Translating Poetry into Rhyming and Metrical Poetry: Creative Touches Abdul Sahib Mehdi Ali This paper aims at providing an in-depth look into the process of translating classical English poetry into Arabic. It brings into focus the main characteristics of the language of poetry as being some of the essential tools whereby poets and poet-translators can effectively express feelings and ideas and paint pictures. Several existing methods of translating poetry are briefly discussed and evaluated in terms of their viability and literary effectiveness. Next, a selection of popular English poems written by some of the most celebrated poets, including William Shakespeare, William Wordsworth, Percy Bysshe Shelly, Emily Dickinson, Alfred Tennyson, Robert Frost and others, are critically analyzed, explained and translated into Arabic. The translations of these poems are also explained, evaluated and compared with the original poems in terms of their content, formal features, fidelity, imagery and creativity. It is also the aim of this paper to highlight various types of creative touches that a translator of poetry needs to add to their work to effectively reproduce the message, beauty and artistic features of the original poem, with the ultimate aim being to present the translation of a poem as a poem in its own right. The selected poems are translated into rhyming and metrical Arabic poetry. Furthermore, the rhyme schemes of the original poems are maintained in their respective translations and the Arabic meters adopted for the translation of these poems are those that best suit the themes and tones of their originals. Findings of this study shed new light on a number of facts relating to poetic translation as an act of re-creation, the linguistic and literary resources available to the literary translator and the translatability of poetic texts from one language to another. The researcher, a poet himself, believes that translating poetry into rhyming and metrical poetry, though quite challenging, is a highly rewarding experience; it brings the translator a real sense of self-satisfaction, creative achievement and pride. Bibliographical References: Ali, Abdul Sahib Mehdi. (2010). ‘Metaphor Translation: Notions and Pedagogical Implications’, in S. Faiq and A. Clark (eds). Beyond Denotation in Arabic-English Translation. London: Sayyab Books. Pp 42-59. Baker, Mona and Saldanha, Gabriela. (1998). (Eds.) Routledge Encyclopedia of Translation Studies. USA and Canada: Routledge. Baker, Mona. (1998) (ed.) Routledge Encyclopedia of Translation Studies. London and new York: Routledge. Barnstone, Willis. (1993). The Poetics of Translation: History, Theory, Practice. New Haven and London: Yale University Press. Bassnet-McGuire, Susan. (1980). Translation Studies. London: Methuen. Biographical note: Abdul Sahib Mehdi Ali is currently Professor of Linguistics and Translation and Chair of the Department of English at the University of Sharjah, UAE; from 1982-1993 was Chair of the Department of Translation at Al-Mustansiriya University, Baghdad; earned his Ph.D. degree in Applied Linguistics from the University of London; has a special interest in poetry translation, contrastive linguistics and lexicography; is the author of Encyclopedia of Translation Terminology (2007), A Dictionary of Translation and Interpreting (2002) and A Linguistic Study of the Development of Scientific Vocabulary in Standard Arabic (London: KPI 1987); is the translator of Thinking Arabic Translation by James Dickins, et al (2007) and Training Translators and Conference Interpreters by W. K. Weber, (1990); has also translated a collection of famous English poems and has given readings of his own poetry at several universities. 1 When translating becomes performing Surrealist poetry Elise Aru Anchored in the vein of Eugenia Loffredo and Manuela Perteghella’s One Poem in Search of a Translator: Rewriting ‘Les Fenêtres’ by Apollinaire, this paper aims to present the creative approach to translating Surrealist poetry I developed in my doctoral work. Surrealism is a major movement in the 20th century European Avant-Garde, still influencing current practices. It exemplifies the literary, aesthetic, and political importance of ludic activity. Surrealist practice brings to the fore the boundless potential of ludic invention to create new semantic possibilities. Play in Surrealism thrives on continual détournements or displacements in their own practices as well as in established works. Indeed, the Surrealists managed to juggle with respecting, bending and reinventing