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Chamberlain gender translation
Literature (University of Calabar)
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Gender and the Metaphorics of Translation
Author(s): Lori Chamberlain
Source: Signs , Spring, 1988, Vol. 13, No. 3 (Spring, 1988), pp. 454-472
Published by: The University of Chicago Press
Stable URL: http://www.jstor.com/stable/3174168
REFERENCES
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http://www.jstor.com/stable/3174168?seq=1&cid=pdf-
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GENDER AND THE METAPHORICS
OF TRANSLATION
LORI CHAMBERLAIN
In a letter to the nineteenth-century violinist Joseph Joachim, Clara
Schumann declares, "Bin ich auch nicht producierend, so doch
reproducierend" (Even if I am not a creative artist, still I am re-
creating).' While she played an enormously important role repro-
ducing her husband's works, both in concert and later in preparing
editions of his work, she was also a composer in her own right; yet
until recently, historians have focused on only one composer in this
family. Indeed, as feminist scholarship has amply demonstrated,
conventional representations of women-whether artistic, social,
economic, or political-have been guided by a cultural ambivalence
about the possibility of a woman artist and about the status of wom-
an's "work." In the case of Clara Schumann, it is ironic that one of
I want to acknowledge and thank the many friends whose conversations with
me have helped me clarify my thinking on the subject of this essay: Nancy Armstrong,
Michael Davidson, Page duBois, Julie Hemker, Stephanie Jed, Susan Kirkpatrick,
and Kathryn Shevelow.
Joseph Joachim, Briefe von und an Joseph Joachim, ed. Johannes Joachim and
Andreas Moser, 3 vols. (Berlin: Julius Bard, 1911-13), 2:86; cited in Nancy B. Reich,
Clara Schumann: The Artist and the Woman (Ithaca, N.Y.: Cornell University Press,
1985), 320; the translation is Reich's. See the chapter entitled "Clara Schumann as
Composer and Editor," 225-57.
[Signs: Journal of Women in Culture and Society 1988, vol. 13, no. 3]
?1988 by The University of Chicago. All rights reserved. 0097-9740/88/1303-0011$01.00
454
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160.97.80.2 on Sun, 22 Aug 2021 19:42:07 UTC
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Downloaded by James Muchangi ()
Chamberlain gender translation
Literature (University of Calabar)
Scan to open on Studocu
Studocu is not sponsored or endorsed by any college or university
Downloaded by James Muchangi ()
, lOMoARcPSD|40079836
Gender and the Metaphorics of Translation
Author(s): Lori Chamberlain
Source: Signs , Spring, 1988, Vol. 13, No. 3 (Spring, 1988), pp. 454-472
Published by: The University of Chicago Press
Stable URL: http://www.jstor.com/stable/3174168
REFERENCES
Linked references are available on JSTOR for this article:
http://www.jstor.com/stable/3174168?seq=1&cid=pdf-
reference#references_tab_contents
You may need to log in to JSTOR to access the linked references.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide
range of content in a trusted digital archive. We use information technology and tools to increase productivity and
facilitate new forms of scholarship. For more information about JSTOR, please contact .
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at
https://about.jstor.org/terms
The University of Chicago Press is collaborating with JSTOR to digitize, preserve and extend
access to Signs
This content downloaded from
160.97.80.2 on Sun, 22 Aug 2021 19:42:07 UTC
, lOMoARcPSD|40079836
GENDER AND THE METAPHORICS
OF TRANSLATION
LORI CHAMBERLAIN
In a letter to the nineteenth-century violinist Joseph Joachim, Clara
Schumann declares, "Bin ich auch nicht producierend, so doch
reproducierend" (Even if I am not a creative artist, still I am re-
creating).' While she played an enormously important role repro-
ducing her husband's works, both in concert and later in preparing
editions of his work, she was also a composer in her own right; yet
until recently, historians have focused on only one composer in this
family. Indeed, as feminist scholarship has amply demonstrated,
conventional representations of women-whether artistic, social,
economic, or political-have been guided by a cultural ambivalence
about the possibility of a woman artist and about the status of wom-
an's "work." In the case of Clara Schumann, it is ironic that one of
I want to acknowledge and thank the many friends whose conversations with
me have helped me clarify my thinking on the subject of this essay: Nancy Armstrong,
Michael Davidson, Page duBois, Julie Hemker, Stephanie Jed, Susan Kirkpatrick,
and Kathryn Shevelow.
Joseph Joachim, Briefe von und an Joseph Joachim, ed. Johannes Joachim and
Andreas Moser, 3 vols. (Berlin: Julius Bard, 1911-13), 2:86; cited in Nancy B. Reich,
Clara Schumann: The Artist and the Woman (Ithaca, N.Y.: Cornell University Press,
1985), 320; the translation is Reich's. See the chapter entitled "Clara Schumann as
Composer and Editor," 225-57.
[Signs: Journal of Women in Culture and Society 1988, vol. 13, no. 3]
?1988 by The University of Chicago. All rights reserved. 0097-9740/88/1303-0011$01.00
454
This content downloaded from
160.97.80.2 on Sun, 22 Aug 2021 19:42:07 UTC
All use subject to https://about.jstor.org/terms
Downloaded by James Muchangi ()
