tag:blogger.com,1999:blog-79396952489215936372024-02-08T04:53:56.824+01:00Self-translationEverything on Self-translation/ Autotraduction/Autotraducción/Autotraduzione/Selbstübersetzung
Welcome to my blog ! My name is Eva Gentes and I am a Postdoc researcher in Germany. My main research area is self-translation. My PhD dissertation discusses the (in)visibility of self-translation in contemporary literature in Romance Languages. I am currently looking for a Postdoc position / research fellowship in Comparative Literature or Translation Studies. Get in touch: eva.gentes[at]gmail.comEva Genteshttp://www.blogger.com/profile/14419904591999204097noreply@blogger.comBlogger432125tag:blogger.com,1999:blog-7939695248921593637.post-64705135163495831122024-01-17T19:25:00.003+01:002024-01-17T19:25:44.460+01:00Panel discussion: Translating a self-translation: Epic Annette 8th February<p><i><b>Epic Annette: Podium Discussion with Anne Weber (German-French self-translator) and Tess Lewis (translator of the novel into English), </b></i><b><i>organised by </i></b><b><i>Hannah Scheithauer (</i></b><b><i>Queen’s DPhil candidate in French & German) </i></b></p><p>Thursday, 8th February, 5-7pm, Shulman Auditorium, The Queen’s College in Oxford, England</p><p>Registration free but essential: <a href="https://www.queens.ox.ac.uk/blog/epic-annette-an-evening-of-translation-and-resistance-at-queens/">https://www.queens.ox.ac.uk/blog/epic-annette-an-evening-of-translation-and-resistance-at-queens/</a></p><p>Having grown up in Germany and later settled in France, Anne Weber is an author and translator whose work reaches across two distinct cultural contexts and linguistic traditions. Weber consistently completes both a French and a German version of her writings, engaging in practices of self-translation which maximise the creative potential of her two languages of expression. The stakes of translation, in this context, go far beyond the purely linguistic, as they necessitate an acute awareness to questions of history, memory, and cultural identity. This is aptly illustrated by her latest work. Published in 2020 and titled Annette, ein Heldinnenepos in German, Annette, une épopée in French, it retraces the life of a heroine of the French resistance, who came to fight for Algerian independence in the post-war era. Using a verse form inspired by ancient epic, Weber thus addresses the contested place of colonialism in French national memory. At the same time, the work speaks to distinctively German debates on the singular status of the Holocaust in the country’s memory culture and its relationship to other – and most notably, colonial – histories of violence.</p><p>The text was translated into English by Tess Lewis and published as <i>Epic Annette: A Heroine’s Tale</i> by Indigo Press in 2022. Having already won a PEN Translates Award for her skilful translation of the text’s unique form and style, Lewis has recently been shortlisted for the Schlegel-Tieck Prize, which will be awarded in February 2024. Lewis is an accomplished writer and translator from both French and German, with previous translation projects including a range of authors such as Peter Handke, Walter Benjamin, Montaigne, Lutz Seiler, Hans Magnus Enzensberger, and Christine Angot.</p><p>During the podium event, Weber and Lewis will discuss their work on the text, the relationship of translation and literary creation, and the challenges of conveying a complex and sensitive story to audiences with vastly different backgrounds, insights, and expectations. Their conversation will be followed by an audience Q&A and a drinks reception.</p><p>To sign up, please visit: <a href="https://www.queens.ox.ac.uk/blog/epic-annette-an-evening-of-translation-and-resistance-at-queens/ ">https://www.queens.ox.ac.uk/blog/epic-annette-an-evening-of-translation-and-resistance-at-queens/ </a></p>Eva Genteshttp://www.blogger.com/profile/14419904591999204097noreply@blogger.com0tag:blogger.com,1999:blog-7939695248921593637.post-38880757224687634252024-01-15T20:36:00.006+01:002024-01-15T20:36:54.244+01:00Self-translation panel at the London Book Fair (12th March 2024)<p>Self-translation will be a panel topic at the London Book Fair on Tuesday, 12th March 2024,13:15 - 14:00. The panel "Writing the Same Text Twice? Bilingual Poets and Self-translation" will take place at Literary Translation Centre, Panelists are:<br /></p><ul style="text-align: left;"><li>Astrid Alben (Dutch-English)<br /></li><li>Beatriz Chivite (Basque-Spanish)</li><li>Iestyn Tyne (Welsh-English)</li><li>Alexandra Büchler (chair)<br /><br /></li></ul><div>Announcement:<br />Self-translation is a way forward for bilingual authors writing in less translated languages who want to reach a wider audience in a range of markets. It may also give them a chance to approach a text from another cultural and linguistic perspective, rethink and reshape it, producing an authoritative second language version or a second ‘original’. Poets bilingual in Basque, Dutch, English, Spanish and Welsh discuss the processes, challenges and rewards of having the capacity to write in two or more languages and translate one’s own work.</div><div><br /></div><div>More information and bio of the panelists:<br /><a href="https://www.londonbookfair.co.uk/en-gb/whats-on/seminar-programme/programme/session-details.3614.214541.writing-the-same-text-twice-bilingual-poets-and-self_translation.html">https://www.londonbookfair.co.uk/en-gb/whats-on/seminar-programme/programme/session-details.3614.214541.writing-the-same-text-twice-bilingual-poets-and-self_translation.html</a> </div><p></p>Eva Genteshttp://www.blogger.com/profile/14419904591999204097noreply@blogger.com0tag:blogger.com,1999:blog-7939695248921593637.post-25002599275049416222023-09-23T15:02:00.000+02:002023-09-23T15:02:41.142+02:00New edited volume: "Creación, traducción, autotraducción"<p>The volume <i>Creación, traducción, autotraducción</i>, edited by Olga Anokhina y Aurelia Arcocha has recently been published. It focuses on self-translation in Spain.<br /><br />Access to the content overview: <a href="https://www.iberoamericana-vervuert.es/indices/indice_R213584.pdf">https://www.iberoamericana-vervuert.es/indices/indice_R213584.pdf</a> </p><p>Read the introduction: <a href="https://www.iberoamericana-vervuert.es/introducciones/introduccion_R213584.pdf">https://www.iberoamericana-vervuert.es/introducciones/introduccion_R213584.pdf</a></p><p>More information: <a href="https://www.iberoamericana-vervuert.es/FichaLibro.aspx?P1=213584">https://www.iberoamericana-vervuert.es/FichaLibro.aspx?P1=213584</a> </p>Eva Genteshttp://www.blogger.com/profile/14419904591999204097noreply@blogger.com0tag:blogger.com,1999:blog-7939695248921593637.post-72990093505358539212023-08-25T12:47:00.004+02:002023-08-25T12:49:05.883+02:00Conference: Literary Self-Translation and its Metadiscourse, Power Relations in Postcolonial Contexts, Liège, Belgium, 26-27 October 2023<div>I feel honored to be on the scientific board for this exciting upcoming conference in Belgium. All information can be found on <a href="https://www.cirti.uliege.be/cms/c_10745974/fr/cirti-literary-self-translation-and-its-metadiscourse">the conference homepage</a>.<br /><br /></div><u>Thursday 26 October 2023
</u><br />9:30-10:00 Welcome and Conference Opening: Núria Codina, Maud Gonne, Marie Herbillon,
Reine Meylaerts, Myriam-Naomi Walburg
<br />10:00-11:00 Keynote Lecture by Rachael Gilmour (Queen Mary University of London) <br />11:30-13:00 Panel 1: <b>Self-Translation as Multilingual Writing in Postcolonial Contexts
</b><br /><ul style="text-align: left;"><li>Trish Van Bolderen: “Wasting Away: How ‘Waste’ Represents Fertile Ground for
Understanding Writers’ Attitudes about Self-Translation”
</li><li>Ai-Ling Lu (The Ohio State University): “Renegotiating Ethnic Identity Through
Linguistic Hybridity and Self-Translation: A Case Study of a Taiwanese Amis Poet,
Adaw Palaf”
</li><li>Ovio Olaru (Lucian Blaga University of Sibiu): “Self-Othering the Roma”
</li></ul> 14:00-15:30 Panel 2: <b>Self-Translation, Bilingualism and Linguistic Minorities </b><div><ul style="text-align: left;"><li> Laura Kennedy (Queen’s University Belfast): “Self-translation through Literary Dubbing
in Tsitsi Dangaremba’s Nervous Conditions”
</li><li>Peter D. Mathews (Hanyang University): "From Woolf to Fox: Literary Self-Translation
and Contemporary Australian Fiction"
</li><li>Mirna Sindičić Sabljo (University of Zadar): “Self-translation in the Bilingual Work of
Joséphine Bacon” </li></ul></div><div>16:00-17:00 Panel 3: <b>Self-Translation as Retranslation: Political and Linguistic
Implications </b></div><div><ul style="text-align: left;"><li>Prabhat Kumar (Indira Gandhi National Open University New Delhi): “Selftranslation as a Protest against Indifferent Translation” </li><li>Maria Chiorean (Lucian Blaga University of Sibiu): The Metabolization of
Anticolonial Themes in Sorley MacLean's Translated and Self-Translated Poetry:
Between Political Critique, Assimilation and 'Exotic' Selfishness" </li></ul></div><div>17:00-18:30 Panel 4: <b>Linguistic Migration, Memory and the Politics of Language </b></div><div><ul style="text-align: left;"><li>Delphine Munos (University of Liège): “‘Mal vu, mal dit’: ars memoriae and Selftranslation in Jhumpa Lahiri’s Work” </li><li>Eralda L. Lameborshi (Texas A&M University): “The Dialectic of Self-Translation:
Gëzim Hajdari’s Linguistic Migration and Double Language” </li><li>Ouyang Yu (Independent scholar and author): “Self-translating Moon over
Melbourne and Other Poems and The Angry Wu Zili” </li></ul></div><div><u>Friday 27 October 2023 </u></div><div>9:30-10:30 Keynote by Gillian Lane-Mercier (McGill University) </div><div>10:45-12:15 Panel 5: <b>Power Relations and Self-Translation in Sinophone Contexts </b></div><div><ul style="text-align: left;"><li>Lara Maconi (East Asian Civilisations Research Centre, Paris): “Tibetan Variations in
Self-Translation. Diglossia, Cultural Belonging and Reinventing the Self in Tibetan
Contemporary Literature” </li><li>Xin Wei (The Chinese University of Hong Kong): “Self-Translation as a Voice of the
Other: Pema Tseden’s Sinophone Stories and Films” </li><li>Xinran Di (Beijing Foreign Studies University): “Self-Translation as Self-Consecration
