Call for Papers

You might be interested in this call for papers or in simply attending the conference: Crime in Translation Park Building, University of Portsmouth Saturday 9 November 2013 Plenary speakers: Dr Karen Seago (City University, London) Dr Yvonne Fowler (Aston University) A selection of papers will be published in Jostrans, issue 22, July 2014 The translation of crime fiction is all around us, from the current wave of Scandinavian and European crime novels, film and television to recent screen adaptations of classic crime fiction such as Sherlock Holmes. But it’s not only in fiction that translation meets crime. The police and the courts rely heavily on public service interpreters and translators. Translation itself is criminalised in various ways, e.g. in relation to copyright infringement, legal proceedings against translators of ‘problematic’ texts and various forms of piracy. The 2013 Portsmouth Translation Conference aims to bring the different facets of translation and crime together in an interdisciplinary one-day conference, allowing exchange of ideas between translators, criminologists, interpreters, literary scholars and translation researchers. We invite proposals for 20-minute papers and 60-minute practical workshops on any area connecting crime and translation or interpreting. We welcome approaches from practitioners as well as researchers. Topics may include (but are not limited to): The challenges of translating crime fiction Subtitling and dubbing thrillers Crime, translation and the law ‘True crime’ in translation The role of translation and interpreting in criminal justice Translation by and for criminals Translation as a crime Translation and forensic linguistics The representation of translation and interpreting in crime fiction and film Enquiries and/or 300-word abstracts should be sent to translation@port.ac.uk by 15 June 2013

Scientific and Technical Translation Explained

I met Jody Byrne at a translation conference in Shanghai in 2008 and he struck me as an intelligent, funny translator and academic. So I was thrilled to that his latest book, TEXT, has just been published. I look forward to reading it and I think many of you would find it useful too.

The Next Generation of Translators

I teach in an MA program in literary translation. Every year, students come in, expecting that once they have their MAs, they will be able to work full-time as translators of poetry or plays or whatever else. Every year, a number of students come in, sneering at people who translate users’ manuals or cookbooks or financial reports and vowing never to be one of them.

I suppose I see part of my job as informing students about the market for literary translation and about being realistic with them. An MA in literary translation will help them, of course, but it will not automatically enable them to support themselves by translating novels. Very few people – even well established, highly talented translators – can live off their literary translation work.

I also point out to my students that many people combine literary translation with other kinds of translation or with teaching or editing or research or work in the charity sector or work at banks and so on. I tell them how stimulating I personally find it to combine different types of translation and how it helps improve my language skills and my translation skills and also teaches me about new topics.

Most of the time, the students are definitely not convinced. Maybe it’s because they’re young (for the most part) and idealistic and think that everything can and will just be handed to them. Maybe they genuinely think they are too good for anything but translating song lyrics and memoirs. Maybe they don’t want to think about the fact that they will have to work hard in order to have a career in translation. Maybe they don’t have any money worries and have relatives who will support them as they translate short stories. Maybe there’s something else going on.

Of course I feel a bit hurt and shocked at the way they mock anything other than literary translation (one student actually said, “I would never lower myself to translate cookbooks!” even after I had mentioned how many cookbooks I have translated). But more importantly, I worry about what will happen when these students go out into the “real world”, armed with their MAs in literary translation, expecting to be able to support themselves on such work. I try to give them hints about how to improve their chances, and I organize talks with the Careers Centre on campus, and I talk to the students about practical matters such as writing a CV, networking, building a website, signing up with agencies, getting mentoring, and so on. So I try to do the best I can as a teacher and fellow translator.

But some students are resistant and only want to talk about translation theory. Some yawn as I suggest book fairs they might want to attend and how they can exchange business cards with editors and publishers. Some even criticize me, saying that I am negative and make them worry about what will happen next. So it’s a matter of trying to gently be realistic with them, to the best of my ability, hoping something that will sink in, while also continuing to encourage them.

What tips do you have for working with the next generation of translators?

A PhD From the Other Side: Working with Supervisors

The past few posts were about getting a PhD, and they were from a student’s perspective, but here’s a link from the other side, i.e. your supervisor’s perspective. It talks about how to handle your supervisor.

