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The Last Flicker

The document discusses a translation of a Punjabi novel into English and analyzes the linguistic and cultural implications of translating a work from a minority language. It reveals differences between the original and translated versions' linguistic registers and highlights challenges in bridging linguistic and cultural gaps in translation. The translation process can either promote cultural unity or reinforce dominant cultural values at the expense of cultural diversity.

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Saeed Ahmed Chachar
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412 views

The Last Flicker

The document discusses a translation of a Punjabi novel into English and analyzes the linguistic and cultural implications of translating a work from a minority language. It reveals differences between the original and translated versions' linguistic registers and highlights challenges in bridging linguistic and cultural gaps in translation. The translation process can either promote cultural unity or reinforce dominant cultural values at the expense of cultural diversity.

Uploaded by

Saeed Ahmed Chachar
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as DOCX, PDF, TXT or read online on Scribd
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"The Last Flicker," Ajmer S.

Rode's translation of Gurdial Singh's Punjabi


novel "Marhi Da Deeva," serves as a thought-provoking case study on the
complexities of ideological manipulation in translation. This review delves
into the linguistic and cultural implications of translating a minority
language text into English, shedding light on the power dynamics inherent
in such endeavors.
Rode's translation raises questions about the cultural positioning of
translated works, particularly when the source material originates from a
minority language context like Punjabi. The act of translating "Marhi Da
Deeva" into English involves a negotiation between linguistic and cultural
identities, as the language of the characters intersects with that of the
colonizers, blurring the lines of cultural identity and representation.
A comparative analysis between the original and translated versions reveals
significant differences in linguistic registers. "The Last Flicker" showcases a
dialogue infused with a mixture of registers, incorporating insult terms,
expletives, and speech markers that reflect the cultural nuances of both the
source and target languages. These linguistic variations not only indicate
distinct cultural backgrounds but also highlight the challenges of bridging
linguistic and cultural gaps in translation.
The ideological manipulation inherent in the translation process poses both
opportunities and challenges. While it may enhance the accessibility and
acceptability of the content to a broader audience, it also risks
misrepresentation and distortion of the original text. The inclusion of
certain linguistic elements in the translation, aimed at making the content
more relatable or appealing, can perpetuate cultural imperialism and erode
the integrity of the source culture.
Furthermore, the dislocation caused by translation practices underscores
the clash between different cultural worldviews and the inherent power
dynamics at play. The ideological manipulation inherent in translation can
either promote positive social change and cultural unity or reinforce
dominant cultural values at the expense of cultural diversity and
authenticity.
In conclusion, "The Last Flicker" serves as a compelling case study on the
intricate interplay between language, culture, and power in translation.
Rode's translation raises important questions about the ethical and cultural
responsibilities of translators and highlights the need for a nuanced
understanding of the complexities involved in cross-cultural
communication through translation.

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