or Self-Illusion? : A Sociological Glance at Eileen Chang” </li></ul></div><div>13:15-14:45 Panel 6: <b>(Self)-Censorship and Erasure in Practices of Self-Translation</b> </div><div><ul style="text-align: left;"><li>Georgina Fooks (University of Oxford): “No Mother Tongue? Self-Translation and
Alejandra Pizarnik’s Translingual Poetics” </li><li>Oleksandr Kalnychenko (V. N. Karazin Kharkiv National University) and Natalia
Kamovnikova (Matej Bel University): “Oleksandr Finkel’s Self-Translation: 1929 and
1962 Papers Compared” </li><li>Ilya Skokleenko (Vrije Universiteit Brussel): "On the Independence of Ukraine: Russian
(Neo-Colonialism in Joseph Brodsky's (Not) Self-Translated Poetry". </li></ul></div><div>14:45 - 15:45 Panel 7: <b>Self-Translation as Self-Fashioning and Self-Exoticization </b></div><div><ul style="text-align: left;"><li>Rainier Grutman (University of Ottawa): “Self-Translating in and for Abya Yala” </li><li>Sare Rabia Öztürk (Boğaziçi University): “The Bilingual Website as a Site of SelfTranslation for Literary Celebrity: The Case of Elif Shafak”
1</li></ul></div><div>16:15 - 17:45 Panel 8: <b>The Impact of Self-translation on Reception and Circulation </b></div><div><ul style="text-align: left;"><li>Snejana Ung (Lucian Blaga University of Sibiu): “Self-Translating from Serbo-Croatian
in a Post-Yugoslav Context: The Case of Lana Bastašić’s Catch the Rabbit (2021)” </li><li>Max Hidalgo Nácher (Universitat de Barcelona/ École Normale Supérieure): “Haroldo de
Campos et les politiques de la littérature” </li><li>Fransiska Louwagie (University of Aberdeen): “Self-Translation and literary reception in
the works of Ouyang Yu and Raymond Federman” </li></ul></div><div>17: 45 – 18:15 Closing remarks: Núria Codina, Maud Gonne, Marie Herbillon, Reine
Meylaerts, Myriam-Naomi Walburg<br /><br />For more information: <span style="color: #0000ee;"><u>https://www.cirti.uliege.be/cms/c_10745974/fr/cirti-literary-self-translation-and-its-metadiscourse</u></span></div>Eva Genteshttp://www.blogger.com/profile/14419904591999204097noreply@blogger.com1tag:blogger.com,1999:blog-7939695248921593637.post-53040349048630331602023-08-16T21:03:00.003+02:002023-08-16T21:22:21.156+02:00Conference: Self-Translation: Inclusion Of Diversity, Bologna, 20 - 21 September 2023<p>I have wonderful memories of the first conference on self-translation in Bologna, so I am especially sad to miss the second one. <br /><br />Please note: <a href="https://eventi.unibo.it/selftranslation2023/registration-form">Registration</a> closes 1st September. <br /><br /></p><p><u>Highlights from the program</u></p><p><b>Wednesday, 20 September 2023</b></p><p>9:30<i> <b>Keynote address</b></i></p><p>Rainier Grutman: Post-Vernacular Self-Translation: Bringing Languages Back from the Brink</p><p>10:45 <i><b>Session I Self-Translation as an Inclusive Act: The Case of Vladimir Nabokov</b></i></p><p>- Irina Marchesini: Why the Space of Self-Translation Matters: Nabokov, Identity and Arizona</p><p>- Gabriella Elina Imposti: Collaborative Self-Translation: VV, DV Nabokov and Italian Language</p><p>- Julie Lesnoff: Can we Speak of Self-Translation in the Context of Nabokov’s Own Writing of the Screenplay for <i>Lolita</i>?</p><p>- Chiara Montini: Re-Translating in Collaboration: the Other Side of Self-Translation: Vittorio Alfieri and Vladimir Nabokov</p><p>14:20 <i><b>Session II Self-Translation in the Slavic Area</b></i></p><p>- Nadzieja Bąkowska: Il caso di Maria Kuncewiczowa: autotraduzione e narrazione autobiografica</p><p>- Magdalena Kampert: From the Monolingual Ideals of Nationhood to a Multilingual Paradigm and Sustainability: Self-Translation as a Means of Recognition of Diversity and Cultural Inclusion</p><p>- Kristina Landa: I limiti della Self-Translation ne I limiti dell’arte: il caso di Vjačeslav Ivanov</p><p>- Katja Radoš-Perković and Sanja Roić: Autore-(auto)traduttore-traditore? Analisi dell’autotraduzione in inglese e della traduzione in italiano del romanzo <i>Uhvati zeca</i> (2018) di Lana Bastašić</p><p>16:15<b> <i>Session III Self.ie: Literary Self-Translation and Ireland</i></b></p><p>- Hannah Rice: Féin-aistriú Teanga: Language Shift and Self-Translation in Ireland</p><p>- Ellen Corbett: Spectrums within Spectrums: Self-Translation as Aspect of Broader Translation Practicesin Irish to English Translation in Ireland</p><p>- Trish Van Bolderen: A (G)host of Other Selves: How Self-Translation Inhabits Allograph Translation in Doireann Ní Ghríofa’s <i>A Ghost in the Throat </i>(2020)</p><p><b>Day 2 – Thursday, 21 September 2023</b></p><p>9:00 <b>Keynote address</b></p><p>Anthony Cordingley: When is Self-Translation Global Literature?</p><p>9:55 <i><b>Session IV Self-Translation outside Europe I</b></i></p><p>- Dunya K. Ismael: Self-Translation, Migration, and Colonial Relations in Sinan Antoon’s Novel <i>The Corpse Washer</i></p><p>- Paola Puccini e Ines Peta: Dalla Biografia (Sīra) ai Tormenti (Tourments) di un asino: l’autotraduzione dall’arabo al francese del romanzo <i>Sīrat ḥimār </i>di Ḥasan Aurīd</p><p>- Imsuk Jung: La possibilità e il limite dell’autotraduzione nelle opere letterarie coreane: <i>Silver </i><i>Stallion</i> di Ahn Junghyo in un processo di riscrittura continua</p><p>11:30 <i><b>Session V Self-Translation outside Europe II</b></i></p><p>- Maria Antonietta Rossi: Educare alla diversità attraverso la letteratura per l’infanzia: il bilinguismo letterario di Roberto Parmeggiani fra italiano e portoghese brasiliano</p><p>- Maria Alice Goncalves Antunes: Migration and Self-Translation: the Case of a Brazilian Linguist in Universities in the USA</p><p>- Marcos Eymar: Self-Translating In-betweenness: from <i>Life on the hyphen</i> (1994) to <i>Vidas en vilo</i> (2000) de Gustavo Pérez-Firmat</p><p>- Arianna Dagnino: Seeking Inclusion through “Perceived” Self-Amputation: an Italian-Canadian Case Study</p><p>14:45 <i><b>Session VI Self-Translation in the European Context I</b></i></p><p>- Simona Anselmi: Self-Translating into and from Italian</p><p>- Gian Mario Anselmi and Monica Turci: Translating Oneself, Resisting Self-Translation and Bilingualism. The Strange Case of <i>In altre parole</i> / <i>In Other Words</i> by Jhumpa Lahiri</p><p>- Adrian Wanner: From <i>Dove mi trovo </i>to <i>Whereabouts</i>: Linguistic Destabilization in Jhumpa Lahiri’s Self-Translated Novel</p><p>- Margherita Dore: Standing Up Against Ableism. The Cathartic and Persuasive Power of Self-Translated Humour</p><p>16:40 <i><b>Session VII Self-Translation in the European Context II</b></i></p><p>- Fabio Regattin: La duplice Italia? I polars di Gilda Piersanti tra francese e italiano</p><p>- Catia Nannoni: L’autotraduzione nella produzione poetica di Francis Tessa/Francesco Tessarolo</p><p>- Sabina Ciminari and Elisa Segnini: Traiettorie dell’autotraduzione in Alba de Céspedes, tra intraducibilità e incomparabilità</p><p>- Elizabete Manterola Agirrezabalaga: The Self-Translation of Short Stories Collections in an Asymmetric Language Combination</p><p>More information, registration and complete program on: <a href="https://eventi.unibo.it/selftranslation2023" target="_blank">https://eventi.unibo.it/selftranslation2023 </a></p>Eva Genteshttp://www.blogger.com/profile/14419904591999204097noreply@blogger.com0tag:blogger.com,1999:blog-7939695248921593637.post-34839304614457120262023-05-06T14:52:00.002+02:002023-05-06T14:52:51.684+02:00Talk on self-translation and Li Kotomi<p> Dr Aoife Cantrill (Manchester) will give a talk on self-translator Li Kotomi with the title "Self-Translation and Language-Making in Li Kotomi/Li Qinfeng's The Island Where the Spider Lily Blooms" on Monday, 15 May 2023, 12:45.<br />More information: <a href="https://talks.ox.ac.uk/talks/id/a9cea786-6665-4b0d-8be5-40e4f5ca9c5c/">https://talks.ox.ac.uk/talks/id/a9cea786-6665-4b0d-8be5-40e4f5ca9c5c/</a> <br />Only accessible of members of Oxford university, unfortunaley.<br /><br />Abstract;<br /></p><p>Li Kotomi/Li Qinfeng is a Taiwanese-born author living and writing in Japan, whose novels explore migrant experiences, queer perspectives, and linguistic politics. In this talk, Dr Aoife Cantrill will discuss Li’s 2021 Japanophone novel<i> The Island Where the Spider Lily Blooms,</i> which uses the plot device of a young girl washed up on an island with no memory of her previous life to comment on competing ideas of language purity and identity. The linguistic hierarchies established within the novel depend on the different Japanese scripts (kanji, hiragana, katakana), which Li uses to develop themes relating to territory and exclusion. The book was a critical success, winning the prestigious Akutagawa literary award in 2021, making Li the first Taiwanese-born Akutagawa recipient.</p><p>The linguistic complexities of the novel are reiterated in its Mandarin Chinese translation, undertaken by Li in 2022. This version of the novel reproduces the linguistic hierarchies of the first, but relies on patterns of script variation devised by Li herself. Taking both versions together provides an opportunity to think about self-translation: what is the influence of script in the translation of contemporary Sinophone and Japanophone literatures? How does Li reproduce structures of linguistic logic between the two versions? And how does a novel in an author’s second language translated back into their first shape ideas of a text being ‘born translated’?