I haven’t been on the other side that long (I only got my PhD in 2009) and I haven’t supervised that many PhD students, but I’ve learned a lot in that time. One is that it is incredibly enjoyable to work with PhD students and to help them on their journey.

But perhaps more relevantly for you, I’ve seen how things can go pretty wrong. Here is some simple and perhaps obvious advice.

If your supervisor asks you to submit work by a certain date, do it. If you don’t do it and your supervisor follows up (which, incidentally, is an annoyance for both of you and a waste of your supervisor’s limited time), respond to the message. Your supervisor cares and wants to make sure everything is okay. Your supervisor has an obligation to you, but you also have an obligation to him/her. Follow through and follow up.

When you submit work, make sure it is clean and clear. No grammatical or orthographic mistakes. No half-sentences. No unfinished ideas. No outlines (unless you were asked to submit an outline). Do the work that was requested and make sure you edit it carefully before turning it in. Be professional about your PhD; it is, after all, your job at this stage in your life.

If you are asked to submit your work in a certain format (by email, for example, or in hard copy), do it. Different teachers have different preferences for how they read student work. I prefer emailed documents, so I can use Microsoft’s Track Changes feature and edit the work in a neat fashion. But others prefer hard copies. So listen to what your supervisor requests and follow the instructions.

If you have a meeting scheduled, prepare for it. This means having the work finished and submitted on time, as discussed above. This also means that you come armed with questions and/or discussion points. Your supervisor will generally direct the meeting, but you should have some comments as well. This is your chance to get advice, so take advantage of it. Also, this should be needless to say, but come to meetings on time. It’s so irritating and inconsiderate when students are late or don’t show up at all.

Also in meetings, make sure you take notes. You’re not going to remember everything that was said, so make the most of your opportunity and write down the ideas and critiques you get. I’ve been in supervisions where a student just says “Yeah, yeah, yeah” and doesn’t write anything down. It won’t surprise you that such students don’t generally make the changes that have been suggested in the meeting. This means that the supervisor then has to repeat all those comments another time, and what’s the point of that?

You don’t have to agree with or do everything your supervisor says, but you should at least listen to it with an open mind. It’s pretty rude for a student to make faces, sigh, or interrupt while the supervisor is talking, and yet I’ve seen this more times than I would have liked.

Don’t waste time in meetings talking about your personal life, unless this is directly relevant to your studies (if you’re going through a divorce or you’ve had a death in the family or another difficult situation, you may need a break from your studies or an extension to a deadline).

Do be polite at all times. This means thanking anyone who exerts time and effort on your behalf, not just your supervisors but admin staff, other teachers, interview subjects, and so on. It’s just good manners. And to be crass about it, you’ll probably want or need a reference from your supervisor later, so it doesn’t hurt to make a good impression.

Good luck working with your supervisor!

Getting a PhD

The past two posts were about good and bad reasons for thinking you might want to get a PhD in translation studies. Here I want to write a bit more about what kind of person you should be in order to succeed in a PhD program.

I won’t lie to you. It is difficult to get a PhD and it takes a lot of effort, motivation, and perseverance, but if you are passionate and hard-working, you can probably manage it. You have to be willing to spend three or more years really focused on your topic and that means you have to choose a topic that you truly care about. It is easy to let yourself get swayed by what a supervisor suggests or wants or by a grant opportunity you spot (there are sometimes grants for people who agree to research a particular subject or agree to take on a certain job in exchange for having their PhD paid for), but I would personally recommend that you pick a topic you are fascinated by, or you will find your motivation dropping partway through the program.

You also have be able to work independently and to push yourself. You spend a lot of the time in a PhD program researching by yourself, reading and taking notes by yourself, writing up drafts by yourself, editing by yourself, and struggling by yourself. If you’re very sociable and can’t handle spending time on your own and/or if you find it hard to motivate yourself, then a PhD is not for you. If you can set goals and hunker down to make them happen, then you’d probably do well in a PhD program. A PhD is not like a BA, in that teachers won’t chase you to find out why you’re not attending seminars or turning in your work (or, okay, your supervisors will chase you a bit, but not as much as if you were an undergrad or a high school student). It’s all up to you to make sure things happen.

