Sydney Schiff, a wealthy patron of the arts, who after Scott Moncrieff’s death translated Le Temps retrouvé under the pseudonym Stephen Hudson, was – Emily Eells tells us in her chapter on Schiff and Proust – not much better at French than Virginia Woolf. He misread tenture (wallpaper) as curtains. Tenture can mean curtains or drapes, but not in the context of the opening sentence of Time Regained, and context, as teachers try to get their students to understand, is everything. English-speaking readers of Proust can only be grateful that Penguin Books have ensured that Ian Patterson’s excellent version of the closing volume of La Recherche has rendered Hudson’s obsolete. Ford Maddox Ford, on the other hand – Max Saunders informs us – knew French perfectly, thanks to his father and grandfather. Ford was a close friend and collaborator of Joseph Conrad for whom, as a member of the Polish nobility, French was a second mother tongue. He and Ford debated endlessly the finer points of translation from French into English. ‘In one bravura example, [Ford] devotes seven pages . . . to the question of how best to translate just one sentence – the opening one – of “Un cœur simple”, the first of Flaubert’s Trois Contes’ (pp. 53–4). Other excellent essays in this collection focus on Joyce, whose Portrait of the Artist as a Young Man frees the artist to ‘leave Ireland – and . . . then really return’ (p. 150); on the influential film journal Close Up (1927–33) which (p. 167) ‘looked to European models for British film and culture to follow’ (in that respect a precursor of the late Thomas Elsässer’s equally influential Monogram, 1971–5); and on Virginia Woolf’s meditation on the widely shared belief that the sound of British guns bombarding German trenches in Flanders could be heard from the top of the South Downs, like ‘nocturnal women beating great carpets’ (p. 219).

中文翻译：

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书评：Edoardo Campanella 和 Marta Dassù：盎格鲁怀旧之情：破碎的西部中的情感政治

悉尼·希夫 (Sydney Schiff) 是一位富有的艺术赞助人，在斯科特·蒙克里夫 (Scott Moncrieff) 去世后，她以史蒂芬·哈德森 (Stephen Hudson) 的笔名翻译了 Le Temps retrouvé，艾米丽·埃尔斯 (Emily Eells) 在她关于希夫 (Schiff) 和普鲁斯特 (Proust) 的章节中告诉我们，法语并不比弗吉尼亚·伍尔夫 (Virginia Woolf) 好多少。他将tenture（墙纸）误读为窗帘。Tenture 可能意味着窗帘或窗帘，但不是在 Time Regained 的开场白的上下文中，而上下文，正如教师试图让学生理解一样，就是一切。普鲁斯特的英语读者只能感谢企鹅图书公司确保伊恩帕特森的《现实世界》的结尾卷的优秀版本已经使哈德森的过时。另一方面，福特马多克斯福特——马克斯桑德斯告诉我们——非常了解法语，这要归功于他的父亲和祖父。福特是约瑟夫康拉德的密友和合作者，作为波兰贵族的一员，法语是他的第二母语。他和福特就从法语翻译成英语的细节问题进行了无休止的争论。'在一个勇敢的例子中，[福特] 写了七页。. . 关于如何最好地翻译“Un cœur simple”中的一个句子——开篇——的问题，这是福楼拜的三重奏的第一句（第53-4页）。该系列中的其他优秀论文集中在乔伊斯身上，他的《年轻时的艺术家肖像》让这位艺术家得以“离开爱尔兰——以及”。. . 然后真正返回'（第150页）；在有影响力的电影杂志 Close Up (1927–33) 上（第 167 页）“期待英国电影和文化的欧洲模式效仿”（在这方面，已故的 Thomas Elsässer 同样有影响力的 Monogram，1971–5 的前身） ;