</p>Eva Genteshttp://www.blogger.com/profile/14419904591999204097noreply@blogger.com0tag:blogger.com,1999:blog-7939695248921593637.post-63406216437452062392023-03-10T22:32:00.000+01:002023-03-10T22:32:21.249+01:00Maxim D. Shrayer on Translingual Adventures<p>In his essay "<a href="https://daviscenter.fas.harvard.edu/insights/within-and-without-languages-jewish-writers-translingual-adventures">Within (and Without) Languages: A Jewish Writer’s Translingual Adventures</a>", recently published by the Davis Center, Maxim D. Shrayer explores his own literary translingualism in comparison to other translingual writers. Self-translation has always played a role in his literary journey in one way or another: <br /></p><blockquote>"Self-translation has evolved from attempts to give previous Russian texts another life in English (a life they may or may not have deserved)—through creatively revising my English-language fiction and nonfiction—to parallel compositions of texts in both English and Russian, a mode that I presently find most stimulating." </blockquote><p>To read the full essay, please follow this link: <a href="https://daviscenter.fas.harvard.edu/insights/within-and-without-languages-jewish-writers-translingual-adventures">https://daviscenter.fas.harvard.edu/insights/within-and-without-languages-jewish-writers-translingual-adventures</a> </p><blockquote> </blockquote><p></p>Eva Genteshttp://www.blogger.com/profile/14419904591999204097noreply@blogger.com0tag:blogger.com,1999:blog-7939695248921593637.post-9270658924307197522023-03-04T15:46:00.000+01:002023-03-04T15:46:08.924+01:00Podcast Lahiri on self-translation<p> In a recently published episode of the <span style="background-color: white; font-family: maiola, serif; font-size: 17.6px;"><i>Modern Poetry in Translation</i> podcast</span>, Jhumpa Lahiri discusses self-translation with Khairani Barokka. Topics include her <span style="background-color: white; font-family: maiola, serif; font-size: 17.6px;">relationship to translation, language and poetry; </span><span style="font-family: maiola, serif;"><span style="font-size: 17.6px;">differences between the process of self translating poetry versus prose<span style="background-color: white;">.</span></span></span></p><p>You can listen to the podcast or read the transcript here: <a href="https://modernpoetryintranslation.com/jhumpa-lahiri-speaks-to-khairani-barokka-on-self-translation-and-turning-to-poetry/">https://modernpoetryintranslation.com/jhumpa-lahiri-speaks-to-khairani-barokka-on-self-translation-and-turning-to-poetry/</a> </p>Eva Genteshttp://www.blogger.com/profile/14419904591999204097noreply@blogger.com0tag:blogger.com,1999:blog-7939695248921593637.post-29421086926961305662023-02-20T22:00:00.002+01:002023-02-20T22:00:24.502+01:00Updated bibliography on self-translation<p> The bibliography on self-translation has been updated (42th update, February 2023). To download the pdf-file please click <a href="https://app.box.com/s/52h3hwsqqty5l34j99hmxqlamb4814q0" target="_blank">here</a>. If you have any suggestions for further entries, please leave a comment.</p>Eva Genteshttp://www.blogger.com/profile/14419904591999204097noreply@blogger.com0tag:blogger.com,1999:blog-7939695248921593637.post-86044743617287588092023-02-19T15:03:00.005+01:002023-02-19T15:04:26.839+01:00Ouyang Yu: Self-translation and bilingual writing as a transnational writer in the age of machine translation<p>In his essay "<a href="https://overland.org.au/2023/02/self-translation-and-bilingual-writing-as-a-transnational-writer-in-the-age-of-machine-translation/">Self-translation and bilingual writing as a transnational writer in the age of machine translation</a>", recently published in <i>Overland, </i>poet Ouyang Yu talks about his bilingual Chinese-English poems. He explains that publishers were sceptical about his self-translations:</p><p></p><blockquote>"I had difficulties in getting them accepted because I gave away the secret of self-translation until I presented them as if they were originally written in the English language, a strategy well worth adopting in those days of insensitivity to the genre."</blockquote><p>The focus of his essay, however, is on the role that machine translation, e.g. DeepL, plays in his bilingual writing. <br /><br />The full essay can be found here: <a href="https://overland.org.au/2023/02/self-translation-and-bilingual-writing-as-a-transnational-writer-in-the-age-of-machine-translation/">https://overland.org.au/2023/02/self-translation-and-bilingual-writing-as-a-transnational-writer-in-the-age-of-machine-translation/</a></p><p><br /></p>Eva Genteshttp://www.blogger.com/profile/14419904591999204097noreply@blogger.com0tag:blogger.com,1999:blog-7939695248921593637.post-78391426531783084872023-02-11T12:54:00.000+01:002023-02-11T12:54:24.296+01:00Andrey Gritsman. On Bilingual Poetry and Self-Translation<p>Check out the essay by Russian-American poet Andrey Gritsman on bilingual poetry and self-translation published on <i>EastWest Literary Forum. </i>Reflecting on its experience of creating "parallel poems", he concludes:</p><p></p><blockquote>"In summary, writing poetry in two poetic languages shows that a successful poem appears when it is written in two languages on the same emotional wave, yet created as two original poems in different languages."</blockquote><p>Read the full essay here: <a href="https://eastwestliteraryforum.com/essays/andrey-gritsman-on-bilingual-poetry-and-self-translation">https://eastwestliteraryforum.com/essays/andrey-gritsman-on-bilingual-poetry-and-self-translation</a> </p><p></p>Eva Genteshttp://www.blogger.com/profile/14419904591999204097noreply@blogger.com0tag:blogger.com,1999:blog-7939695248921593637.post-56862958961429996872022-12-20T17:55:00.002+01:002022-12-20T17:55:27.258+01:00Cfp: SELF-TRANSLATION: INCLUSION OF DIVERSITY<p>INTERNATIONAL CONFERENCE: SELF-TRANSLATION: INCLUSION OF DIVERSITY</p><p>September 20-21, 2023, Alma Mater Studiorum – Bologna University</p><p>Since the 2011 Bologna conference, the field of self-translation has received increasing attention, which resulted in the broadening of this research area. New approaches enriched what now has become an autonomous branch of Translation Studies, often referred to by scholars as Self-Translation Studies (Anselmi 2012, Lusetti 2018). This follow-up conference aims at approaching the phenomenon of self-translation from a fresh perspective, framing it in terms of the dynamics of diversity/identity and inclusion/exclusion. Indeed, as key aspects of translingualism, these sociocultural elements play a significant role for self-translation.</p><p>The conference will privilege case studies and texts from the 20th and 21st centuries, i.e. when the phenomenon of migration reached much greater dimensions than in the past. Particularly in this period, the practice of self-translation served as one of the primary means of identity reflection, giving voice to hybrid selves, both migrant or in exile. Self-translation thus represents a peculiar synthesis between exclusion and inclusion, between the self-alienation of those who do not assimilate and the self-amputation of others who abandon the language of origin by losing themselves in translation (Hoffman 1989).</p><p>Self-translation is also a way of overcoming socio-spatial inequities and a response to the challenges of migration, whether political or economic. In this respect, self-translations born in the context of “endogenous” bilingualism gain considerable significance too. “Migrant” and “sedentary” self-translators (as Grutman calls them, in Puccini 2015) experience different conditions, but are united by a common living in-between. This “in-betweenness” is expressed in self-translation as a way of crossing, renegotiating and reinventing linguistic and cultural boundaries. Another privileged line of inquiry includes groups that challenge the dynamics between center, periphery and power (Castro, Mainer, Page 2017), such as minorities, migrants/immigrants/exiles in the postcolonial sphere. Moreover, meaningful insights on the work of the author-translator can be drawn from various forms of life narratives (Falceri, Gentes, Manterola 2017), such as diaries, letters, testimonies etc..</p><p>We welcome papers on general issues as well as specific case studies focusing on the process and/or products of self-translation, the figure of self-translator, etc., analyzed from the perspective of diversity and inclusion. Possible approaches include, but are not limited to, theoretical, linguistic and cultural frameworks.</p><p>The conference accepts submissions in English or Italian. <b>Proposals for panels or twenty-minute papers should be sent via e-mail no later than</b> <b>December 31, 2022 to: selftranslation2023@unibo.it.</b></p><p>The submissions must include an abstract (maximum 500 words), an essential bibliography, a brief bio note and institutional affiliation.</p><p>Notification of acceptance will be announced via e-mail no later than January 31st, 2023. We are exploring the possibility of using the conference as a springboard for a themed, peerreviewed volume, in which selected papers will be published as full-length articles.</p><p>Conference fee</p><p>100 € - tenured researchers and professors<br />50€ - non-tenured researchers and PhD students</p><p>Payment details will be notified on acceptance of the proposal.<br />The registration fee includes catering and conference materials. </p>Eva Genteshttp://www.blogger.com/profile/14419904591999204097noreply@blogger.com0tag:blogger.com,1999:blog-7939695248921593637.post-51427817604269701472022-11-24T12:40:00.003+01:002022-11-24T12:40:54.987+01:00New edited volume published: Humour in Self-Translation<p><i>Humour in Self-translation</i>, a volume edited by Margherita Dore has recently been published by Benjamins.