You also have to be the kind of person who can handle criticism. Your supervisors want to ensure that your work is as good as possible and that it will pass muster when it comes time for your defense/viva and for any possible publications. In most cases, they aren’t trying to be mean, but they may sound harsh (especially if you keep making the same mistakes and don’t seem to listen to what they are telling you). I’ve seen students cry over the criticism they get or go into a panicked spiral of self-doubt. That doesn’t help anything, although of course it’s okay to pity yourself a bit now and then. You have to learn how to hear what is useful in the feedback you get and to be able to brush yourself off, make changes, and carry on.

On the other hand, you have to believe in yourself and know how and when to defend your ideas or your way of writing. Your supervisors aren’t always right, even if they want you to think they are, and sometimes you have to tell them, “Thanks for the suggestion, but I think I’ll actually continue on in this way because…” or “I’m not so sure about that because…” You’re not always in the wrong and you have to know when to give in and when not to. You also have to learn how to defend your ideas and methods, as this is an important part of academia.

You also have to be fairly academic and interested in the theoretical side of things. You can’t just write a PhD thesis/dissertation on why you translate in a particular way or on suggestions for translators. While the practical aspect is essential and while there should be less of a practical-theoretical divide than there currently is, a PhD is pretty theoretical. I’ve talked to MA students who say they’re interested in doing a PhD, but “only if there’s no theory”. It doesn’t work like that, I’m afraid.

Mentioning the obvious, you have to know at least two languages. I’ve actually been contacted by people who’ve proposed that they study the translations of a particular author or book but without knowing the source language. Of course looking at target texts is essential, but that can’t be all you do. It’s not called “studying translations” but “translation studies” and there is a big difference there.

Ideally, you’d also be a translator yourself or at least have some experience translating. I’m sometimes surprised and dismayed by the number of people in translation studies who profess to be able to comment on what translators do but wouldn’t know how to translate themselves. An art critic has to know something about color and perspective and an expert in translation studies should know something – on a practical level – about words and context.

So, if you have many of the skills and qualities mentioned here and if you are interested in academia (whether for just a few years or for your entire career), why not apply to PhD programs? You sound like you could be a good candidate!

A couple of years ago, I wrote a post about what you actually do in a PhD program in translation studies, so you might want to check that out for more information.

Why Not to Get a PhD

This is a companion post to the last one. Here I’d like to mention bad reasons for thinking you might want to get a PhD in translation and/or signs that you are not suited to a PhD. These include, but are not limited to:

--You simply want “Dr.” before your name and “PhD” after it. Sorry, but a desire for titles is not a good reason to spend 3-10 years working on another degree. I’ve met people like this and I think they’re just wasting their time, because they don’t have the right sort of motivation.

--You aren’t interested in one particular topic. I know some people who are quite smart and engaged, but like to constantly change the subject they are engaged with. That doesn’t work in a PhD. Here you must be willing to work intensely on one subject.

--You don’t know what to do with your life, so getting another degree seems like a sensible option. Getting a PhD is a huge investment in terms of time, money, and effort, so actually, in many ways it’s not a sensible thing to do. I know people who’ve started graduate degrees because they didn’t know what else to do and partway through lost their enthusiasm. They ended up realizing that they wasted their time and money when they could have been finding a job they really enjoyed.

--You don’t enjoy translation theory or any sort of theory. If you’re purely a practice-based person – and there’s nothing wrong with you if you are! – then you probably don’t want to spend a number of years thinking on a theoretical level.

--You know you want to work solely as a translator and you already have a number of customers and/or a niche in the market. In this case, a PhD probably won’t help you too much, as you don’t seem to need much in the way of marketing your skills and services.

--You are the type of person who doesn’t like working independently. In this case, it’s hard to imagine that you will do too well as a translator, and you definitely won’t survive a PhD program, where you have to work on your own and be very motivated.

Again, as with the reasons for getting a PhD, these reasons can apply to many fields, not just translation.

See the next post for more on getting a PhD.