the rules of making sense, creating new forms of play and new semantic as well as formal results. This paper experiments with a ludic and creative approach to translation itself, and to translating Surrealist poems in particular. I propose to translate Surrealist poetry into poem-objects that require the reader/viewer to manipulate the object and perform the text. Indeed, for instance a poem made of collage such as ‘Le Corset Mystère’ by André Breton becomes a collage to be performed by the reader. My presentation will then go on to address the notion of faithfulness in translation in relation to a referent - in this case, Surrealist practice itself – inviting reflection on appropriate forms of translation in the target language. An examination will emerge of the crucial importance of the relation between translator and reader in this creative approach to translation. Bibliographical references: Bassnett, Susan, Bush, Peter (eds), The Translator as a Writer (London and New York: Continuum, 2006) Caws, Mary Ann, The Art of Interference: stressed readings in verbal and visual texts (Princeton: Princeton University Press, 1989) Loffredo, Eugenia, Perteghella, Manuela (eds), Translation and Creativity: Perspectives on Creative Writing and Translation Studies (London: Continuum, 2006) Loffredo, Eugenia, Perteghella, Manuela (eds), One Poem in Search of a Translator: Re- writing 'Les Fenêtres' by Apollinaire, with an introduction by Timothy Mathews (Oxford: Peter Lang, 2008) Ross, Monica, Fisher, Allen, O’Hara, Morgan, Cheek, Cris, ‘Rip out supplement Four Translations’, Translations: Performance Research, 7 (2), (2002), 69-74 Biographical note: Elise has been researching translation for several years and is interested in the creative and artistic forms of translation. She completed an MA in Applied Translation Studies at the University of East Anglia in 2007, and completed her PhD focusing on a creative and ludic approach to translating Surrealist poetry at University College London in March 2012. In 2010, she published an article in Opticon1826 on a ludic approach to translation entitled, ‘When translating becomes a ludic activity’. In 2013, her article ‘Ludicity in Surrealism and in Translation’ will be published in a special issue of Essays in French Literature and Culture. She also co-published, with Delphine Grass, a number of translations of Delphine’s poems in A verse (autumn 2010 and spring 2012). 2 Translation Ethics in Times of Conflict Bilal M. Ayasrah Wartime translation has lately caught much research interest. Translation scholars today "have begun to engage with various aspects of the role and positioning of translators and interpreters in war zone", (Baker, 2010). According to many translation scholars (Baker, 2006; Salama-Carr, 2007; Inghilleri and Harding, 2010), translators in times of conflicts opt for mollifying equivalents in a bid to legitimise their choices, propagandise their products and promote their agendas at the expense of professional conduct and impartial product. This paper mainly aims at investigating ethical considerations in media discourse within the context of the ongoing Syrian revolution. It sets out to explore the potential level of bias resulted from the absence of codes of professional conduct and incompliance with the standards of faithfulness and fidelity. In light of these objectives, the paper raises (and hopes to) answer three key questions: what manipulative tools and strategies (addition, omission, reframing, metaphor, etc.) are utilised by translators to reflect this unprofessional conduct, how can this conduct influence audiences’ perception of reality, and in what way can ethical commitment be reinforced during politically motivated situations and ideologically laden contexts? The present paper is mainly product-oriented in that it traces unethical instances which may appear in the translated version rather than the origin. Based on this, theoretical models of Translation Norms are applied as framework of analysis alongside with Critical Discourse Analysis (CDA) which owes due attention to the predominant linguistic and extra-linguistic constraints, centripetal and centrifugal, which spawn texts and govern their production. For ST-TT comparative evaluation, Descriptive Translation Studies (DTS) is applied. Bibliographical references: Baker, M. (2006) Translation and Conflict: A Narrative Account. Routledge. Baker, M. (2007) 'Reframing conflict in translation'. Social Semiotics 17 (2): 151-169. Baker, M. (2010) 'Interpreters and translators in the war