This article advances the notion of translatophilia, defined as the fetishisation of translation in hypercorrection of its perceived marginalisation. Using how Translation Studies scholars have engaged with the copyright regime in postpositivist fashion as a case in point, it argues that in the course of resisting structuralist notions of originality and authorship, Translation Studies has ironically come to fetishise its object of study as the privileged site of a new individuality and personality – romantic myths it initially set out to dispel. In light of the recent ‘outward turn’ in Translation Studies, the article identifies sources of anxiety in the field that have pushed it toward extreme theorisation. It proposes that before Translation Studies makes its outward turn, it is pertinent for it to first turn inward to combat its translatophiliac tendencies.
- 1.The “new Age of Translation”
- 2.Postpositivist perspectives on translation
- 3.“The translator is and is not an author”
- 4.The language fetish
- 5.The romantic conception of translatorship
- 6.De-fetishising translation
Berne Convention for the Protection of Literary and Artistic Works (Paris Act 1971, as amended 1979)