Why Get a PhD

I get quite a few emails from people who are considering getting a PhD in translation but want some sort of confirmation that it’s a good idea. While I obviously can’t offer that, because decisions about what to do with one’s life are extremely personal and context-dependent, I can say some of the reasons why you might want to get a PhD in translation. These include, but are not limited to:

--You want to go into academia. In most cases, you will need a PhD to get an academic job.

--You have a passion for a particular subject and want to explore it in depth. This is what a PhD is about.

--You want a qualification that will help you stand out from other translators. I know a number of translators with PhDs and they certainly say that in a glutted market, any extra qualifications or skills can help you get work instead of someone else.

--You want a qualification that will help you stand out from other writers. Some people get a PhD because they then want to write “the” book on a particular subject. Many PhDs do lead on to books based on the thesis/dissertation and having another qualification will help ensure a publisher that you are the right expert for the book.

--You love learning and would thrive in an academic environment for a number of years. Some people really enjoy attending classes, seminars, and workshops, spending time in the library, debating and discussing ideas with others, and so on. If that’s you, then getting another degree might very well suit you.

Obviously, many of these ideas are applicable to areas other than translation!

In the next two posts, I’ll write some more about getting a PhD in translation.

Eugene Nida

As many of you in translation studies will already have heard, Eugene Nida has died. While he worked in the field of bible translation, he had an influence on translation studies in general due to his work on dynamic and functional equivalence.

Call for Papers

Call for Contributions:
'It just doesn't sound right.' - Translation and Intuition
Translation is a problem with two horns: to be caught on the point of free and apparently
subconscious decision; or to be pinned by the mechanical application of theory. But perhaps
this is not a helpful dichotomy. Rather, we would like to ask where in the muddle translation
actually happens, and how balance is struck between conflicting thought processes.
'It just doesn't sound right' is both the catchphrase and bane of the practising translator. A lot
stands behind these apparently throwaway words, and we would like to invite considerations of
how they might be unpacked.
Areas of interest include, but are not restricted to:
- spirit and affect - how can poetics account for the sublime, or literature's affective
power, the hairs that stand on the back of the neck?
- intentionality - the relationship between translator and author.
- preservation of non-standard features, especially in texts written to be read as if spoken.
- critical reception of translations, and the intuitive approval of translations that read smoothly.
- what is strange about translated language, and why?
- the stuff and substance of language - can we understand or only intuit the iconicity of sound?
Submission details
Please submit your papers to norwichpapers@uea.ac.uk
Deadline: Friday April 29th, 2011

Format: Word documents or Rich Text Format (.rtf). Please follow the Harvard style of
referencing. Articles should be between 4000 and 5000 words long, written in English.

Translators on Translating

While convalescing from surgery a few weeks ago, I enjoyed reading Andrew Wilson’s new book Translators on Translating. Each themed chapter includes quotes, anecdotes, and extracts from practicing translators, and it makes translators and their thoughts on translation more visible.

Many of the usual suspects are included (such as Douglas Robinson, Lawrence Venuti, Martin Luther, Anthea Bell), but there are also names that are less familiar, such as Sharon M. Bell, Cathy Hirano, Eivor Martinus, Moura Budberg), and it’s very interesting to get such a wide variety of views, from different countries, languages, and time periods.

The themes include work (Samuel Johnson refers to translation as “the great pest”), technical translation, the relationship between translators and authors (Wilson points out that “[f]ew authors will ever have occasion to read a translator’s work with anything like the attention the translator puts into theirs, and fewer still are actually capable of judging the quality of the translation.”), translation theory (Andrew Chesterman and Emma Wagner say that “[m]essages from the ivory tower tend not to penetrate as far as the wordface. (The wordface is the place where we translators work – think of a miner at the coalface.)”), and more.

Wilson’s book is more than an anthology of extracts, as he explores many of the concepts and adds his own opinions and experiences. It’s a fun and fascinating book to dip into.

References on Translation

I often get emails from people who ask me for reading lists and while I don't think I should do people's research for them, as I've said before, I can provide some suggestions. And if any readers come up with other books and articles that could be of use, feel free to add them in the comments.

So, for the first such list, I thought I'd offer some good introductory texts on translation. These will serve as a useful academic basis for a deeper understanding of what translation is and what translators do.

