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Prefiguring the proliferation of postcolonial discourse in the next two decades, Brian Friel's 1981 play, Translations, dramatizes some of the key issues pertaining to Anglo-Irish colonial relations: territorial invasion, linguistic domination, and cultural imperialism, among others. This study examines these interrelated questions in terms of British colonial mapping. Colonial mapping typically involves the demarcation of such cultural territories as self and other, center and margin and the concomitant superimposition of imperial values on the colonized. Friel's play effectively demonstrates that this is exactly what Britain does in the Ordnance Survey of Ireland. This historical cartographic event is rendered a telling metaphor for a much broader discursive practice in which Britain translates Irish place names into English and thus attempts to "translate" the Irish people into docile imperial subjects.
Friel's play particularly takes to task discursive formations underwriting Britain's mapping project and offers counter-discursive strategies. British mappers' desire for surveillance is subverted by missing military equipment and people; mistranslations of all sorts in the play stress the impossibility of translating and Anglicizing Irish names and people; and, most importantly, the encounter between the two cultures makes for what Homi Bhabha calls a "translational" phenomenon where the communication of two cultures only reveals "the untranslatable" in "cultural translation."
Friel also dramatizes mapping and naming as performative and thus allows his characters to resist these processes in these terms. When the characters enunciate Irish names and narrate histories to translate and erase them, their performative narratives reiterate the colonizer's discourse. In doing so, however, their narratives and speech acts peculiarly revive those names instead of annihilating them. In fact, these speech acts form an in-between space within the colonial discourse of mapping and construct hybrid identities residing between the territories of Britain and Ireland.
Friel's play particularly takes to task discursive formations underwriting Britain's mapping project and offers counter-discursive strategies. British mappers' desire for surveillance is subverted by missing military equipment and people; mistranslations of all sorts in the play stress the impossibility of translating and Anglicizing Irish names and people; and, most importantly, the encounter between the two cultures makes for what Homi Bhabha calls a "translational" phenomenon where the communication of two cultures only reveals "the untranslatable" in "cultural translation."
Friel also dramatizes mapping and naming as performative and thus allows his characters to resist these processes in these terms. When the characters enunciate Irish names and narrate histories to translate and erase them, their performative narratives reiterate the colonizer's discourse. In doing so, however, their narratives and speech acts peculiarly revive those names instead of annihilating them. In fact, these speech acts form an in-between space within the colonial discourse of mapping and construct hybrid identities residing between the territories of Britain and Ireland.
목차
Ⅰ. 들어가는 말
Ⅱ. 식민 지도 그리기의 두 양상: 번역과 명명
Ⅲ. 지도 그리기와 정체성
Ⅳ. 문화적 번역과 번역 불가능성: 반담론의 가능성
Ⅴ. 번역의 전복적 수행
Ⅵ. 나가는 말
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