<br /><br /><u><b>Content overview</b></u><br /></p><p>Chapter 1. Humour in self-translation: Reasons and rationale by Margherita Dore | pp. 1–12</p><p>PART 1. FROM POETRY TO THE SCREEN</p><p>Chapter 2. Mockery and poetic satire: Humor in self-translated Philippine protest poetry by Thomas David F. Chaves | pp. 15–40</p><p>Chapter 3. Punning herself: Nancy Huston’s puns in two self-translated novels by Marlisa A. Richters | pp. 41–62</p><p>Chapter 4. From traduttore, traditore to traduttore, creatore : Creative subversion in the self-translations of Ha Jin and Pai Hsien-yung by Ursula Deser Friedman | pp. 63–86</p><p>Chapter 5. “Humourizing” the theatre of the absurd through reworking and (self-)translation: Turkish theatrical tradition in search of its own voice by Başak Ergil | pp. 87–112</p><p>Chapter 6. Humour, language variation and self-translation in stand-up comedy by Margherita Dore | pp. 113–140</p><p>Chapter 7. Humour and self-interpreting in the media: The communicative ethos and the authenticity contract in late-night shows by Pedro Jesús Castillo Ortiz | pp. 141–176</p><p>PART 2. REFLECTIONS AND EXPERIMENTAL APPROACHES</p><p>Chapter 8. iTranslate or iWrite? A case study of Yoneyama Hiroko’s picture book self-translation by Anna Sasaki | pp. 179–194</p><p>Chapter 9. Lost and found in humour self-translation: Difficulty to realization, distance to re-creation by Tomoko Takahashi | pp. 195–214</p><p>Chapter 10. How funny am I? Humour, self-translation and translation of the self by Paul Venzo and David Petkovic | pp. 215–232</p><p>Chapter 11. Multimodal strategies of creation and self-translation of humorous discourse in image-macro memes by Pietro Luigi Iaia | pp. 233–254</p><p>EPILOGUE</p><p>Chapter 12. Second thoughts about second versions: Self-translation and humour by Rainier Grutman | pp. 257–274<br /><br />Link to publisher: <a href="https://benjamins.com/catalog/thr.11">https://benjamins.com/catalog/thr.11</a><br />Preview the book: <a href="https://books.google.de/books?id=q7yJEAAAQBAJ&printsec=frontcover#v=onepage&q&f=false">https://books.google.de/books?id=q7yJEAAAQBAJ&printsec=frontcover#v=onepage&q&f=false</a></p>Eva Genteshttp://www.blogger.com/profile/14419904591999204097noreply@blogger.com0tag:blogger.com,1999:blog-7939695248921593637.post-29307857028264387212022-11-20T14:00:00.002+01:002022-11-20T14:00:32.038+01:00Conference: Mediator and “Grenzgänger" (29th-30th November), Jerusalem, Israel<p>Self-translation will be a topic of two upcoming talks at the conference "Mediator and 'Grenzgänger'" organized by the Franz Rosenzweig Minerva Research Center for German-Jewish Literature and Cultural History, to be held at the Hebrew University in Jerusalem, Israel, on November 29-30, 2022. <br />International Conference on Israeli Poet and Artist Manfred Winkler (1922-2014).<br /><br />Tuesday, 29 November 2022: 11:00-12:30 Panel 1: Literary Creativity und Multilingualism</p><p></p><ul style="text-align: left;"><li>Mikhal Ben-Chorin, Bar-Ilan University: Von Sprache zu Sprache: <i>Winkler Translating Rübner Translating Himself</i></li><li>Jan Kühne, Franz Rosenzweig Minerva Research Center, Hebrew University of Jerusalem: <i>Winkler’s Metamorphoses: Adaptations of Kafka in Self-Translation</i></li></ul>For the complete program, please visit: <a href="http://www.hsozkult.de/event/id/event-131444">www.hsozkult.de/event/id/event-131444</a>Eva Genteshttp://www.blogger.com/profile/14419904591999204097noreply@blogger.com0tag:blogger.com,1999:blog-7939695248921593637.post-41758225648579716212022-11-13T12:25:00.000+01:002022-11-13T12:25:09.331+01:00Recording of the talk "The Origins of National Culture: Self Translation, Originals and Split Authors" by Yakoov Herskovitz<p>Yakoov Herskovitz gave a talk on "The Origins of National Culture: Self Translation, Originals and Split Authors"on 26th October. <br /><u>Abstract</u>:<br />Is there a difference between originals and translations, artistically? Intuitively the answer seems to be: yes, especially in our cultural and historical context of modern Yiddish and Hebrew literatures, that share a vested interest in originality. But when matters come to self-translation, work written and rewritten by the same author, issues of origins and originality become murky. This lecture will look at work by self-translating writers such as Sholem Yankev Abramovitsh, Hersch Dovid Nomberg, and Zalman Shneour to explore the ways authors and critics thought about self-translation, how they pondered and practiced writing the same work time and again. In thinking about this practice the validity of concepts such as “original” and “translation” will be scrutinized, as well as the idea that people have different capacities and even personalities in different languages. Looking at modes of self-presentation and literary composition will allow us to ask what, if at all, sets the self-translating author apart from other writers and translators. </p><p>The recording is available here:<br /><a href="https://www.youtube.com/watch?v=ZQINdqSYcVY&ab_channel=YIVOInstituteforJewishResearch">https://www.youtube.com/watch?v=ZQINdqSYcVY&ab_channel=YIVOInstituteforJewishResearch</a> <br /><br /></p>Eva Genteshttp://www.blogger.com/profile/14419904591999204097noreply@blogger.com0tag:blogger.com,1999:blog-7939695248921593637.post-81259732830727781532022-10-02T00:27:00.001+02:002022-10-02T00:27:17.571+02:00Conference: Translation and multilingualism in the history of translated literature October, Finland<p>Self-translation will be a topic of several talks at the upcoming conference "Translation and multilingualism in the history of translated literature" taking place 6.-7. October 2022, Tallinn University, Narva mnt 29.<br /><br />October 6, Room: M649<br />11.30-13.00 <b>Sandra Vlasta: “Jhumpa Lahiri – a multilingual writer and (self-)translator”<br /><br /></b>October 7, Room: S428<br />11.45-13.15 <b>Ramona Pellegrino: “Self-translation in German-Speaking Transcultural Literature”
</b><br />14.15-15.45 <b>Julie Hansen: ““Multilingualism and Self-Translation in Theodor Kallifatides’ memoir
Another Life”</b><br /><br />Please visit this website to consult the <a href="https://www.tlu.ee/sites/default/files/T%C3%9CHI/UUS%20Program%20of%20the%20seminar%20Translation%20and%20multilingualism%20(2).pdf">complete program</a>.<br /><br /><br /></p>Eva Genteshttp://www.blogger.com/profile/14419904591999204097noreply@blogger.com0tag:blogger.com,1999:blog-7939695248921593637.post-40144781501952501102022-09-25T16:04:00.003+02:002022-09-25T16:04:26.082+02:00 Séminaire Multilinguisme, Traduction, Création, 2022-2023<p>Séminaire Multilinguisme, Traduction, Création, 2022-2023 organized by ITEM - Institut des textes et manuscrits modernes</p><p>A series of talks on the genetics of (self-)translations coordinated by Patrick Hersant, taking place in Paris, France.</p><p>18/10/2022 — Max Hidalgo Nácher, "Haroldo de Campos, un cosmopolite périphérique", ENS, 45 rue d'Ulm, 75005 Paris. Salle Info 1. 16h – 18h.</p><p><b>08/11/2022 — Ilan Stavans, "On Self-Translation : Meditations on Language", ENS, 45 rue d'Ulm, 75005 Paris. Salle U209 + visioconférence, 16h – 18h.</b></p><p>13/12/2022 — Dirk Weissmann, "Goethe, Frédéric Soret et l’édition bilingue de la Métamorphose des plantes (1831)", ENS, 45 rue d’Ulm, 75005 Paris, Salle Info-1, 16h – 18h.</p><p>31/01/2023 — Katrien Lievois, "Oxfam Novib et les romans francophones africains en traduction néerlandaise", ENS, 29 rue d’Ulm, Salle Assia Djebar, 16h – 18h.</p><p><b>14/02/2023 — Chiara Montini, "Vittorio Alfieri : apprendre la langue en traduisant et en s’autotraduisant", ENS, 29 rue d’Ulm, Salle Assia Djebar, 16h – 18h.</b></p><p>21/03/2023 — Elies Smeyers, "Hugo Claus en traduction française", ENS, 29 rue d’Ulm, Salle Assia Djebar, 16h – 18h.</p><p><b>11/04/2023 — Esa Hartmann, "Les manuscrits de Rainer Maria Rilke : genèse translingue, traduction collaborative et autotraduction", ENS, 29 rue d’Ulm, Salle Assia Djebar, 16h – 18h.</b></p><p>09/05/2023 — Stavroula Katsiki, "Traduire dans le sillage de Silvia Baron Supervielle", ENS, 29 rue d’Ulm, Salle Assia Djebar, 16h – 1</p><p>Source and more information:<br /><a href="https://www.fabula.org/actualites/109882/seminaire-de-lequipe-multilinguisme-traduction-creation----item.html">https://www.fabula.org/actualites/109882/seminaire-de-lequipe-multilinguisme-traduction-creation----item.html</a></p>Eva Genteshttp://www.blogger.com/profile/14419904591999204097noreply@blogger.com0tag:blogger.com,1999:blog-7939695248921593637.post-10821068812301454602022-09-24T14:57:00.004+02:002022-09-24T14:57:43.023+02:00Job opportunity: Post Doctoral Researcher within Leverhulme-funded project "Writing Bilingually, 1465-1700"<p>Full-time Postdoctoral Researcher (fixed term)<br />Location: Warburg Institute (School of Advanced Study, London)<br />Closing date: 17/10/2022<br />Salary: Between £38,109 - £45,953 per annum<br />Hours per week: 35 hours<br /><br />The Warburg Institute is seeking a Research Assistant (full-time, 36 months) to conduct research on the project “Writing Bilingually, 1465-1700: Self-Translated Books in Italy and France” (Principal Investigator: Dr Sara Miglietti). Candidates must have a PhD in hand by the start of the project, in a field relevant to its remit (such as Italian Studies, Renaissance Studies, History, Classics). <br /><br />The successful candidate will be part of a research team assisting Dr Miglietti in establishing a database of prose self-translations printed in Italy and France between 1465 and 1700. You will focus primarily on the Italian side of the project, working mainly, but not exclusively, with materials printed in Latin and Italian. You will further contribute to the project’s outputs by authoring peer-reviewed articles (at least two) on selected aspects of the corpus, and by co-authoring other outputs with Dr Miglietti, including an annotated repertory of printed self-translations and an anthology of primary sources in translation.<br /><br />The contract runs from 4 January 2023 – 3 January 2026 with the pay spread across the period in equal monthly amounts. For more information, please visit: <a href="https://warburg.sas.ac.uk/news/job-opportunity-post-doctoral-researcher">https://warburg.sas.ac.uk/news/job-opportunity-post-doctoral-researcher</a><br /><br />For further inquiries, please contact Dr Sara Miglietti (<a href="mailto:sara.miglietti@sas.ac.uk">sara.miglietti@sas.ac.uk</a>).</p>Eva Genteshttp://www.blogger.com/profile/14419904591999204097noreply@blogger.com0tag:blogger.com,1999:blog-7939695248921593637.post-22920558969272517052022-09-24T14:51:00.002+02:002022-09-24T14:51:19.035+02:00Fully-funded PhD studentship (Warburg Institute) on Leverhulmefunded project "Writing Bilingually, 1465-1700”<p>As part of the Leverhulme-funded project ‘Writing Bilingually, 1465-1700: Self-Translated
Books in Italy and France’, there is <b>one full-time PhD studentship available from 4 January
2023</b> <b>at the Warburg Institute in London</b>. The studentship covers university fees and an annual
£18,000 maintenance stipend for a maximum of three years. Both home and international
students are eligible to apply. The studentship carries a residency requirement and distance
learning options are not available.</p><p>Supervised by <a href="https://warburg.sas.ac.uk/people/sara-miglietti">Dr Sara Miglietti</a>, the student will complete a thesis examining theories and
