To date, translation theory offers no satisfactory response to the multidimensional challenge of rerendering postmodern texts. As the existence of linguistic and cultural plurality in these writings is now widely acknowledged, many theorists recognise the impossibility of achieving complete equivalence in translation. If the fragmented, decentred, postmodern source text (ST) is to be rerendered in the target language (TL), a process of 'rewriting' is deemed necessary. Nevertheless, such an approach, if taken too far, may not always be the most appropriate. Focusing on the French journalist and novelist Claude Sarraute, whose postmodern writings offer a suitable body of texts for study, this book seeks to determine effective means by which the translator can first read and analyse postmodern STs and subsequently preserve their intricacies in the TL. To provide an original response to this challenge grounded in both theoretical and practical evidence, the author refers to the work of the Bakhtin Circle; concepts from literary theory, stylistics and translation theory; and translations of a body of texts as variegated in character as those of Sarraute. Using the approach which she recommends, the author then explains how she rerenders in English a collection of Sarraute's polyphonic writings.

Subtitling films in another language becomes especially complex when the original language deviates from its standard form. Films that feature non-standard pronunciation, dialects or other varieties of language, especially when juxtaposed with more standard uses, are said to display "linguistic variation". As language use is central to characters' identities and to a film's plot, it is essential to retain the source language (SL) specificity as fully as possible in the target language (TL) subtitles so the target audience can experience the film as authentically as possible. Given its considerable difficulty, subtitling in this manner is often advised against, avoided or, when attempted, subjected to considerable criticism. This book focuses on a collection of British and French films selected for the range of approaches that they adopt in portraying linguistic variation. Each chapter explores the challenges posed by the subtitling of such linguistic difference in the given films and the corresponding solutions offered by their subtitlers. Drawing on these findings and referring to contemporary thinking in the field of translation studies, this book argues that with insight and skill, linguistic variation can be preserved in film subtitles.