ScholarWorks@경상국립대학교

초록

With the publication of her first collection of poems, A Change of World in 1951, Adrienne Rich began her poetic career by revising patriarchal notions of gender and sexuality as well as the signifying system that operates based upon white, Christian, and male-centered experiences. When her third collection, Snapshots of a Daughter-in-Law, received critical acclaim, she appeared to have achieved success, representing the new generation of women in the U.S.A. However, while making efforts to express the profound despair, anger, and frustration felt by common women oppressed by a patriarchal system, Rich felt herself still confined to traditional poetic forms and creative modes, including male-centered figures, symbols, and imagery. Then, a chance of living abroad with her husband Alfred Conrad in the Netherlands provided her with a turning point. While translating foreign poets sometimes faithfully, and sometimes adaptively, Rich could engage in spiritual dialogues with them and gain an urgent infusion of their surrealist creative modes, themes, and metaphors, thence resuscitating her dying creative self. This paper will pay special attention to the poetic trade between five Dutch poets and Rich, comparing the originals and her translations from the perspective of feminist translation studies. Specifically, it will analyze the implications of the differences between the two and also examine how her experience of translating with feminist consciousness provided necessary nutrition for Rich’s poetic growth in the 1970s and helped her develop a feminist creative mode.

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