practice of self-translation in Renaissance Italy and/or France in the context of 16th-century
language debates (questione della lingua). Funding is available for research-related travel
during the studentship. The student will also participate in other activities attached to the
research project, including three international conferences, and will collaborate with the rest of
the team on the production of key research outputs (an online database, an annotated catalogue
of printed self-translations, and an anthology of primary sources in translation). </p><p>Fore more information please visit this <a href="https://warburg.sas.ac.uk/news/3-year-phd-studentship-within-leverhulme-funded-project-writing-bilingually-1465-1700">link</a>.</p><p>Any further enquiries should be directed to Dr Sara Miglietti (<a href="mailto:sara.miglietti@sas.ac.uk">sara.miglietti@sas.ac.uk</a>)</p>Eva Genteshttp://www.blogger.com/profile/14419904591999204097noreply@blogger.com0tag:blogger.com,1999:blog-7939695248921593637.post-31796767447415479932022-08-26T11:17:00.002+02:002022-08-26T11:17:37.259+02:00Save the date: Online Talk "The Origins of National Culture: Self Translation, Originals and Split Authors" by Yaakov Herskovitz on Oct 25, 2022 1:00pm (ET)<p>Yakoov Herskovitz will give a talk on Zoom on Tuesday, 25th October: "The Origins of National Culture: Self Translation, Originals and Split Authors" at 1:00 pm Eastern Time. Registration is required. <br /><br /><b style="text-decoration-line: underline;">Abstract:</b><br />Is there a difference between originals and translations, artistically? Intuitively the answer seems to be: yes, especially in our cultural and historical context of modern Yiddish and Hebrew literatures, that share a vested interest in originality. But when matters come to self-translation, work written and rewritten by the same author, issues of origins and originality become murky. This lecture will look at work by self-translating writers such as Sholem Yankev Abramovitsh, Hersch Dovid Nomberg, and Zalman Shneour to explore the ways authors and critics thought about self-translation, how they pondered and practiced writing the same work time and again. In thinking about this practice the validity of concepts such as “original” and “translation” will be scrutinized, as well as the idea that people have different capacities and even personalities in different languages. Looking at modes of self-presentation and literary composition will allow us to ask what, if at all, sets the self-translating author apart from other writers and translators.<br /><br /><b><u>To register</u></b>:</p><p>Please visit the website: <a href="https://yivo.org/National-Culture">https://yivo.org/National-Culture</a><br /><br /><br /></p>Eva Genteshttp://www.blogger.com/profile/14419904591999204097noreply@blogger.com0tag:blogger.com,1999:blog-7939695248921593637.post-28884658869466768752022-08-20T18:55:00.000+02:002022-08-20T18:55:34.088+02:00New Voices in Self-Translation: Cristina Sandu (Finnish-English)<p>Finnish author Cristina Sandu (*1989) was born in Helsinki to Finnish-Romanian parents. She currently lives in the UK and is signed with the literary agency Rights & Brands. Sandu grew up bilingual and speaks six languages, however she only self-translates between Finnish and English:<br /></p><blockquote>"I grew up in a bilingual family, speaking Finnish with my mother and Romanian with my father. In Finland everybody needs to learn Swedish too, as those are the two official languages of the country. In addition to that, I learned French and English at school, and Spanish by myself mainly out of passion for Latin American literature." (Loughran 2021)</blockquote>Sandu wrote her debut novel <i>Valas nimeltä Goliat</i> (Otava 2017) in Finnish. While it has been translated into several languages and got nominated for the prestigious literary Prize Finlandia, it is not yet available in English translation. Her second novella <i>Vesileikit </i>(Otava 2019) / <i>The Union of Synchronised Swimmers </i>(Scribe 2021 (UK,USA & Australia); Book Hug 2021 (Canada)), however, Sandu wrote in both Finnish and English. She was shortlisted for the Oxford-Weidenfeld Prize for literary translation for the English version (see <a href="https://www.occt.ox.ac.uk/oxford-weidenfeld-prize">https://www.occt.ox.ac.uk/oxford-weidenfeld-prize</a>). So why did Sandu started self-translating? Like <a href="https://self-translation.blogspot.com/2022/08/new-voices-in-self-translation-emmi.html" target="_blank">Itäranta</a>, Sandu start self-translating early on to get feedback on her drafts:<p></p><blockquote>"My closest writer friends don’t speak Finnish, so when I needed readers, already while writing the Finnish draft, I started working on the manuscript in two languages. It was more writing in two languages than translating, really." (Sidal 2021)</blockquote><p>The bilingual writing process resulted in "dozens of drafts in both Finnish and English." (Sidal 2021) While the initial impulse to self-translate was reader-orientated, Sandu soon became aware of the potential of translation to improve the draft:</p><blockquote>"But then I also realized that translating is a very useful tool for editing, because as I moved from one language to the other, I got some distance with the text and I could see more clearly my own excesses, repetitions, clumsinesses, and so on." (Book*hug Press 2021: 01:42-02:04)</blockquote><p>Sandu feels that the English version has lost some clarity and dynamics compared to the Finnish version:</p><blockquote>"In Finnish there are no genders, nor articles or prepositions (Finnish has cases). I sometimes feel that these details make the English version less dynamic and clear. This is probably because I still approach English from the outside, and translating/writing happens slowly, with the help of dictionaries. (Siddal 2021)</blockquote>The novella is still trying to break through to the international market, but translation rights have been sold for Dutch in April 2022.<br /><br /><u>References</u>:<div><br /></div><div>Book*hug Press. 2021. "Cristina Sandu Introduces The Union of Synchronized Swimmers". Published on June 21, 2021 on: <a href="https://www.youtube.com/watch?v=F3khKnApJFw&ab_channel=Book%2ahugPress">https://www.youtube.com/watch?v=F3khKnApJFw&ab_channel=Book%2ahugPress</a> </div><div><br /></div><div>Loughran, Sean.2021."In conversation with Cristina Sandu". Published on September 16, 2021 on the book review platform <i>Avocado Diaries</i>: <a href="https://www.avocadodiaries.com/2021/09/in-conversation-with-cristina-sandu.html">https://www.avocadodiaries.com/2021/09/in-conversation-with-cristina-sandu.html</a></div><div><br /></div><div>Rights & Brands. 2021."Finnish-Romanian author Cristina Sandu navigates between two cultures in her narrative". Podcast Episode 7 on: <a href="https://rightsandbrands.com/news/rights-brands-podcast-episode-7-finnish-romanian-author-cristina-sandu-navigates-between-two-cultures-in-her-narrative">https://rightsandbrands.com/news/rights-brands-podcast-episode-7-finnish-romanian-author-cristina-sandu-navigates-between-two-cultures-in-her-narrative</a><br /><p></p><p>Siddal, Lizzy. 2021. "Meet The Author/Translator: Cristina Sandu". Published on June 10, 2021 on the blog <i>Lizzy's Literary Life (Volume One) – Celebrating the pleasures</i> <i>of a 21st century bookworm. </i>URL: <a href="https://lizzysiddal.wordpress.com/2021/06/10/meet-the-author-translator-cristina-sandu/">https://lizzysiddal.wordpress.com/2021/06/10/meet-the-author-translator-cristina-sandu/</a></p><p><br /></p></div>Eva Genteshttp://www.blogger.com/profile/14419904591999204097noreply@blogger.com0tag:blogger.com,1999:blog-7939695248921593637.post-6975864505074671072022-08-13T13:30:00.001+02:002022-08-13T13:30:38.342+02:00New Voices in Self-Translation: Emmi Itäranta (Finnish-English)<p><span style="font-family: inherit;">Acclaimed science fiction author Emmi Itäranta (*1976) writes her novels in both Finnish and English, with manuscripts always created side by side. She was born in Tampere, Finland, but moved to Canterbury, UK, in 2007 where she lived for 14 years. Recently, she moved back to Finland. Since she kept travelling back to Finland while living abroad, she can be classified as a transmigrant self-translator (Gentes 2019).</span></p><p><span style="font-family: inherit;">Thus far, Itäranta has published three self-translated novels, which won several awards both in Finland and in the UK:</span></p><p></p><ul style="text-align: left;"><li><span style="font-family: inherit;"><i>Teemestarin kirja </i>(Teos, 2012) / <i>Memory of Waters</i> (Harper Collins 2014);</span></li><li><span style="font-family: inherit;"><i>Kudottujen kujien kaupunki </i>(Teos 2015) / <i>The City of Woven Streets </i>(Harper Voyager, UK 2016) / <i>The Weaver</i> (Harper Voyager USA 2016);</span></li><li><span style="font-family: inherit;"><i>Kuunpäivän kirjeet </i>(Teos, 2020) <i>/ Moonday Letters </i>(Titan Books, UK 2022)</span></li></ul><span style="font-family: inherit;">Itäranta wrote the manuscript of her first novel while pursuing a master's degree in creative writing at the University of Kent. Because the Finnish manuscript of her first novel <i>Teemestarin kirja </i>(Teos, 2012) / <i>Memory of Waters</i> (Harper Collins 2014) won Teos Publishing's science fiction and fantasy novel contest in 2011, the Finnish version of the novel was published much earlier than the English one. As is often the case, however, the gap between the two publications does not indicate a consecutive self-translation process. Itäranta is indeed a systematic simultaneous self-translator (for the distinction between simultaneous and consecutive self-translations see Grutman 2009), writing both versions of her novels at the same time. So how did Itärante become a bilingual writer?</span><div><span style="font-family: inherit;">Her first novel grew out of an attempt to write a short story during a creative writing course at the University of Kent. So English was an obvious choice. So why did she decide to include Finnish in the process?