Mona Baker: In Other Words: A Coursebook on Translation

Basil Hatim and Ian Mason: Discourse and the Translator

Clifford E. Landers: Literary Translation: A Practical Guide

André Lefevere: Translating Literature: Practice and Theory in a Comparative Literature Context

Jeremy Munday: Introducing Translation Studies

Peter Newmark: Approaches to Translation

Peter Newmark: A Textbook of Translation

Eugene A. Nida and Charles R. Taber: The Theory and Practice of Translation

Christiane Nord: Translating as a Purposeful Activity: Functionalist Approaches Explained

Gideon Toury: Descriptive Translation Studies and Beyond

Studying Children’s Literature

As some of you may know, my PhD dissertation was on the translation of children’s literature and I do a lot of research on children’s lit. I have to deal with a lot of misconceptions about what this means:

-People ask me if I sit around, reading children’s books, and they assume that this must be easy. No, actually, I don’t spend hours reading Laura Ingalls Wilder and Judy Blume and Lewis Carroll and Lemony Snicket and nothing else. I do read them, and I read them very closely, but I also have to read around them, which means studying literary theory, psychology, anthropology, reception theory, translation theory, and much more. I don’t just read books and then summarize them, as you might do in grammar school. I have to analyze them and what they mean and what effect they have on the reader, among other things. It is not easy to study children’s literature.

-People often assume I must be an expert on fairy tales. Actually, no, I’m not. The field of children’s literature is much larger than just fairy tales, and fairy tales are not my area of expertise, even though of course I need to understand them in order to be able to understand the history of children’s literature.

-One of the most common questions I get asked is what I think of Harry Potter. I’ll be honest: I’ve never read any of the Harry Potter books. I don’t study them. It’s very frustrating when I give a talk at a conference and then during the question session people ask me about J.K. Rowling and Harry Potter, even though I never mentioned her and her books once during my presentation. There is more to children’s literature than Harry Potter.

-One of the other most common issues people often ask about is in regards to tv shows and films. First of all, I study literature, not tv. Second of all, I don’t even own a tv. While some people study the transition of children’s books from literature to film, most of us in the field don’t. Again, there is much more to the subject than tv.

-Finally, people tend to think it is a ridiculous, non-serious field and they mock me for choosing such a “simple” topic. It seems to me essential that we understand what ideas are behind children’s literature and how they affect the next generation. How could this possibly be unimportant?

In the next post, I will offer some links on children’s literature.

Getting a PhD in Translation Studies

I am nearing the end of my time in a doctoral program in translation studies, so I thought I would write a little bit about what it means to get a PhD in the field. A shorter version of this was published as a guest post earlier this month.

In September 2006, I moved from Sweden to Wales in order to study at Swansea University. There are not that many schools yet that offer translation studies; more often, one must study a language or comparative literature. So what does it mean to be in a translation studies program?

Translation programs on the BA or MA level generally focus on training translators. Such programs combine theoretical and practical work. Students improve their language skills, read and discuss translation theory, practice translation, learn about computer programs and terminology, and maybe get information about starting a company or working for agencies, and other such things. In other words, these kinds of programs are aimed at students who are good with languages and want to work in the field of translation.

In a sense, translation studies might as well be totally unrelated. I have met many people who study or work in the field of translation studies and yet have never translated and have no intention of doing so (I tend to find this odd, but that is a different issue). In a PhD program, a student is being prepared to become a researcher, not a translator. As in BA or MA programs, students learn about translation theory, but by the PhD level, they are expected to have (or to quickly obtain) in-depth knowledge about this. Students should already have extensive language skills. One doesn’t really attend courses, although this depends on what country the program is and what individual students require. For example, I chose to sit in on several classes about translation theory and the history of translation, mainly out of interest and a desire to refresh or extend my knowledge. Basically, one spends most of the time researching.

Research what? Well, there are many different possible areas. One can research and analyze the translation of specific kinds of non-fiction or fiction works or specific types of language, the translation of a particular author, what it means to translate between two or more different languages, how translators feel about their jobs, what translators actually do as they work, how translators are or ought to be trained, how translators use (or don’t use) computer tools, how ideas of translation have changed over time, critiquing translation, how translation can be used to control certain populations, how translation can develop a target language, what conditions translators work in, differences in how translators and those studying to be translators work or think about their work, and much, much more. Remember that much of this can apply to interpreting too, which is generally subsumed under the field of translation studies, though interpreting studies as a separate field is growing, and also to subtitling.