zone: Narrated and narrators'. The Translator 16 (2): 197-222. Bermann, S. and Wood, M. (eds.) (2005) Nation, Language and the Ethics of Translation. Princeton University Press. Fairclough, N. (1989) Language and Power. London: Longman. Fairclough, N. (1995) Critical Discourse Analysis. London: Longman. Biographical note: Bilal M. Ayasrah is a lecturer of Translation and Linguistics. He has taught a number of courses including, but not confined to, Translation Theory, Discourse Analysis, Translation Criticism (Translation and Conflict), Translation in the Field of Media, Media Skills (I, II, and III) as well as English for Journalism and Media. Bilal’s main research interests are text linguistics, translation ethics, language and ideology as well as critical discourse analysis. He has lately placed special focus on translation in conflictual times and its role in forming (and deforming) reality. Bilal has got a BA in English Language and its Literature, MA in Translation and is currently preparing his PHD in translation at London Metropolitan University in the United Kingdom. His research centrally looks into the role of biased translations in shaping political and media discourses in times of wars. 3 Future re-visions: legitimizing science fiction through translation in Italy in the 1970s Diana Bianchi Translations are rarely explicitly advertised for what they are. In translated books, a common convention is to place information about a translation in the back of the title page, as just another item in the copyright details. The erasure of a text as translation is even more likely to take place in the case of popular literature that has been shown to be subject to all sorts of manipulations (Cf. Milton, 2000:171). As a consequence, it may be hypothesized that one of the ways to improve the status of a translated popular text in a given target culture is to adopt strategies that are usually reserved for ‘serious’ literature. In this paper I will discuss one such case, examining the translation of Anglo-American science fiction in Italy in the 1970s, showing how translations were used as part of a strategy of legitimization to increase the status of the genre in the Italian cultural scene. In particular, I will analyse the way specific presentational techniques were adopted to express new ideas about science fiction, with translation being at the centre of this discourse, as new versions of the source texts were published and past translations were discussed in the introductions of the new texts. Combining a multimodal framework (Kress and van Leeuwen, 2006) with a descriptive translation approach (Toury, 1995) this paper will analyse the paratexts (Genette, 1997) of a selected number of English and American novels translated into Italian in the 1970s to show how translation played a key role in relation to the re-articulation of science fiction as legitimate literature. Bibliographical references: Genette, Gérard (1997) Paratexts: Thresholds of Interpretation. Trans. Jane E. Levin. Cambridge: Cambridge University Press Milton John (2000) “The Translation of Mass Fiction”. In Allison Beeby Lonsdale Investigating Translation. Amsterdam: John Benjamins Kress, Gunther and van Leeuwen, Theo (2006) Reading Images. The Grammar of Visual Design. 2nd edition. London and New York: Routledge Toury, Gideon (1995) Descriptive Translation Studies and Beyond. Amsterdam: John Benjamins Biographical note: Diana Bianchi graduated in English language and literature at the University of Bologna (Italy) and currently teaches English at the University of Perugia. Previously she was an Italian lecturer at the University of Westminster (UK) and taught translation at the Advanced School of Modern Languages for Interpreters and Translators of the University of Bologna at Forlì. She has published articles on the Italian translations of Scottish literature and on the translation of fairy tales. 