“Why do we have so many uncles?”: Linguistic Transference and Translationality in Gurnah’s Peponi and Dhulma.
A distinctive thread is sustained through Abdulrazak Gurnah’s works, Paradise (1994) and Afterlives (2020) before culminating in Theft (2025), making up a trilogy. This article interrogates the dynamics of reflection and refraction in the translation into Swahili of the trilogy, particularly Paradis...
Shranjeno v:
| izdano v: | URI:https://journals.openedition.org/pla, |
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| Glavni avtor: | |
| Format: | Article ou chapitre numérique |
| Jezik: | Anglais |
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Postcolonial Literatures and Arts
2026
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| Online dostop: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Izvleček: | A distinctive thread is sustained through Abdulrazak Gurnah’s works, Paradise (1994) and Afterlives (2020) before culminating in Theft (2025), making up a trilogy. This article interrogates the dynamics of reflection and refraction in the translation into Swahili of the trilogy, particularly Paradise and Theft, translated respectively as Peponi (2022) and Dhulma (2025). Translation is understood as movement between languages, cultures, and narrative-worlds that foreground questions of linguistic transference, translational strategies, and translationality. |
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