of reality.
As Murakami himself is a translator, he has found a place in world literature through
translation. In today's world, in a sense, we live in a world of translation. Murakami himself
has become famous through translations into English and other European languages. Most of
Murakami's voracious readership is illiterate in Japanese, each inhabiting a world of
translation. The translator himself travels in multiple languages, multiple worlds, and can see
the world from two perspectives.
In these stories-novels we get a picture of post-modern civilization in the age of
globalization, where the common man has become fragmented, aimless, and somewhat
selfish. This post-modernism is what Frederic Jameson sees as the rational form of the last
stage of capitalism.
This study’s implications go beyond the works of Murakami, thereby shaping future
approaches to both translation practices and literature studies. Furthermore, it emphasizes the
role played by a translator’s subjectivity and agency towards maintaining artistic integrity of
an original text as well as its accessibility to diverse readership. Also, it makes scholars and
practitioners critically examine socio-political contexts influencing choices about translations
and receptions. By developing an in-depth appreciation of language-culture-literature
relationships, this work recommends delicate attitudes towards translation and interpretation
in globalized spaces for literature.
In conclusion,we would like to say that, Without translation Murakami would have been a
mystery for the non Japanese readers, there would be controversies and several arguments
between intellectuals. What is gained? What is lost? through the translation.
It can be said that if there is a translation there is a new text. It was just the beginning of a
journey to this particular topic.
References :
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