Eventhough P.Sutton reminds with his remark especially to cinematic spectatorship I would like to extend/transform this remark on translation/transition practices of re/narrating – re/reading – re/writing onto evocative media practices in general ….
… the de- and re-translation that is part of the process of auto-translation might enable an active “cinematographic performance” that may ultimately open up a critical space beyond the dominant discourses. (Sutton, 1999, refering to Guattari (1977).)
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There is an active, almost performative, dimension to this process of repetition in translation, in difference; an emphasis on re-narration as part of a process of translation or re-writing, a process of transformation. ( Paul Sutton in an pdf abstract )
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There is an active, almost performative, dimension to this process of repetition in translation, in difference; an emphasis on re-narration as part of a process of translation or re-writing, a process of transformation. ( Paul Sutton in an pdf abstract )
.. thus refering back to former posts ….
Forward movement in life is achieved through a backward movement in memory, but one that is more than a simple regression. In place of the blocked nostalgia or nausea of the perpetual return, the past is transformed in such processes as “working through” and “deferred action”. This is what must be involved in Bhabha’s “performance that is iterative and interrogative–a repetition that is initiatory, instating a differential history that will not return to the power of the Same.” This is what must be included in Gilroy’s “redemptive critique of the present in the light of the viatl memories of the slave past.”
(In/Different Spaces, Burgin 1996, p. 273)
(In/Different Spaces, Burgin 1996, p. 273)
… and a loose link to an elder post on similar theme … translation/transition