As an example, my own research has been focused on children’s literature and I have been particularly interested in how figurative language is used and translated in books for children from English to Swedish. I also know people who research the translation of medical texts between English and Chinese, and the translation of idiomatic phrases in non-fiction from Spanish to English, and the subtitling of talk shows. Some researchers use computer programs to help with their research (particularly if they need a large corpus of texts), while others interview translators or sit with them while they work, and still others focus on close analysis of texts.

Those who are starting out in the field often spend a lot of time learning about translation theory in general and their particular field specifically. For example, in my first term or two in the PhD program, I read everything I could find on the translation of children’s literature, on translation in the colonial and postcolonial contexts (this was related to my need to learn more about translation and power), on functionalist theories and skopos, on translating dialects and wordplay, and related topics. Others might want to read about gender theories or issues of in/visibility or financial translation or interpreting in a legal setting or think-aloud protocols.

The next step is picking one’s texts and starting the research and, of course, trying to find something new and important to contribute to the field. I use primarily textual analysis and statistical analysis, which means I study texts and their translations, and then compute how common certain translatorial strategies are. In the first term, students often begin writing literature reviews and chapters of their dissertation. Here, one’s supervisors should give detailed criticism on one’s writing style and ideas.

In the first year, many students start attending academic conferences and sometimes even presenting at them. Conferences are an excellent way to learn about what research is taking place in the field and also to get feedback on one’s budding research. Next, one ought to try to get articles published. Attending and speaking at conferences and having work published are both essential when one is finished and looking for a job. Research trips may also prove beneficial; I spent two wonderful weeks at the National Library in Stockholm, studying various translations of work by Lewis Carroll and Mark Twain.

Students must be independent and good at working hard and making their own schedule. Many people don’t understand that being a PhD student is very different from studying at the BA or MA level. No one will give you deadlines or tell you what to do (generally, that is; some supervisors might be a bit more hands-on). You have to recognize that everything is up to you and that you have to prepared to be very active.

I have really loved my time being a PhD student in translation studies. I have continued to translate, edit, write, and teach throughout my years in Wales, and that has been really stimulating for me, although many PhD students prefer to focus solely on their research. It’s a lot of fun to research translation and to try to contribute to the field and in the future, I hope to continue combining research with being a practicing translator.

Translation Goals for 2009

This is Brave New Words' 300th post and since it almost coincides with the new year, I thought I'd use it to write about my translatorial goals for 2009.

First on my list is finishing my Ph.D. in translation studies. If all goes well, I'll be Dr. B.J. by the autumn.

Related to that, I want to keep working on my translation-based research. It is really fascinating to see how literary texts are modified in translation and why. I also think it is essential for translators and translation researchers to have more contact and I hope to use some of my research to bridge the gap between the practioners and the theorists.

Finally, I also hope to continue to get really interesting translation projects. One thing I love about translation is that I learn something new with each assignment. An additional benefit especially for literary translation work is the pleasure it gives me to know I am helping a talented author get a wider audience.

What are your goals for your translation practice in 2009? Whatever they are, I wish you a wonderful year, full of exciting projects!

Nordic Translation Conference Report, Part 2

Let me start with some statistics and basic information about the conference. The conference offered six workshops (on translating poetry, computer tools for translators, tips of the trade, translating songs, keeping language skills up to date, and contrastive linguistics) on 6 March. On 7 and 8 March, we had the bulk of the conference, which included: a publisher's panel (which discussed issues of finding and publishing Nordic literature in English); keynote presentations by Amanda Hopkinson, Douglas Robinson, Janet Garton, Geoffrey Samuelsson-Brown, and Kirsten Malmkjær; around 30 presentations on literary or technical translation or subtitling; five readings by authors from Nordic countries (Alexander Ahndoril from Sweden, Douglas Robinson from the US/Finland, Sjón from Iceland, Stig Dalager from Denmark, and Izzet Celasin from Norway); and a variety of exhibits, including one by the authors of Outside In, in which they displayed Nordic children's books in English translation. The conference dinner was at the House of Commons, hosted by MP Martin Linton, who was born in Sweden, and there was also a reception at the conference hosted by Norrtelje Brenneri, a Swedish liquor company. Other sponsors included the Nordic Culture Fund, the five Nordic embassies in London, Scandinavian Airlines, UCL's Department of Scandinavian Studies, and Swansea University.

