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Early British Survey

  • Early British Literature
  • Gender and Sexuality
    • Key Terms on Queer Themes in the Middle Ages
      • Queer Torture in the Middle Ages and Beowulf
      • Queer Acceptance in the Middle Ages and Sir Gawain and The Green Knight
    • Eve: More Than Just the First Woman
      • Eve: A Rebel in Paradise
      • Eve: The First Queer Woman
    • Gendered Betrayal in Medieval Arthurian Myths
      • Forbidden Love’s Betrayal
      • Punishments of Treason
    • Magic and Femininity
      • Magic and Femininity in Sir Gawain and the Green Knight
      • Magic and Femininity in The Faerie Queene
    • Magic and Gender in Arthurian Romance Poetry
      • Magic and Gender in “Lanval”
      • Magic and Gender in “Sir Gawain and the Green Knight”
    • 50 Shades of Courtly Love
      • Dominator in Love and Life
      • The Hue of Female Power
    • Adultery in the Middle Ages
      • Adultery in “Lanval”
      • Adultery in “Sir Gawain and the Green Knight”
    • Representations Of Femininity In Morality Plays
      • Femininity In Everyman
      • Femininity In Doctor Faustus
    • Monsters and Women
      • BEOWULF AND GRENDELS’ MOTHER
      • Satan and Sin
  • Politics, Power, and Economics
    • Shifting of Political and Economic Structures
      • Feudalism in Gawain and the Green Knight
      • Paradise Lost and Tracing the Fall of Feudalism
    • Knighthood in the Middle Ages
      • knighthood in “Lanval”
      • Knighthood in “Sir Gawain and the Green Knight”
    • The Divine Right to Rule: Past Perceptions of Monarchy
      • Sir Gawain and the Green Knight: A Condescending Commentary on the Monarchy?
      • The Faerie Queene: Spenser’s Ode To Queen Elizabeth I
    • Chivalry & Identity in Early Brit Lit
      • Chivalry in Sir Gawain and the Green Knight: the Establishing of a Literary British Identity
      • Chivalry in the Faerie Queen: Continuing to Establish British Identity
  • Religion
    • GOD: Humanity’s Most Influential Literary Figure
      • My Pain, Your Pain, His Gain: What God Means to Margery Kempe and Julian of Norwich
      • Respect My Authority: How God Rules Over Creation in Everyman & Paradise Lost
    • Imitatio Christi: How Doctor Faustus and Everyman Mimic Jesus through Suffering
      • Imitatio Christi: How Antagonists Mimic Christ
      • Imitatio Christi: Satan as a Jesus Figure
    • Depictions of the Devil in British Literature
      • Faustus: To Laugh Is To Be Against Evil
      • The Devil As Sympathetic: Human Qualities in Paradise Lost
    • Representations of Hell
      • Hell in Beowulf
      • Paradise Lost’s Liquid Hell
    • Medieval Mysticism: A Space For Women’s Authority
      • Julian of Norwich
      • Margery Kempe
    • God, Literature, and Religious Denomination in a Changing Christendom
      • Mysticism and Miracle in Catholic Europe
      • The Reformation and the “Intellectualization” of God
  • Nature and Culture
    • The Environment from the Middle Ages to Early Modern Period
      • Environment in Paradise Lost
      • Environment in Sir Gawain and Utopia
    • Kissing in Medieval Literature- Brooke Zimmerle
      • Kissing in Sir Gawain and the Green Knight
      • Kissing in Margery Kempe
    • Medieval and Early Modern Feasts
      • Feasts in Sir Gawain
      • “Meals in common”: Utopian Dining
    • Ars Moriendi and the Early Modern Period
      • Authors’ Views on Ars Moriendi
      • Ars Moriendi in Everyman
    • Games Medievalists Play
      • Beowulf’s Game: Battle
      • Sir Gawain’s Game: A Courtly Dare
  • Literary Concerns
    • A Brief History of Allegorical Literature
      • Allegory in the Middle Ages
      • 16th vs. 21st Century Allegory
    • Allegory in the Middle Ages and the 18th Century
      • Allegory in Everyman- pg3
      • Allegory Defined
    • Female Readership in the Middle Ages
      • Parenting Through Books
      • Julian of Norwich
    • Heroes of Epic British Literature
      • Beowulf as a Hero
      • Satan as a Hero – Paradise Lost
    • The Role of the Translator
      • Fixers and Their Roles in Translations of Medieval Texts
      • Translations and How They Change the Meaning of Medieval Texts
    • The Self in 15th and 16th Century Dramatic Literature
      • The Self in Everyman
      • The Self in Faustus

Fixers and Their Roles in Translations of Medieval Texts

By: Lucy Mackintosh

A “fixer” is identified as “performing a range of duties in addition to interpretation and/or translation, acting as local informants, guides, negotiators and more” (Stahuljak, 147). They are essentially the person who is testing out whether a piece of writing works in terms of theme, being realistic, and asking questions of the morality of the work. Our concepts of translation do not allow for us to have an idea of who the translator is, but thanks to the fixer, we almost get an autobiography of who a person is through their translational choices, mechanisms, and linguistic styles (148-149). The fixer guides works through political or social ideologies of the time, and as we see it today, acting as the first account of historical events.

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Fixers are not the same thing as a translator, mainly because they have a certain ethic, or “fidelity,” that they need to uphold in their translations and transcriptions. They are historians and sociologists and journalists. Fixers are vital to what we know about history through literature; medieval literature can tell us the attitudes of religion, families, morality, and politics, among other things, in the time that the literature was written, and thanks to the mediators like fixers, we can know what life was like back in the Middle Ages and we can see a lot of commonalities to our lives today.

Source
The first page of Beowulf, currently housed in the British Museum

They are also the reason that texts like Beowulf are able to survive historically for as long as they do. Beowulf consists of a cast of characters from throughout northern Europe and shows examples of nationalism and semi-realistic historical events; references to certain parts of the Bible, names of locations, and relationships between families in this text are all ways in which the time period that it was written is able to be pointed out assumed to be between the 8th and 10th centuries (Norton Anth., 38). Beowulf was the remaining work in a library fire, and it is our only link to Saxon literature from the time, and so the smallest details from it can tell us a significant amount about how people may have written then, who it was for, what they believed in, etc.

Further Reading

Original Beowulf manuscript

More reading on the history of British literature here

The Role of the Translator
Translations and How They Change the Meaning of Medieval Texts

Works Cited

Greenblatt, Stephen, editor. The Norton Anthology of English Literature. 10th ed., Vol. A, W.W. Norton, 2018.

“The Linguistics and Literary Contexts of Beowulf.” The Norton Anthology of English Literature: The Middle Ages: Topic 4: Overview, https://wwnorton.com/college/english/nael/middleages/topic_4/welcome.htm.

Stahuljak, Zrinka. “Medieval Fixers: Politics of Interpreting in Western Historiography.” Rethinking Medieval Translation: Ethics, Politics, Theory, edited by Emma Campbell and Robert Mills, Boydell and Brewer, 2012, pp. 147–163. JSTOR, www.jstor.org/stable/10.7722/j.ctt1x73qw.13.

Note: all info on “Fixers” comes from Stahuljak, even if not cited in text.

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