4 Iggle Piggle or Igol Pigol? Translating proper names in television programmes for young children Sharon Black Today, children spend much more time watching television than reading printed material (O’Connell, 1999). There are 31 digital children’s television channels in the UK and children’s television and its related merchandise represents a global industry worth billions of pounds (Conlan, 2010). This paper assumes, therefore, that children’s television must now be accepted as a constituent of the genre of children’s literature which sits alongside books and plays a significant part in the entertainment and education of children. However, children’s television has so far received little attention from Translation Studies scholars. O’Connell (2003) reports that while the number of studies conducted on the translation of literature for children and on audiovisual translation has steadily increased in recent years, “…to date very little has been written on the topic that combines these two subjects, i.e., the translation of audiovisual texts for children.” This paper aims to examine one particular lexical subcategory in the context of television programmes for young children: proper names, and their translation from English into Spanish. This study analyses the translations of proper names in eight dubbed children’s television programmes and attempts to categorise the names according to the translation strategies used. It discusses the merits of domestication or foreignisation strategies and explores whether a child-centred approach that “join[s] the children and dive[s] into their carnival” (Oittinen: 1993) could be used to create translations of proper names that young children might enjoy listening to and saying. Bibliographical references: Conlan, T. (27th Sept., 2010) “Why Children’s television has to rely on merchandising deals”, The Guardian. Retrieved from: http://www.guardian.co.uk/media/2010/sep/27/children- television-bbc-funding-merchandising Díaz Cintas, J. (2004) “Subtitling: the long journey to academic acknowledgement”, The Journal of Specialised Translation, 01, 50-68. Epstein, B.J. (2012) Translating Expressive Language in Children’s Literature: Problems and Solutions, Bern: Peter Lang. Nord, C. (2003) “Proper Names in Translations for Children: Alice in Wonderland as a Case in Point”, Meta 48, 1-2, 182-196. O’Connell, E. (2003) “What Dubbers of Children’s Television Programmes Can Learn from Translators of Children’s Books”, Meta 48, 1-2, 222-232. Oittinen, R. (1993) I am Me – I am Other: On the Dialogics of Translating for Children, Tampere: University of Tampere. Biographical note: Sharon Black is a postgraduate research student at Queen’s University Belfast and is conducting interdisciplinary research into young children as receptors of audiovisual translations. 5 The Confabulations of ‘Generative Translation’: Spicer, Gelman and Hawkey Lisa Rose Bradford In this paper I will examine the practice of “generative translation”: a translational poetics that functions to reveal and revive the original articulation as a continuation of the seminal frisson while producing an entirely new work of art as an expression that reflects the genius of both the original author and the translating author. While generative translation represents a renovative strategy that has historically provided a constant creative force in literature, in recent years it has established a particularly fruitful, transnational space for writing. Taking Jack Spicer’s After Lorca (1957), Juan Gelman’s Com/positions (1986) and Christian Hawkey’s Ventrakl (2010) as examples, I will compare and contrast different strategies and methods of generative translation to demonstrate how seemingly paratextual elements encapsulate and color the reworked texts, thus sculpting the entire reading process. In my exploration of the underpinnings and mechanics of these three series of “afterpoems” I will discuss why this practice has become so prevalent and productive as of late, posing that the Romantic ideal of originality can be considered as a mere pause in an age-old practice of generative translation, a practice that proceeds according to and even shaping individual literary periods. Biographical note: Born in Dayton, Ohio, Lisa Rose Bradford teaches Comparative Literature at the Universidad Nacional de Mar del Plata and raises horses and cattle in Madariaga, Argentina. Her doctoral work was completed at the University of California at Berkeley, and since then she has edited two compendiums on translation and cultural studies, Traducción como cultura, La cultura de los géneros, and two U.S. poetry anthologies in Spanish: Los pájaros, por la nieve (RIL, Chile, 2010) and Usos de la imaginación: poetas latin@s en EE.UU (EUDEM, Argentina, 2008). Her poems and translations have appeared in various magazines and journals, and she has also published two volumes of Juan Gelman’s verse, Between Words: Juan Gelman's Public Letter (National Translation Award, 2011) and Commentaries and Citations, with a third, Com/positions to appear in 2012. She is presently completing, under the auspices of an NEA grant, a fourth book by Gelman, Oxen Rage. 6 Nachleben for a past that won’t pass: