Using and abusing gender in translation: the case of Virginia Woolf's "A room of one's own"
Bibliographic record
Abstract
catalaAquest article es part d�una recerca basada en corpus sobre el genere en traduccio, adrecada a la recerca sobre l�us i l�abus del genere en la traduccio literaria entre l�angles i l�italia. Partint de les teories feministes de la llengua i la traduccio i les practiques feministes en la traduccio, la nostra intencio es mostrar la manipulacio del genere en traduccio amb l�objectiu de definir estrategies de traduccio feministes. Traduir un text feminista no implica necessariament que la persona que tradueix sigui feminista. D�altra banda, a Italia, en comparacio a d�altres paisos com el Canada o Espanya, es molt dificil de trobar casos de traductors feministes declarats. Ens interessa, per tant, classificar determinades estrategies com a feministes i observar si tenen lloc en el corpus de textos que analitzem. La segona part de l�article se centra en el primer exemple del nostre estudi: A Room of One�s Own, de Virginia Woolf, i tres de les traduccions que se n�han publicat en el context italia. EnglishThis paper is part of a corpus-based research on gender in translation aimed at showing how gender is used and/or abused in the translation of literary texts from English into Italian. Drawing upon feminist theories of language and translation and feminist practices in translation, it is our intention to show how gender is manipulated in translation in an attempt to define feminist translation strategies. Translating a feminist text does not necessarily imply that the translator working on that text is a feminist. In Italy, moreover, it is very hard to find cases of declared feminist translators as compared to other countries, such as Canada or Spain for instance. Our interest, therefore, lies in the possibility to frame specific strategies as feminist and to see if in the corpus of texts we are analyzing they are carried out or not. The second part of the essay focuses on the first example of our study: Virginia Woolf�s A Room of One�s Own and three of the translations that have been published in the Italian context.
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.006 | 0.015 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.002 |
| Science and technology studies | 0.026 | 0.019 |
| Scholarly communication | 0.013 | 0.006 |
| Open science | 0.002 | 0.006 |
| Research integrity | 0.006 | 0.006 |
| Insufficient payload (model declined to judge) | 0.007 | 0.001 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".