“Continental Drift”: Translation and Kimiko Hahn’s Transcultural Poetry

In the context of the expanding discourse of transnational Asian American Studies, this essay studies Kimiko Hahn, particularly her engagement with East Asian traditions in her poetry, and shows how her work exemplifies a transcultural Asian American literature that requires reading beyond the domes...
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Autor*in:	Xiwen Mai [verfasserIn]

Format:	E-Artikel
Sprache:	Englisch

Erschienen:	2012

Schlagwörter:	kimiko hahn asian american poetry translation transnational transcultural asian american studies

Übergeordnetes Werk:	In: Journal of Transnational American Studies - eScholarship Publishing, University of California, 2009, 4(2012), 1
Übergeordnetes Werk:	volume:4 ; year:2012 ; number:1

Links:	Link aufrufen Link aufrufen Link aufrufen Journal toc

DOI / URN:	10.5070/T841012828

Katalog-ID:	DOAJ075669420

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author	Xiwen Mai
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title	“Continental Drift”: Translation and Kimiko Hahn’s Transcultural Poetry
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title_auth	“Continental Drift”: Translation and Kimiko Hahn’s Transcultural Poetry
abstract	In the context of the expanding discourse of transnational Asian American Studies, this essay studies Kimiko Hahn, particularly her engagement with East Asian traditions in her poetry, and shows how her work exemplifies a transcultural Asian American literature that requires reading beyond the domestic boundaries of the United States. Drawing on Walter Benjamin's and Gayatri Spivak’s translation studies, it examines how Hahn critiques the assimilationist representation of Asian women in translations of Asian texts such as Arthur Waley’s version of Lady Murasaki’s <em<The Tale of Genji</em<. It then reads how, based on her thoughts about literary translation, Hahn experiments with creative practices of “translation,” including a retranslation of Ezra Pound’s Chinese images and untranslation of <em<zuihitsu</em<. Rewriting Ezra Pound’s Chinese images, Hahn reconstructs women’s voice in ancient Chinese writings. Undoing the simplistic interpretation of the classical Japanese form<em< zuihitsu</em<, her restorative untranslation of the form makes connections between the discursive agency of ancient Asian women writers and contemporary women poets. Thus, Hahn’s translational writing reveals a poetics of “continental drift,” a poetics that calls attention to the necessity of reading Asian American literature in transnational and transcultural contexts.
abstractGer	In the context of the expanding discourse of transnational Asian American Studies, this essay studies Kimiko Hahn, particularly her engagement with East Asian traditions in her poetry, and shows how her work exemplifies a transcultural Asian American literature that requires reading beyond the domestic boundaries of the United States. Drawing on Walter Benjamin's and Gayatri Spivak’s translation studies, it examines how Hahn critiques the assimilationist representation of Asian women in translations of Asian texts such as Arthur Waley’s version of Lady Murasaki’s <em<The Tale of Genji</em<. It then reads how, based on her thoughts about literary translation, Hahn experiments with creative practices of “translation,” including a retranslation of Ezra Pound’s Chinese images and untranslation of <em<zuihitsu</em<. Rewriting Ezra Pound’s Chinese images, Hahn reconstructs women’s voice in ancient Chinese writings. Undoing the simplistic interpretation of the classical Japanese form<em< zuihitsu</em<, her restorative untranslation of the form makes connections between the discursive agency of ancient Asian women writers and contemporary women poets. Thus, Hahn’s translational writing reveals a poetics of “continental drift,” a poetics that calls attention to the necessity of reading Asian American literature in transnational and transcultural contexts.
abstract_unstemmed	In the context of the expanding discourse of transnational Asian American Studies, this essay studies Kimiko Hahn, particularly her engagement with East Asian traditions in her poetry, and shows how her work exemplifies a transcultural Asian American literature that requires reading beyond the domestic boundaries of the United States. Drawing on Walter Benjamin's and Gayatri Spivak’s translation studies, it examines how Hahn critiques the assimilationist representation of Asian women in translations of Asian texts such as Arthur Waley’s version of Lady Murasaki’s <em<The Tale of Genji</em<. It then reads how, based on her thoughts about literary translation, Hahn experiments with creative practices of “translation,” including a retranslation of Ezra Pound’s Chinese images and untranslation of <em<zuihitsu</em<. Rewriting Ezra Pound’s Chinese images, Hahn reconstructs women’s voice in ancient Chinese writings. Undoing the simplistic interpretation of the classical Japanese form<em< zuihitsu</em<, her restorative untranslation of the form makes connections between the discursive agency of ancient Asian women writers and contemporary women poets. Thus, Hahn’s translational writing reveals a poetics of “continental drift,” a poetics that calls attention to the necessity of reading Asian American literature in transnational and transcultural contexts.
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title_short	“Continental Drift”: Translation and Kimiko Hahn’s Transcultural Poetry
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