Habib Tengour in translation Madeleine Campbell The act of writing, rewriting and ‘overwriting’ the past, whether in French or Arabic, is emblematic of several generations of Maghrebi authors. Torn between amnesia and anamnesis, they have produced a vibrant and disquieting body of work, often parsing allegorical conceit with fragmented testimonial narrative. Hédi Abdel-Jaouad (1998) argued that the heady confluence of Sufism and surrealism on francophone Maghrebi literature, from twelfth-century mystical poet Ibn Arabi to ‘Abdallah’ Rimbaud, initiated an explosive aesthetic and ontological renaissance. Algerian poet, essayist and ethnologist Habib Tengour, whose manifesto-essay ‘Le surréalisme maghrébin’ (1981) provided the impetus for Abdel- Jaouad’s exploration of the ‘Soufialisme’ movement, is part of the ‘nouvelle génération’ of Algerian writers. Tengour, who has always written in French, reflected on this choice when he said: ‘[...] marginal in an “illiterate” society in which writing is not widespread, proscribed by the nationalist discourse, what space can our francophone literature hope for?’ The first compilation of his work in English, Exile is My Trade: A Habib Tengour Reader, recently published by Black Widow Press, was edited and translated by Pierre Joris. Joris’ vigorous rendering of Tengour’s œuvre in all its nomadic meanders and surface opacity conveys the full complexity of his hypertemporal language. Joris’ unapologetic literal approach leaves, as he explicitly set out to achieve, the task of in-depth reading to the reader, including that of deciphering its multilingual surface. This paper will examine how Joris’ translation decisions, from selection of extracts to lexical choice, reflect his perspective on the translation of diasporic literature. Bibliographical references : Abdeljaouad, H. (1998). Fugues de Barbarie. Les écrivains maghrébins et le surréalisme. New York/Tunis: Les Mains Secrètes. Arnaud, J. (1986). La littérature maghrébine de langue française (Vol. Tome I : Origines et perspectives ). Condé-sur-Noirot, France: Publisud. Berque, J. (1979). Les dix grandes odes arabe de l'Anté-Islam : Les Mu'allaqât . Paris: Editions Sindbad. Chikhi, B. (2010). Dans le secret d'une cassolette, un héritage par une ‘naturelle filiation’, Résurgences et palingénésies dans la littérature Algérienne. Revue de Littérature Comparée , 1, 83-93 Franklin, R. (2000, December 25). The Black Milk of Language. 223 (26), pp. 32-39. Joris, P. (2012). Introduction. In H. Tengour, Exile is My Trade (pp. 7-21). Chicago: Black Widow Press. Biographical note: Madeleine Campbell is a final-year PhD candidate in the School of Critical Studies at Glasgow University. Her interests include francophone literature, surrealism, found poetry and ekphrastic poetry. Her current project involves a critical appraisal and translation of selected prose and poetry by Algerian author Mohammed Dib. She has also translated Ouafaa Lamrani, Nadia Guendouz, Henri Kréa, Mohamed Serghini and Mohammed Sebbagh for The University of California Book of North African Literature (2012). 7 ‘Imperialistic Abroad and Xenophobic at Home’: How does the UK Publishing Industry Plead to These Charges? Guilty or Not Guilty. Stephanie Craighill Lawrence Venuti states that the imbalance in the flow of translations towards the English- language market exposes Anglo-American publishing as ‘imperialistic abroad and xenophobic at home’. This paper focuses solely on UK fiction publishing in the European context and determines if the UK market pleads guilty to these controversial charges. Firstly, the context of Venuti’s claim will be explored. The witnesses for the prosecution include The Booktrust and UNESCO’s Index Translationum who, amongst others, determine the UK's rate of translation to be in the region of just two to four per cent of their total book production, a figure considerably higher in other European territories. Conversely, sources suggest that the English-language market commands a sixty per cent monopoly on the European stage. The witnesses for the defence will then be examined. Eighteen leading figures from UK fiction publishing have been interviewed regarding the charges brought against them by Venuti. These include authors such as Ian Rankin, publishers including Jonathan Cape’s Dan Franklin and MacLehose Press’ Christopher MacLehose, amongst others. In the main, although they consider Venuti’s terminology to be contentious, they plead not guilty to the first charge of ‘imperialistic abroad’ but guilty to the second charge of ‘xenophobic at home’. Finally, accounts from UK publishing figures will briefly be compared to the perspectives of representatives from French publishing, whose opinion differs greatly from that of the UK, as they largely perceive Venuti’s assertion, that Anglo-American publishing is ‘imperialistic abroad and xenophobic at home’, to be a wholly realistic if controversial statement. Biographical note: Stephanie Craighill is a third year PhD student within the Scottish Centre for the Book, Edinburgh Napier University. She is researching the ‘Globalisation of the European Fiction Market’ and her work is funded by the Carnegie Trust. 