</span></div><div><p></p><blockquote><span style="font-family: inherit;">"Once I had written one or two chapters, I realised that it would be really useful to get some feedback from my Finnish writing group. We meet once a month online. So I wrote those early chapters in Finnish, too. As I was doing that, I began to realise that working in both languages actually helped me polish the writing, because I had to look at it so closely." (Marten 2015)</span></blockquote><div><span style="font-family: inherit;">Itäranta takes a very strategic approach to writing (on her writing process, see Riikonen 2014 in detail), and so it is not surprising that she also immediately developed a strategy for her bilingual writing process, which she improved upon for her next two novels:</span></div><div><p></p><blockquote><span style="font-family: inherit;">“Most of the time I ended up writing the first draft of each chapter in Finnish, then I would translate it into English and edit it, making some changes as I translated, then update the Finnish version of the chapter” (Marten 2015). </span></blockquote><p><span style="font-family: inherit;">Each chapter goes through several versions in both languages before Itäranta moves on to the next chapter. The editing process is never unidirectional and both versions influence each other throughout the self-translation process: “Each chapter actually took shape through those two languages” (Marten 2015). Being constantly aware about the translation task ahead, may affect a self-translator's choice of style, as Itäranta confirms:</span></p><p><span style="font-family: inherit;"></span></p><blockquote><span style="font-family: inherit;">"I thought about how sentences and words would translate from one language to the other already while writing, and sometimes this may have simplified the language unnecessarily. [...] In order to find balance between the languages, I had to make some compromises. [...] I would have probably used Finnish more daring had I not been thinking about the English equivalents when writing. On the other hand, using two languages stripped away superfluous words and unnecessary decorations, because I had to think about the way each sentence worked several times" (Riikonen 2014, p. 18).</span></blockquote><p><span style="font-family: inherit;"><span>The negotiation between the two languages sometimes results in neologisms which prove challenging for her translators: "Sometimes I hear back from translators who don’t know what to make of my neologisms or other choices</span>" (Karppanen 2017:7). The bilingual writing process also presents an additional challenge for her Finnish editors: </span></p><blockquote><span style="font-family: inherit;">“Finnish editors also need to be able to spot any Anglicisms in my writing. I try to be careful not to use them, but sometimes I slip up. Readers are also very particular about good language, so it’s important that any foreign structures are edited out” (Kortela 2021).</span></blockquote><p></p><p><span style="font-family: inherit;">The textual relationship between the two versions is a subject of much controversy in research on self-translation (see, e.g. Fitch 1988, Oustinoff 2001). Itäranta takes a clear stand on this issue: </span></p><p></p><blockquote><span style="font-family: inherit;">"The English version is not a translation. The Finnish version is not a translation. They are both the original, and each was shaped by the constant presence of the other. They are twins, inseparable, and would not be the same without each other." (Itäranta 2014) </span></blockquote><p><span style="font-family: inherit;">In her analysis of the debut novel <i>Memory of Waters</i>, Katarina Leppänen underscores that the bilingual approach to writing creates a novel that "transgresses culture" in a unique way: </span></p><p></p><blockquote><span style="font-family: inherit;">"What Itäranta does is to build her work on two sets of languages and cultures simultaneously. In contrast to the effect of multilingual or bilingual texts, where distance and familiarity is created by words present in the text, such as slang, foreign words or sentences, or dialect, Itäranta’s text produces a world beyond the assumed British and Finnish literary and cultural contexts. What is achieved is not a hybrid, but rather an abstraction. It is thus already in the moment of creation a piece of world literature that transgresses culture not only by placing the events in another (fictive) world, but also by the cross-fertilization in making sense of different cultural contexts, the very process of intellectual back-and-forth movement, which cannot be grounded anywhere in between." (Leppänen 2020: 428)</span></blockquote><p></p><p></p><p></p><p><span style="font-family: inherit;">Self-translation is often portrayed as a painful experience, a tedious re-enactment of a once creative act: "a real torture" (Miletic 2008: 44), "Boring, frustrating, painful" (Cordingley 2013: 5), "exquisitely painful" (Beaujour 1995: 719). Itäranta, however, asserts: "It's not a burden.[...] I enjoy the interaction between the two languages" (Islam 2022: 3:59-4:27). In fact many statements by authors are followed by a "but" (see Gentes 2017: 109-112), and writers like Itäranta highlight the rewarding nature of self-translation:</span></p><blockquote><span style="font-family: inherit;"> "You get very, very close to the text when you work in two languages; translators often spot details that the author and editor may have missed. It is a slow process, and hard work, but ultimately I find it rewarding." (Moore 2014)</span></blockquote><div><span style="font-family: inherit;">Itäranti's novels are internationally successful: According to the website of her literary agency Elina Ahlback, the debut novel was translated into 21 languages, translation rights for her second novel have already been sold to Brazil, Georgia, Germany, Hungary, Italy and for her third novel to Czech Republic and Hungary. Katarina Leppänen suggests that the English self-translation may have played a decisive role in this success: "When it comes to the question of quick global publication, an existing English version is of course a great benefit for a debuting author as it gives access to the transnational world literary networks" (Leppänen 2020: 428).</span></div><p></p><p><span style="font-family: inherit;"><br /></span></p><p><span style="font-family: inherit;"><u>References on Itäranta</u>:</span></p><p><span style="font-family: inherit;">Homepage: <a href="https://www.emmiitaranta.com/">https://www.emmiitaranta.com/</a><br />Literary agency: <a href="https://www.ahlbackagency.com/author/emmi-itaranta/?authorId=15">https://www.ahlbackagency.com/author/emmi-itaranta/?authorId=15</a><br /><br />Islam, Mahmudul.2020. "Dystopian thinking, bilingual writing, and Finnish culture". <a href="https://www.youtube.com/watch?v=hXntTW-F7jM&ab_channel=MahmudulIslam-Finnophile">https://www.youtube.com/watch?v=hXntTW-F7jM&ab_channel=MahmudulIslam-Finnophile</a></span></p><p><span style="font-family: inherit;">Itäranta, Emmi. 2014. "Guest Post: Emmi Itäranta, author of MEMORY OF WATER". Published on 16.06.2014 on <i>Harper Voyager</i>: <a href="https://www.harpervoyagerbooks.com/guest-post-emmi-itaranta-author-of-memory-of-water/">https://www.harpervoyagerbooks.com/guest-post-emmi-itaranta-author-of-memory-of-water/</a></span></p><p><span style="font-family: inherit;">Karppanen, Pasi Karppanen. 2017. "Conquering the World as a Finnish Author". In: <i>Spin</i>, issue 2/2017. <a href="http://pasikarppanen.net/texts/2017-02a_Conquering-the-World-as-a-Finnish-Author.pdf">http://pasikarppanen.net/texts/2017-02a_Conquering-the-World-as-a-Finnish-Author.pdf</a> </span></p><p><span style="font-family: inherit;">Kortela, Anne. 2021. "Turku Book Fair. Digging into the Core". <a href="https://anjasnellmanbooks.com/book-fair.html">https://anjasnellmanbooks.com/book-fair.html</a></span></p><p><span style="font-family: inherit;">Leppänen, Katarina. 2020. "<i>Memory of Water</i>: Boundaries of Political Geography and World Literature." <i>European Review</i>, 28(3), 425-434. doi:10.1017/S1062798719000541<br /><br />Marten, Peter. 2015. "Finnish author writes memories of the future". May 2015. <a href="https://finland.fi/arts-culture/finnish-author-writes-memories-of-the-future/">https://finland.fi/arts-culture/finnish-author-writes-memories-of-the-future/</a></span></p><p><span style="font-family: inherit;">Moore, Lucy. 2014. "Exclusive interview with Emmi Itäranta". Published on 15.05.2015 on <i>Female First,</i> <a href="https://www.femalefirst.co.uk/books/emmi-itaranta-memory-of-water-470063.html">https://www.femalefirst.co.uk/books/emmi-itaranta-memory-of-water-470063.html</a><br /><br />Riikonen, Marika. 2014. "The words will flow as long as she can move her hands". Finnish Weird. Translated by Marianna Leikomaa. First published in Tähtivaeltaja 2/2011. English translation available on: <a href="https://issuu.com/teroyks/docs/finnish_weird_2014">https://www.finnishweird.net/files/finnish_weird_2014.pdf</a><br /><br /></span></p><p><span style="font-family: inherit;"><u>References on self-translation research</u>:</span></p><p><span lang="PT" style="font-family: inherit; letter-spacing: -0.15pt;"><span lang="EN-US" style="letter-spacing: -0.15pt;">Beaujour, Elizabeth Klosty. 1995. "Translation and self-translation". In: Vladimir E. Alexandrov (ed.): <i>The Garland Companion to Vladimir Nabokov</i>. New York / London: Garland, 714–724.<br /><br />Cordingley,
Anthony. 2013. “The Passion of Self-Translation: A Masocritical Perspective.” </span><span lang="EN-US">In: <span style="letter-spacing: -0.15pt;">Anthony Cordingley
(ed.), <i>Self-Translation: Brokering
Originality in Hybrid Culture</i>. </span></span><span lang="IT" style="letter-spacing: -0.15pt;">London: Continuum, 81–94.</span></span></p><p><span lang="PT" style="font-family: inherit; letter-spacing: -0.15pt;">Fitch, Brian T. 1988. <i>Beckett and Babel. An Investigation into the State of the Bilingual Work</i>. Toronto: University of Toronto Press.</span></p><p><span style="font-family: inherit;"><span lang="PT" style="letter-spacing: -0.15pt;">Gentes,
Eva. 2017. <i>(Un-)Sichtbarkeit der
literarischen Selbstübersetzung in der romanischsprachigen Gegenwartsliteratur.
