Article published In: Translation and Interpreting Studies
Vol. 15:2 (2020) ► pp.223–241
It’s all in the attitude
Parodies of Rachid Taha and Seu Jorge
Published online: 6 April 2020
https://doi.org/10.1075/tis.19004.hir
https://doi.org/10.1075/tis.19004.hir
Abstract
Building on various theoretical approaches to translation (Hickey, Leo. 1998. “Perlocutionary equivalence: Marking, exegesis and recontextualisation.” In The Pragmatics of Translation, ed. by Leo Hickey, 217–232. Cleavdon: Multilingual Matters.; . 2001. “Translation or adaptation.” Reflections on Translation. Bristol, UK: Multilingual Matters.), this article demonstrates the intersection between translation and parody (Aoyama, Tomoko and Judy Wakabayashi. 1999. “Where parody meets translation.” Japan Forum 11(2): 217–30. ) by comparing two musical texts: Rachid Taha’s “Douce France” and Seu Jorge’s Portuguese translation of David Bowie’s “Life on Mars?”. According to Hutcheon, Linda. 1985. A Theory of Parody: The teachings of Twentieth-Century Art Forms. New York: Methuen. view of parody as a form of repetition maintaining a critical distance, both texts are parodic. Each parody presents a very different attitude, which influences their ethos. Rachid Taha’s cover involves irony, which often marks parody (Hutcheon, Linda. 1985. A Theory of Parody: The teachings of Twentieth-Century Art Forms. New York: Methuen.), and thus a negative ethos: criticizing his new country for grievances against immigrants. Seu Jorge, however, pays tribute to the Bowie song he translates. These observations illustrate the close relationship between parody and translation.
Keywords: parody, irony, popular music, David Bowie, Rachid Taha
Article outline
- Introduction
- Rachid Taha
- Seu Jorge
- Theoretical background
- Translations?
- Parodies
- Irony
- Douce France
- Parody
- Ironic attitude
- Life on Mars?
- Concluding remarks
- Acknowledgements
- Note
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