8 The role of translation in post-war Czechoslovakia Petr Eliáš The paper discusses the specific role of translation from English in Czechoslovakia between 1948 and 1958. It looks at translation as a literary phenomenon specific primarily due to the sociological and cultural situation it was rooted in. Another important aspect is that many translations were done by authors who could not publish their own works for various reasons, translation thus being the only possible form of artistic expression for them. The paper focuses on the place of translations done by Jan Zábrana, Jiří Kolář etc. both in literature and culture in general and in the context of their own work. It also examines whether and how the socio-cultural context influences the nature of translation. Bibliographical references: BASSNETT, Susan: The Translator as Writer. Continuum, 2006. ČERVENKA, Miroslav: První čtyři sbírky Jiřího Koláře. Paříž: Revue K, 1989. ČERVENKA, Miroslav: Styl a význam. Studie o básnících. Praha: Československý spisovatel, 1991. ČERVENKA, Miroslav: Deník v jambu. In: Obléhání zevnitř. Praha: Torst, 1996. s. 283– 286. DOSTÁL, Vladimír: Tíha a moudrost. Kulturní tvorba. 1966, č. 18. Biographical note: Petr Eliáš (* 1986) graduated from the Faculty of Arts of the Charles University in Prague, Czech Republic, where he studied Czech Language and Literature and Translation Studies. He currently studies the Translation Studies PhD programme focusing on the translation history and comparative poetics. He works as a translator and editor in a leading Czech publishing based in Prague. 9 The unfaithful original and its faithful translation: Unter Schnee and Snowed Under Birgit Friedrich Venuti’s model of the translation as a text in its own right relies on strategies of ‘foreignizaton’. This entails the use of foreignizing techniques on the part of the translator to produce a text which is not domesticated for its target audience. However, his theory does not take into account the potential complexities already present in the source text. This paper takes Zaia Alexander’s Snowed Under (2007), a translation of Antje Rávic Strubel’s German post-unification novel Unter Schnee (2001) to challenge and add nuance to Venuti’s account. It revisits the apparently outmoded terminology of ‘faithfulness’ or ‘unfaithfulness’, drawing in particular on Borges’ famous claim that the original may also be unfaithful, which subverts the pre-established relationship between the authoritative status of the original and its reproduction. The inversion and inherent subjectivity of the relation of ‘unfaithfulness’ and ‘faithfulness’ provide a useful concept to address the main theme of the novel: the relationships between language, identities, the literary canon and their effects on the individual, as exemplified in the lesbian relationship between an East and a West German woman within the context of unification. The analysis aims to demonstrate that while, in Venuti’s terms, Alexander’s text is a novel in its own right; this is achieved not through the use of foreignization, but rather, through the foreignness already present in the source text. Thus Snowed Under demonstrates ways in which the translation is used to interrogate the notion both of Germanness within the US culture and identity more broadly. Bibliographical references: Antje Ravic Strubel, Snowed Under. trans. Zaia Alexander (Los Angeles, CA: Red Hen Press, 2008). ———, Unter Schnee (Dt. Taschenbuch-Verlag, 2001). Efrain Kristal, Invisible Work. Borges and Translation (Nashville: Vanderbilt University Press, 2002). Lawrence Venuti, The Translator's Invisibility. A History of Translation (New York: Routledge, 2008). Eugenia Loffredo and Manuela Perteghella, Translation and Creativity (London, New York: Continuum, 2007). Biographical note: Birgit Friedrich is a part time PhD student (3rd year) in German Studies (Translation Studies) at the University of Nottingham 1 0