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The Translator as Community-Maker: Elements of Foreignisation in Frédéric Beigbeder´s Windows on the World

Kapitel i bok
Författare Angela Kölling
Publicerad i Translation Transnationalism World Literature: Essays in Translation Studies 2010 - 2014
Sidor 167-182
ISBN 9788875362768
Förlag Edizioni Joker
Förlagsort Novi Ligure
Publiceringsår 2015
Publicerad vid Institutionen för språk och litteraturer
Centrum för Europaforskning (CERGU)
Sidor 167-182
Språk en
Länkar www.edizionijoker.com/Pagine%20libr...
Ämnesord Translation, Lawrence Venuti, Imagined Community, Foreignisation, 9/11 Literature, Frédéric Beigbeder
Ämneskategorier Kulturstudier, Litteraturstudier, Franska språket, Engelska språket, Germanistik, Litterär gestaltning


The year is 2003. Jacques Derrida and Jürgen Habermas celebrate the “renewal” of the European polis: in France, as in most other Western European countries, the public expresses its anger over the US administration’s plan to invade Iraq in order to fight terrorism. America responds by renaming French fries and French toast, amongst other things. One would assume that this is not the most fortunate socio-political climate in which to publish a French 9/11 novel. Frédéric Beigbeder’s Windows on the World, however, wins not only the Prix Interallié in 2003, but also, a year after its translation into English by Frank Wynne, the Independent Foreign Fiction Prize in 2005. Windows on the World (the original title is in English) seeks to describe and process the attacks on the World Trade Centre in New York in 2001. The first chapter is entitled “8:30”, the last one “10:29”. Each chapter counts down the time from 16 minutes before the impact to a point one minute after the collapse of the North Tower of the World Trade Center. Minute by minute, the narrative of the book alternates between a confabulated story of a divorced father and his two sons trapped in the restaurant Windows on the World in the World Trade Center on the morning of September 11, 2001 and discursive autobiographical chapters in which the author explores the difficult task of being the novelist of this tragedy. What I would like to propose in the reflections that follow is that Windows on the World became such a success because it employs translational strategies in the way it was written and, consequently, in the way it imagines community.

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