</i></span><i><span style="letter-spacing: -0.15pt;">Eine literatur- und übersetzungssoziologische Annäherung</span></i><span style="letter-spacing: -0.15pt;">.
Heinrich-Heine-Universität Düsseldorf. </span><span lang="ES" style="letter-spacing: -0.15pt;"><span lang="DE"><a href="https://docserv.uni-duesseldorf.de/servlets/DerivateServlet/Derivate-45333/Gentes_Dissertation.lit_Selbstübersetzung.pdf">https://docserv.uni-duesseldorf.de/servlets/DerivateServlet/Derivate-45333/Gentes_Dissertation.lit_Selbstübersetzung.pdf</a></span></span></span></p><p><span lang="ES" style="font-family: inherit; letter-spacing: -0.15pt;"><span style="letter-spacing: -0.15pt;">Gentes, Eva. 2019.
“Transmigration und Selbstübersetzung – Linda Olsson und Miroslav Penkov.” </span><span lang="IT" style="letter-spacing: -0.15pt;">In: Bruno Berni & Alessandra D’Atena (eds.), <i>Autotraduzione. Obiettivi, strategie, testi</i>.
Roma: Istituto italiano di studi germanici, 122–144.</span></span></p><p><span style="font-family: inherit;"><span lang="ES" style="letter-spacing: -0.15pt;"></span>Grutman, Rainier. 2009. "Self-translation". In: Mona Baker (ed.): <i>Routlegde Encyclopaedia of Translation</i>. 2nd Edition. London: Routledge, 257–260.</span></p><p><span style="font-family: inherit;">Miletic, Tijana. 2008. <i>European Literary Immigration into the French Language. Readings of Gary, Kristof, Kundera and Semprún</i>. Amsterdam / New York: Rodop.<br /><br /></span><span lang="FR" style="letter-spacing: -0.15pt; mso-ansi-language: FR; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ES;"><span style="font-family: inherit;">Oustinoff,
Michaël. 2001. <i>Bilinguisme d’écriture et auto–traduction: Julien Green,
Samuel Beckett, Vladimir Nabokov</i>. Paris: L’Harmattan.</span><br /></span></p></div></div>Eva Genteshttp://www.blogger.com/profile/14419904591999204097noreply@blogger.com0tag:blogger.com,1999:blog-7939695248921593637.post-18483321394771735942022-08-06T14:36:00.000+02:002022-08-06T14:36:24.214+02:00 New Voices in Self-Translation: Heddi Goodrich (Italian-English)<p>Heddi Goodrich (*1971, Washington) translated her debut novel <i>Perduti nei Quartieri Spagnoli</i> (Giunti, 2019) into English. <i>Lost in the Spanish Quarter </i>was published by HarperCollins in 2019. <br />Born in the United States, Heddi Godrich spent her high school and university years in Naples and moved to New Zealand in the 1990s. The autofictional novel is inspired by her own experiences in Italy. The creation process was in fact more complex than one might assume. Goodrich explained that she initially started writing the novel in English: <br /></p><blockquote>"My first few drafts were actually in English. I'm an English teacher after all, and a copyeditor too: that is, I'm a very competent writer in my native language. But, as it turns out, I'm not a very inspired writer." (Goodrich, 2019)</blockquote><p></p><p>Not being able to find a publisher for her novel, she first tried to get the novel translated into Italian, but soon realized that she has to give the novel a fresh start by writing it directly in Italian:<br /></p><blockquote>"Everything started to flow. And I thought this was the language that I needed to be writing it in all along, my whole life. This is actually my voice." (Herkt 2019)</blockquote>Since she is not only a teacher and editor, but also a translator, there was no question in her mind that she would translate the novel herself. She describes translating her novel into English as a "fun intellectual challenge" (Goodrich, 2019). Encouraged by her editor she started self-translating within a week after the editing of the Italian version was completed (cf. Carlacchiani 2021). In an interview with Debora Carlacchiani (2021) she describes the difficulties of finding her voice in the English translation, feeling clumsy and awkward at times, not finding the right metaphors or melody of a senctence: "La traduzione mi riusciva bene ma non fluiva spontaneamente. [I could translate well but it did not flow spontaneously.]" Goodrich explains that in her constant search of her authentic voice she kept editing her translation, questioning every word: "l’italiano era la lingua del cuore, l’inglese quella della testa – e la testa poteva ingannare" [Italian was the language of the heart, English the language of the head - and the head could be deceiving].: <blockquote><div>"Nemmeno una volta durante l’auto-traduzione mi è arrivata una frase bella e fatta: niente parole sussurrate, illuminazioni o intuizioni di alcun tipo." (Carlacchiani 2021)<span> </span></div></blockquote><blockquote><i>[Not once during the self-translation did a beautiful sentence come to me: no whispered words, illuminations or insights of any kind.]</i></blockquote><div><p></p><p>Nevertheless, she enjoyed the intellectual challenge of the translation process and the privilege of being both author and translator:</p><blockquote><p>"Sono stati tre mesi divertenti; ogni mattina mi svegliavo felice di vedere quali nuovi ostacoli linguistici avrei affrontato quel giorno e quali soluzioni creative avrei escogitato per superarli. Inoltre, avevo l’enorme vantaggio di conoscere ogni intenzione dell’autrice e quindi di non dover mai chiedere spiegazioni." (Carlacchiani 2021)</p></blockquote><blockquote><p><i>[It was a fun three months; every morning I woke up happy to see what new linguistic obstacles I would face that day and what creative solutions I would come up with to overcome them. Moreover, I had the enormous advantage of knowing the author's every intention and thus never having to ask for explanations]</i></p></blockquote><p>She wanted to stay as close as possible to the original version but introduced "some small additions, relating to the dialect or other cultural or historical factors" (Goodrich, 2019). <br /><br />At first she considered the original Italian version superior to her English self-translation and was not really satisfied with the result, but over time she began to recognize the value of the English version:<br /></p><blockquote>"Questa sensazione di “perdita” ha caratterizzato il mio atteggiamento verso il testo inglese. Fino a poco tempo fa l’ho considerato un’ombra dell’originale, e soltanto negli ultimi mesi ho cominciato a vederlo come un romanzo a sé e, un poco alla volta, ad affezionarmici." (Carlacchiani 2021) </blockquote><blockquote><i>[This feeling of "loss" has characterized my attitude toward the English text. Until recently I regarded it as a shadow of the original, and only in recent months have I begun to see it as a novel in its own right and, little by little, become attached to it.]</i></blockquote><p></p><p>Her debut novel was translated into several languages, among them:<br /></p><ul style="text-align: left;"><li>Dutch: <i>Verloren in Napels </i>(Wereldbibliotheek). Translator: Manon Smits. 2019.</li><li>French: <i>Perdus dans les quartiers espagnols</i> (Marabooks). Translator: Françoise Bouillot. 2021.</li><li>German: <i>Eine Liebe in Nepal</i> (btb). Translator: Judith Schwaab. 2020.<br /></li><li>Norwegian: <i>Forelsket i Napoli </i>(Cappelen Damm). Translator: Siv Erle Wold. 2021<br /></li><li>Polish: <i>Zagubieni w Neapolu </i>(Zysk i S-ka). Translator: Iwona Banach. 2020.</li><li>Portuguese: <i>Perdidos no Quarteirão Espanhol </i>(Planeta). Translator: Ana Maria Pinto da Silva. 2019.</li><li>Romanian: <i>Pierduți în cartierul spaniol</i> (RAO). Translator: Elena Banica. 2019</li><li>Spanish: <i>El futuro es simplemente un nuevo día</i> (Planeta). Translator: Maribel Campmany Tarrés. 2019</li></ul>The novel was also translated into Arabic and Greek. Interestingly, the Dutch translator Manon Smits started working on the translation while Goodrich was still wrapping up the Italian original:</div><div><blockquote>"Ho avuto il privilegio di collaborare un poco con la traduttrice olandese di Perduti nei Quartieri Spagnoli, che aveva cominciato a tradurre il testo quando non era ancora definitivo. Spesso, nelle sue mail in cui cercava chiarimenti, mi faceva notare alcuni piccoli problemi nel testo che credo soltanto uno che ci lavora da molto molto vicino possa vedere. Le sue osservazioni sono state preziosissime per il testo italiano finale. Allora lei non è soltanto traduttrice e scrittrice ma anche correttrice di bozze e editor!" (Carlacchiani 2021) </blockquote><blockquote><i>[I had the privilege of collaborating a little with the Dutch translator of Lost in the Spanish Quarter, who had begun translating the text when it was not yet final. Often, in her emails seeking clarification, she would point out to me some small problems in the text that I think only someone working on it from very very close up could see. Her observations were invaluable to the final Italian text. So she is not only a translator and writer but also a proofreader and editor!]</i></blockquote><div>Goodrich recently published her second novel in Italian: <i>L'Americana </i>(2021). The novel has not been published in English yet, so we have to wait to see if she opts for self-translation once again.<br /><br /><u>Interviews:<br /></u>Carlacchiani, Debora (2021): "Intervista a Heddi Goodrich", published on <i>La bottega dei traduttori </i>on March 28, 2021: <a href="https://labottegadeitraduttori.wordpress.com/2021/03/28/intervista-a-heddi-goodrich-a-cura-di-debora-carlacchiani/">https://labottegadeitraduttori.wordpress.com/2021/03/28/intervista-a-heddi-goodrich-a-cura-di-debora-carlacchiani/</a><br /><br /></div><div>Goodrich, Heddi (2019): "Heddi Goodrich on Lost in the Spanish Quarter", published on <i>Shelf-Awareness</i> on August 8, 2019: <a href="https://www.shelf-awareness.com/dedicatedshelf/2019-08-08/heddi_goodrich_on_lost_in_the_spanish_quarter.html">https://www.shelf-awareness.com/dedicatedshelf/2019-08-08/heddi_goodrich_on_lost_in_the_spanish_quarter.html</a><div><br /></div><div>Herkt, David (2019): "The New Zealand author who wrote her first novel in Italian", published on <i>Stuff</i> on November 03. 