Since I was the organizer, I had to deal with a lot of the practical issues, which meant that I missed some of the presentations (maybe people who attended the conference can write in the comments about the presentations they went to), but I certainly got a lot out of what I did attend, and I also enjoyed all the socializing. Many of us who work on Nordic languages tend to feel rather alone, since the languages are small and often forgotten, which is why it was so great to get an opportunity to come together.

I knew next to nothing about the Faroe Islands and its literature, so I was grateful to hear Turið Sigurðardóttir's presentation, in which she discussed the influence of Danish on Faroese and how the islands have developed their children's literature. Subtitling is another issue I have little experience with, and the panel presentation by Tina Engström, Helena Johansson, Erik Skuggevik, and Kenn Nakata Steffensen was entertaining and interesting. Though some of the facts they offered about the subtitling industry were depressing, I nevertheless started to think that it might be fun to try to work on subtitling at some point.

One of the highlights for me was the readings. Hearing authors read from their work is always a special treat that really brings the text alive in a new way. In this case, we had authors read from their work in the original languages and their translators (or, in two cases, someone else) read from the translations. Most of us attending the conference do not know all of the Nordic languages, so one might think that it could be frustrating, say, or dull, to hear the Icelandic author read in Icelandic if one doesn’t know the tongue. On the contrary, though, I felt that I could understand something of the text just from the way each author read (of course, it didn’t hurt that I had read all but one of the books in advance, and also that the translated text was a nice cheat sheet).

Speaking of Icelandic, our featured author Sjón made some interesting comments about writing and translating. When asked whether he has begun to write for translation (as his texts can be very Icelandic-specific, and since the vast majority of the people in the world have never been to Iceland and know little about the country, one might think he’d start to soften the Icelandicness of his work), he said no, and that he felt it was important for writers to stick to their own language and own culture. His translator, Victoria Cribb, said that she has spent so much time in Iceland and speaking Icelandic that it has lost some of its exoticism to her, which is why she feels that it is useful for translators to have other people review their texts; a translator may no longer always know what s/he is domesticating or foreignizing, or what s/he has made overly clear or not clear enough. Sjón joked then that since translators are so familiar with the source language and culture, it is up to writers to make the job of translating even more challenging, by using ever more difficult words and concepts.

This post is getting long, so I will close it with a few photos from the conference (and if anyone has more pictures, please email them to me).

This first picture is from the dinner at the House of Commons on Friday night.



This is Douglas Robinson, who both gave a keynote lecture and also read from his novel, which has been published in Finland and is about the Finnish poet and translator Pentti Saarikoski.



The next picture is of Geoffrey Samuelsson-Brown, who gave a keynote lecture. Here, he is discussing the process of detective work that a translator must sometimes go through while translating.



Here you can see one of the exhibits. This one is on Nordic children's books in English translation, and the woman who arranged it is seen in the picture. Her name is Deborah Hallford and she is a co-author of Outside In, a guide to children's books in translation.



This photo shows Swedish author Alexander Ahndoril and his translator Sarah Death, discussing his novel based on the life of Ingmar Bergman (the novel is called "The Director" in English).



This last photograph shows Anna and Jessica Anerfält from Norrtelje Brenneri, which sponsored the conference's reception on Saturday night. It was great to have a real Nordic conference at the event.

Nordic Translation Conference Report, Part 1

Well, the Nordic Translation Conference is now over, and I am pleased to say it was a great success. It brought together a diverse group of people: translators of technical, legal, and financial texts; translators of literary fiction or poetry; interpreters; subtitlers; editors; publishers; authors; people from embassies or from government agencies; translation agencies; booksellers; librarians; and more. The two things we all had in common were that we worked with or were interested in translation in some way and that we were involved with one or more Nordic languages. And yet, throughout the course of the weekend, we found that we could learn from one another, and that we had much to share with each other and explore together.

