ABSTRACT
Written while working on her translation of Brossard’s Picture Theory, Godard’s journal entries show her reflecting on her own feminist praxis of translation, weaving semiotic, linguistic, and psychoanalytic terminology in her expansive approach to translation. Among other considerations, Godard examines the strengths and limitations of thinking through Benveniste’s categories of deixis for the purpose of articulating the feminist translator’s visibility in the target text. Most importantly, Godard shows how the pronominal positions of authorial “I,” readerly “you,” and the invisibilized translator “third person” are radically reconfigured when the work of translation is framed as dialogic rewriting rather than hierarchized transcription.