2019: <a href="https://www.stuff.co.nz/entertainment/116850415/the-new-zealand-author-who-wrote-her-first-novel-in-italian">https://www.stuff.co.nz/entertainment/116850415/the-new-zealand-author-who-wrote-her-first-novel-in-italian</a><br /><p></p><p><u>Podcast</u>: <br />"Heddi Goodrich and Lost in the Spanish Quarter". <br /><a href="https://www.rnz.co.nz/national/programmes/standing-room-only/audio/2018716447/heddi-goodrich-and-lost-in-the-spanish-quarte">https://www.rnz.co.nz/national/programmes/standing-room-only/audio/2018716447/heddi-goodrich-and-lost-in-the-spanish-quarte</a>r </p></div></div></div>Eva Genteshttp://www.blogger.com/profile/14419904591999204097noreply@blogger.com0tag:blogger.com,1999:blog-7939695248921593637.post-70588826520912892282022-07-28T15:25:00.000+02:002022-07-28T15:25:24.964+02:00CfP: International conference "The Author and “his” Translator: the Genealogy of an Asymmetric Relationship" (2023, Tours, France)<p> The Author and “his” Translator: the Genealogy of an Asymmetric Relationship <br /> International conference: call for papers<br /> University of Tours (France), June 12th -13th 2023</p><p>To read the full CfP in French and English please visit: <a href="https://www.fabula.org/actualites/lauteur-face-a-son-traducteur--la-genealogie-dune-relation_109217.php">https://www.fabula.org/actualites/lauteur-face-a-son-traducteur--la-genealogie-dune-relation_109217.php</a></p><p>Shortened version: <br />The international conference The Author and “his” Translator calls on researchers from a wide range of disciplines (literary and cultural studies, history, sociology, law, economics, linguistics, etc.) who would like to contribute to investigating this evolution by reconstructing the emergence of this publishing field structure in order to reach a better understanding of the processes of harmonisation of national book markets, which determine contemporary literary translation practices and international distribution of literary texts. Four aspects of this subject seem to deserve our special attention:</p><p>— analogies between the process of codification of the translation profession (diplomas and certifications in translation studies, formalisation of translators’ contracts, emergence of professional networks, prizes and awards for the best translators, etc.) and the one of consolidation of the body of laws on copyright and intellectual property [...]</p><p>— relationship between the history of translation and literary/cultural history [...]</p><p>—<b> typology of collaborations between the writer and the literary translator throughout history</b>. Looking into the diversity of forms of interaction between writer and translator reveals an impressive diversity of practices: benevolent laissez-faire of the author, long and detailed epistolary discussions about the dilemmas of translation, reciprocal translation by the two peers, collaborative translation, <b>choice of self-translation</b> and refusal to cede copyright for non-authorial translations or even legal proceedings against the authors of translations judged to be unfaithful. [...]</p><p>— translation and book market [...]</p><p>The international conference The Author and “his” Translator intends to offer researchers from all fields of humanities and social sciences an opportunity to question the functioning of contemporary cultural field from the point of view of the place that translators are bound to occupy within it. In order to allow for an in-depth examination of this subject, the programme of this scientific event will include various forms of work: in addition to individual papers and thematic panels proposed by several researchers, the conference will comprise a series of talks with a writer and his/her translator, round tables with publishers and directors of foreign literature collections, workshops devoted to the key points of the conference.</p><p>Proposals containing a title, a <b>paper summary of 300 words</b> and a short biographical statement must be sent to anna.krykun@univ-tours.fr <b>before September 7th 2022</b>. Notification of admission will be sent at the beginning of November after evaluation of all proposals by the members of the scientific committee.</p><p><br /></p><p> </p>Eva Genteshttp://www.blogger.com/profile/14419904591999204097noreply@blogger.com0tag:blogger.com,1999:blog-7939695248921593637.post-62812359663243847012022-07-26T14:10:00.108+02:002022-07-31T22:11:21.584+02:00 New Voices in Self-Translation: Lana Bastašić (Serbo-Croatian->English)<p>The first author featured in the new series "New Voices in Self-Translation" is Serbian writer Lana Bastašić (see blog entry on <a href="https://self-translation.blogspot.com/2021/10/lana-bastasic-on-self-translating-her.html">October 23, 2021</a>). The English self-translation of her debut novel <i>Catch the Rabbit</i> was published in 2021 with Picador (UK) and Restless Books (US). The self-translation is visible to the reader as the title page of the Picador version states "Translated by the author". We are thus dealing with a case of a transparent self-translation (for the distinction between opac and transparent self-translation see Dasilva 2011). <br />Lana Bastašić wrote <i>Uhvati zeca </i>(Kontrast 2018) while living in Barcelona, Spain. She can thus be considered a migrant self-translator, but unlike most migrant self-translators she does not use Catalan or Spanish, the language of her current residence, for self-translation. Bastašić explains, that she had to translate the manuscript into English in order order to approach agents and publishers, "I was a Bosnian living in Barcelona. No one spoke my language." (Behnke 2021). She thus translated the manuscript for mere practical reasons - not thinking about a possible publication of the English version: </p><blockquote><p>"When I set out to translate the novel, I never thought my translation would be published. I simply needed a readable draft to show to an agent, so that he or she would know what the book was about. Later, I had to rework the text and improve it because the UK publisher wanted my original translation." (Kalaba 2021)</p></blockquote><p>The self-translation process proved to be complex. While translating, Bastašić identified weaknesses in the original and thus began to edit the new edition of the original version as well: “If I don’t want to bother translating this sentence, then it shouldn’t be in the book." (Behnke 2021). The English self-translation helped her improve the text, find an agent and get translated into several languages: "That’s how in the end I got an agent, and that’s how I got all these translation deals. Otherwise, I think maybe it wouldn’t have happened." (Listi 2021) However, she would still prefer to be translated by a professional translator: "Of course, I still believe it is better to have someone else translate your work. There is a distance and you feel more responsible. But unfortunately, if your language is considered “small,” that is highly unlikely to happen". (Behnke 2021)</p><p>Thanks to her initial self-translation into English, the novel gained visibility on the international market and attracted the interest of publishers around the globe. The novel <i>Uhvati zeca</i> (Buybook 2018) was awarded the 2020 European Union Prize for Literature and is now available in many languages:</p><ul style="text-align: left;"><li>Catalan: <i>Atrapa la llebre</i> (Edicions del Periscopi / Navona) Translator: Pau Sanchis Ferrer, 2018.</li><li>Dutch: <i>Vang de Haas </i>(Meulenhof). Translator: Pavle Trkulja, 2021. Translated from the Serbo-Croatian.<br /></li><li>French: <i>Attrapez le lapin </i>(Actes Sud, Éditions Gaïa). Translator: Aleksandar Grujičić in collaboration with <span style="color: #333333; font-family: serif; font-size: 16px; orphans: 3; text-align: center; widows: 3;">Isabelle Liber</span>, 2022. Translated from the Serbo-Croatian.</li><li>German: <i>Fang den Hasen</i> (Fischer Verlag). Translator: Rebekka Zeinzinger, March 2021. Translated from the Bosnian.</li><li>Hungarian: <i>Kapd el a nyula</i>t! (Metropolis). Translator: Emese Rajsli, 2020</li><li>Italian: <i>Afferra il coniglio</i> (Nutrimenti edizioni). Translator: Elisa Copetti. Translated from the Serbo-Croatian. 2020<br /></li><li>Russian: <i>Поймать зайца </i>(Eksmo)<i>.</i> Translator: Larisa Savelieva, 2021</li><li>Slovenian: <i>Ujemi zajca</i> (Sanje). Translator: Dijana Matkovič, 2021</li><li>Spanish: <i>Atrapa a la liebre</i> (Navona). Translator: Pau Sanchis Ferrer, 2020</li><li>Turkish: T<i>avşanı Yakala </i>(Ilksatir). Translator: Gökce Cicek, 2020</li></ul><div>Translation rights have also been sold to Perseus (Bulgaria), Artconnect (Macedonia), Dituria (Albania). Bastašić, who was born in Croatia and grew up in Bosnia, lives today in Serbia after spending several years in Barcelona. She explains that publishers have difficulties locating her: </div><div><blockquote>“Now some translations have come out, some say ‘translated from the Serbo-Croatian,’ some say ‘translated from Bosnian,’ some say ‘from Serbian.’ Then this article came out in Switzerland, where I was a Croatian writer,” she laughs, “I love it." (Petrick 2021)</blockquote></div>Translation rights are handled by Salmaia Literary Agency on behalf of Edicions del Periscopi.<br /><br /><u>Sources:</u><br />Behnke. Emily. 2021. "An Indies Introduce Q&A With Lana Bastašić". Published on May 20, 2021 on: <a href="https://www.bookweb.org/news/indies-introduce-qa-lana-basta%C5%A1i%C4%87-1625833">https://www.bookweb.org/news/indies-introduce-qa-lana-bastašić-1625833</a> <p></p><p>Kalaba, Jovanka. 2021. "Lana Bastašić Still Believes in Beauty". Published on August 19, 2021 <a href="https://www.asymptotejournal.com/blog/2021/08/19/lana-bastasic-still-believes-in-beauty/">https://www.asymptotejournal.com/blog/2021/08/19/lana-bastasic-still-believes-in-beauty/</a><br /><br />Listi, Bradi. 2021. "“It’s Not Something I Would Recommend.” Lana Bastašić on Translating Her Own Book In Conversation with Brad Listi on Otherppl". Podcast "Otherppl", June 16, 2021, published on: <a href="https://lithub.com/its-not-something-i-would-recommend-lana-bastasic-on-translating-her-own-book/">https://lithub.com/its-not-something-i-would-recommend-lana-bastasic-on-translating-her-own-book/</a></p><p>Petrick Daniel. 2021. "In her novel Catch the Rabbit, Lana Bastašić explores who tells the story of Yugoslavia’s ethnic conflict". Calvit Journal. Published on June 17, 2021 on: <a href="https://www.calvertjournal.com/articles/show/12868/novel-catch-the-rabbit-lana-bastashi-90s-yugoslav-war">https://www.calvertjournal.com/articles/show/12868/novel-catch-the-rabbit-lana-bastashi-90s-yugoslav-war</a> <br /><br />Cited research literature:<br />Dasilva, Xosé Manuel (2011): "La autotraducción transparente y la autotraducción
opaca". In: Xosé Manuel Dasilva & HelenaTanqueiro (eds.), <i>Aproximaciones a la
autotraducción</i>. Vigo: Editorial Academia del Hispanismo, 45–68. </p>Eva Genteshttp://www.blogger.com/profile/14419904591999204097noreply@blogger.com0