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CW909-36 Literary Translation and Creative (Re-)Writing Workshop

Department
SCAPVC - Warwick Writing Programme
Level
Taught Postgraduate Level
Module leader
Chantal Wright
Credit value
36
Module duration
10 weeks
Assessment
100% coursework
Study location
University of Warwick main campus, Coventry

Introductory description

This module is a workshop in which students will produce translations of already translated and canonical texts – classical and modern – and experiment with translational norms and forms. The workshop will be framed by discussion prompted by theoretical readings that will aid students in the critical assessment of their own translational practice.

Module web page

Module aims

The course will focus on literary translation as creative (re-)writing in two respects: we will first consider why we translate and re-translate, exploring why individual translators and cultures as a whole undertake (re)translations, how (re-)translation can contribute to the “afterlife” of a text, and how translation can be harnessed by the translator for the expression of his or her creative voice. Secondly, we will look at experimentation in translation, examining the boundary between translation and creative writing, and investigating the relationship between constraint and creativity.

Outline syllabus

This is an indicative module outline only to give an indication of the sort of topics that may be covered. Actual sessions held may differ.

This module is a workshop in which students will produce translations of already translated and canonical texts – classical and modern – and experiment with translational norms and forms. The workshop will be framed by discussion prompted by theoretical readings that will aid students in the critical assessment of their own translational practice. The course will focus on literary translation as creative (re-)writing in two respects: we will first consider why we translate and re-translate, exploring why individual translators and cultures as a whole undertake (re)translations, how (re-)translation can contribute to the “afterlife” of a text, and how translation can be harnessed by the translator for the expression of his or her creative voice. Secondly, we will look at experimentation in translation, examining the boundary between translation and creative writing, and investigating the relationship between constraint and creativity.

Learning outcomes

By the end of the module, students should be able to:

  • To have developed practical literary translation skills, including a sensitivity to literary style, and editing skills.
  • To have the ability to establish a conceptual and practical framework for the production of literary translations.
  • To have developed an appreciation of the purpose and value of re-translation, experimentation in translation, and a critical understanding of the relationship between literary translation and creative writing.

Indicative reading list

Week One: Translation, re-translation and canonical literature
Benjamin, W., 1923. The Task of the Translator. Translated from German by Steven Rendall. In: L. Venuti, ed. 2012. The Translation Studies Reader. Abingdon: Routledge. pp.75-83.
Boase-Beier, J. and Holman, M., 1998. Writing, Rewriting and Translation. Through Constraint to Creativity. In: J. Boase-Beier and M. Holman, eds. 1998. The Practices of Literary Translation. Manchester: St. Jerome. pp.1-17.
Borges, J.L., 1939. Pierre Menard, Author of the Quixote. Translated from Spanish by Anthony Bonner. In: J.L. Borges, 1965. Ficciones. London: Calder.
Venuti, L., 2004. Re-translations. The creation of value. In: L. Venuti, 2013. Translation Changes Everything. Abingdon: Routledge.
Wright, C., 2016. Why do we translate? In: C. Wright, 2016. Literary Translation. Abingdon: Routledge.
Week Four: Re-translation and poetry
Carson, C., 2002. Introduction. In C. Carson, 2002. The Inferno of Dante Alighieri. Granta: London.
Loffredo, E. and Perteghella, M., 2009. One Poem in Search of a Translator. Oxford: Peter Lang.
Scott, C., 2012. Literary Translation and the Rediscovery of Reading. Cambridge: CUP.
Wang, W., Weinberger, E. and Paz. O., 1987. Nineteen Ways of Looking at Wang Wei. Mount Kisco, N.Y.: Moyer Bell.
Listening: Radiolab – Translation. 100 Flowers. http://www.radiolab.org/story/1000-flowers/
Week Seven: Experimentation in translation
Film: The Five Obstructions (dir. Lars von Trier), 2003.
Thirlwell, A, ed. 2013. Multiples. London: Portobello.
Wright, C., 2013. Yoko Tawada’s ‘Portrait of a Tongue’: An Experimental Translation. Ottawa: University of Ottawa Press.
Week Eight: Translation beyond the page: the ultimate experiment?
Hemon, A., 2011. Mapping Home, The New Yorker, December 5, pp.40-49.
Hoffman, E., 1991. Lost in Translation. London: Minerva.
Simon, S., 2006. Translating Montreal. Abingdon: Routledge.

Subject specific skills

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Transferable skills

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Study time

Type Required
Seminars 10 sessions of 3 hours (8%)
Private study 330 hours (92%)
Total 360 hours

Private study description

No private study requirements defined for this module.

Costs

No further costs have been identified for this module.

You must pass all assessment components to pass the module.

Assessment group A
Weighting Study time Eligible for self-certification
Assessment component
Assessed essay & portfolio of creative work 100% Yes (extension)
Reassessment component is the same
Feedback on assessment

Written feedback on final portfolios. Oral feedback on translations workshopped in class.

There is currently no information about the courses for which this module is core or optional.