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This paper focuses on the use of translation as an integral part of a postcolonisal literary critical project and takes Radwa Ashour's approach to translation in the book titled At-Tabi\" Yanhad: Ar-Riwayah fi Gharb Afriqia [The Follower Rises: The Novel in West Africa] (1980/2016) as a case in point. On the one hand, the paper examines Radwa Ashour's \"voice\" as a \"translator\" of the entire body of extracts cited in the study. The analysis is framed by Theo Herman's views (2014) that translations are by nature ironic and do not establish immediate mimetic relationships with the source, which entails that committed translators do have a stance that they express. It is the role of the informed reader to elicit the positioning of the translator/ critic. The research also adopts a broader view of the work that counts as translation based on Pascal Cassanova's (2010) affirmation that translational transactions include introductions and critical works that combine commentary/ criticism and translation of full works/ extracts. As such, the paper proposes that Ashour acted both as critic and translator and in this capacity devised an approach termed as \"critical selectivityř particularly marked with comparison and commentary. It was through this approach that her \"voice\" is communicated explicitly and implicitly to the reader who interprets it. On the other hand, the paper examines Ashour's position on the linguistic dilemma faced by writers from Africa post-independence due to the local/ international dichotomy and the related issue of asserting identity versus wider readership and acclaim when writing in a \"dominating language\" (Cassanova, 2010) such as English or French. The paper argues that in engaging with such issues and in producing this study in Arabic, Ashour was a pioneer in introducing translational strategies invoking postcolonial concerns with the issue of language and its connections to identity politics.

This article addresses two works written by a Saudi woman novelist, Girls of Riyadh by Rajaa Sanea. The work represents a unique position in the field of the translation of literature because it is in part self-translation while involving the collaboration of a translator as well. Sanea's text, however, started as a translation by Marilyn Booth but the translation was later revisited by the author who made major changes herself. The activity of the translation led to the construction of two narratives related to the production of a text in English. The article will not address the process of translation by embarking on textual comparison between the Arabic and the English versions, but will rather deal with translation as a product and hence focus on cultural issues (Peter Conner 427) and on the nature of the encounter of author as translator and translator as author. The article will discuss the experience of self-translation/ co-translation in the two novels in terms of the framing of the translation via paratextual and extratextual elements. It explores the impact of prefaces, afterwards, glossaries, and footnotes, on the one hand, and the role of interviews with authors/ translators or explanatory/ critical articles by translators with respect to the reception of this ,,bilingual\" text (using the term of Hokenson and Munson in The bilingual text: history and theory of literary self-translation). The second element explored is the influence of the involvement of the original author in translation and the extent to which the involvement of the self in translation arises from a desire to ,,have a say\"/ a ,,voice\" in the translation compared to surrendering oneself completely to a translator who could be driven by a different set of norms for translation. Finally, the article examines the impact of the nature of the relationship between author and translator on the reception of the final product and its crossing to the other language/ culture.

The main focus of this paper is to explore the narrative techniques Toni Morrison employs in constructing her novels. Morrison builds up her stories to reveal the quest for a distinct cultural identity. Richness of Toni Morrison's fiction is achieved through various aesthetic components including narrative techniques. These techniques shape the narrative style, narrative situation, the narrators, the focalization, order of events, tense, and other elements. The study aims to describe how such techniques which make up Toni Morrison's narrative world are handled in the translation from English into Arabic. It aims to identify and investigate the different challenges translators encounter when translating narrative techniques in the novels of Toni Morrison, with particular reference to The Bluest Eye, translated by Kamel Yusef Hussein, and Beloved translated by Amin Alayouti. The paper also attempts to show the various translation strategies the translators have adopted in their attempt to reproduce the narrative techniques used in the novels.