This study analyses different translations of the science fiction short story “Shōjo” by Mariko Ōhara, aiming to highlight the varied approaches taken in addressing the "other" and the "self" in the translation process. During the cultural turn of the 1970s, it was established that translation requires a displacement of the self to make room for the other, even if that displacement is temporary. In this context, feminist translation studies argue that no translation is isolated or devoid of ideology, thus translators can use feminist theories to choose what to translate and how to translate.

First published in SF Magazine in 1984 and later included in the collection Mental Female, “Shōjo” explores the complex relationships between Jill, a male dancer with feminine characteristics, the alien prostitute Kisa, and his roommate Remora. Comparing excerpts from two translations, one intended for official publication in English, which exhibits no explicit interference from the translator, and another produced in an academic context in Brazilian Portuguese, employing feminist translation theories and a clear ideological stance — this study examines how each approach conveys the “other” and the “self” in the translation process. Despite the differences in target languages, each translations employs a variety of strategies for each one to bring out similar meanings.

The comparison reveals the differing positions adopted by the translators and how they either highlight or obscure the "other" — whether it is the author of the story, the context in which it originated, or the alien environment depicted in the narrative.

The official translation, despite showing clear traces of the translator’s influence, tends to silence the other. In contrast, the academic translation seeks to balance the translator's voice with that of the other through conscious interventions, thereby fostering a transcultural dialogue.

In the Anthropocene, life seems to have lost its sacred value. Connections with other forms of life as well as with other human beings seem broken. Jacques Derrida in “Politics of Friendship” (1993) observes that political history is based on the figure of the enemy and thereby frontiers were established. To counteract this tendency, Derrida proposes the notion of friendship, drawing on Aristotle’s definition of this relationship, that is founded on virtue. A friend is someone capable of loving, rather than being loved. To develop virtues is a difficult task, so Derrida considers that humanity is not yet prepared (p.388).

Similarly, but with a strong conviction in human potential, peacebuilder Daisaku Ikeda encourages young people—who possess “a fresh sensitivity and a passionate seeking for ideals”—to create a “tide of friendship” (Ikeda, 2017) as a mean of transforming society. The emphasis is placed on becoming a good friend and fostering a “deep appreciation” (2017) of the Other. Ikeda’s confidence in this approach is rooted in the Buddhist concept of happiness which aligns with a Thai saying: “Real happiness makes people joyful and fills them with wisdom and compassion”. Becoming a good friend may help achieve this deep form of happiness.

The Japanese literary writer, Dazai Osamu, appears to have been interested in fostering these ideals when he wrote the short story "Run, Melos", an adaptation of the Greek myth of Damon and Pythias. The plot is developed around Melos, a young man condemned to death by the king, who is granted a brief reprieve to attend to matters outside the city. A close friend accepted to take his place and would be executed in case Melos failed to return. Despite severe obstacles, Melos could fulfill his promise, and the king, moved by the loyalty of the two friends, released them both.

Another example can be found in Naruto by Nasashi Kishimoto, a globally popular Japanese manga whose protagonist is deeply committed to creating bonds with others and strives to be virtuous. The successful dissemination of this manga allows us to verify the interest of young audiences in narratives that convey moral values.

Literature texts, according to another philosopher, Jacques Ranciére (2004), have a political effect. Literary signs -which are the core of a literary work- hold the potential to awaken a new conscience. The mentioned stories by Dazai Osamu and Masashi Kishimoto, which have been translated into many languages, contribute to the promotion of a “politics of friendship” in the world. Through such literature, children may develop into citizens who advocate for peace while also, according to Buddhist Humanism, cultivate wisdom and the capacity for developing a happier life.

This study analyzes the process and effects of translating the tanka of Ishikawa Takuboku (1886-1912) into Portuguese, highlighting the dynamics and implications of a collaboratively/cooperatively conducted translation. The translation in question, Tankas (1985), was carried out by two authors with markedly distinct trajectories: Masuo Yamaki (?-?), a Japanese-Brazilian who undertook a more literal rendering of Takuboku’s works, and Paulo Colina (1950-1999), an Afro-Brazilian poet and activist of the Brazilian Black Movement (Movimento Negro), who adapted Yamaki’s more “faithful” translations to his own aesthetic and poetic sensibilities. The translated tanka were selected and compiled mainly from two of Takuboku’s works: Ichiaku no suna (1910) and Kanashiki gangu (1912). Takuboku is widely recognized for crafting poetry that, with remarkable sensitivity, bridges the everyday reality of Japanese people with poetic expression. His poems explore daily life through an uncommon perspective for his time. Additionally, his works often reflect political engagement with the issues of his era, adding layers of complexity to the genre.

Regarding the translators, limited biographical information is available about Masuo Yamaki beyond what can be inferred from his published translations. Yamaki appears to have been a Japanese-Brazilian literary enthusiast who pursued translation alongside a professional career, dedicating himself to rendering Japanese works into Portuguese and vice versa. Paulo Colina, on the other hand, was a prominent figure in Brazilian literature, particularly within its Afro-diasporic segment. Co-founder of Quilombhoje (1980), a pioneering initiative dedicated to the consolidation and publication of literature by Black Brazilian authors, Colina also contributed to the early editions of Black notebooks (Cadernos negros, 1978-), a foundational journal of Brazilian peripheral literature. His involvement in Takuboku’s translation project reveals a unique cultural dialogue, where the works of the Japanese poet are reinterpreted within a context marked by the struggle for visibility and identity affirmation in Brazil.

The primary aim of this study is to investigate the translation process of Takuboku’s poems, which unfolds through the mediation of two distinct cultural agents, exploring the potential of dialogic translation in such contexts. This approach to translation not only reflects cultural tensions but also opens pathways for new forms of cultural interaction, emphasizing the potential to build bridges in situations of exclusion and invisibility. Thus, this study seeks to contribute to discussions on translation as a space of resistance, exchange, and cultural transformation.