This conference was a first for the Institute of Germanic and Romance Studies in four ways: 1) it was the first conference they had that was organized by a PhD student (that would be yours truly); 2) it was the first conference they had on the Nordic languages (despite the fact that they are called GermanIC, they previously only had German); 3) it was their first conference on translation they had; and 4) it was the biggest conference they have had (we had around 150 participants, and many more were turned away, though we had expected about half that).

It was also a first in general for there to be a major international conference on all the Nordic languages and their translation, and people seemed to enjoy having the opportunity to meet colleagues.

In the following post, I will write about some of the highlights for me and I will try to include some photos as well.

The Theory-Practice Relationship

Last weekend, I attended a conference at the University of East Anglia in Norwich. The focus of the conference was on the theory and practice of translation. The question discussed was basically what relationship translation theory and the practice of translation have, or should have.

It often surprises me to find translation theorists who don’t actually translate themselves. Of course I know that, for example, movie critics aren’t usually directors or actors themselves and literary critics aren’t always writers, and that you can learn a lot about a topic by reading about it. Still, I feel that it is hard to create theory or to work as a critic without some active knowledge of the practice.

Many theorists get annoyed about how practicing translators tend to ignore the theoretical work. Translators sometimes feel that they learn hands-on and don’t have to read what seems to be dull and irrelevant and distant from their work.

In other words, there is a divide between theorists and practitioners. Some of us do both and want to see more of a connection. But why? My feeling is that theorists would greatly benefit from doing and not just thinking and critiquing, while practitioners might get some new ideas or understanding from reading some of the theoretical ideas. Yes, it sounds obvious, but apparently a lot of people are still missing the point.

My own presentation at the conference was about how certain theories (in this particular case, postcolonial theories) could inform a translator’s decisions for a text and choice of strategies by making the translator more aware of certain issues (here, the role of power). As a practicing translator myself, I’ve certainly found that not only is it interesting to learn about translation theory, but it can also improve my work, although there are definitely some ideas that I have dismissed.

Translation Studies Summer School

From a translation studies list, I noticed the following information on a summer school that would be useful for those who want to begin to do research in the field:

Announcing a funding opportunity for the Translation Research Summer School
2008

Two full scholarships (covering fees, travel and accommodation) are now available for current or future PhD students to participate in the 2008 Translation Research Summer School which will take place in Manchester, UK, from 16 to 27 June.

The Summer School offers intensive research training in translation and intercultural studies for prospective researchers in the field, over a two-week period. The units collaborating in the Summer School are the Centre for Translation and Intercultural Studies at the University of Manchester, the Centre for Intercultural Studies at University College London (UCL), and the Translation Studies Graduate Programme, School of Literatures, Languages and Cultures, University of Edinburgh.

The deadline for scholarship applications is 22 February.

These scholarships are specifically designed to provide assistance to students from countries with lower GDPs. For further details and an application form please consult the Translation Research Summer School website: www.researchschool.org

Postcolonial Theories of Translation

I’m off to Japan now to attend the conference of the International Research Society for Children’s Literature, where I’ll present on the role of power in translating dialects in children’s literature. My research on this topic has been influenced by postcolonial theories of translation, and it’s been fascinating to see how postcolonial theories relate to children’s literature and to translation in general.

For those of you who might want to learn more about this topic, I recommend these books: Translation and Power, edited by Maria Tymoczko and Edwin Gentzler, and Translation and Empire: Postcolonial Theories Explained by Douglas Robinson. They give detailed background to the topic.

A quote from the first book sums up the role of translation in colonization: Translations are “one of the primary literary tools that larger social institutions–educational systems, arts councils, publishing firms, and even governments–had at their disposal to “manipulate” a given society in order to “construct” the kind of “culture” desired” (Tymoczko and Gentzler, xiii).

In other words, those in power can decide which texts to translate and how to translate them in order to further their own goals and influence those over whom they have power. What I will talk about in Kyoto refers to how adults might use this power when it comes to writing and translating for children.