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2 results

Translation as Creative–Critical Practice

Translation as Creative–Critical Practice
  • Delphine Grass
  • Published online:
    29 November 2023
    Print publication:
    21 December 2023
  • In Translation as Creative-Critical Practice, Delphine Grass questions the separation between practice and theory in translation studies through her analysis of creative-critical translation experiments. Focusing on contemporary literary and artistic engagements with translation such as the autotheoretical translation memoir, performative translations and 'transtopian' literary and visual art works, this Element argues for a renewed engagement with translation theory from the point of view of translation as artistic and practice-based research capable of reframing translation theory. Exploring examples of translation as both a norm-breaking and world-making activity in the works of Kate Briggs, Ayesha Manazir Siddiqi, Noémie Grunenwald, Anne Carson, Charles Bernstein, Chantal Wright or Slavs and Tatars to name a few, this Element prompts us to reconsider the current place of translation practice in translation studies.

  • Chapter 5 - Performative Accents

  • from Part I - Translation as Medium and Method
  • Edited by Avishek Ganguly, Rhode Island School of Design, Kélina Gotman, King's College London
  • Book:
    Performance and Translation in a Global Age
    Published online:
    10 August 2023
    Print publication:
    29 June 2023, pp 104-134

  • Summary

    This chapter thinks about ways that language is lived interstitially – between registers, accents, national histories, and personal travels – as something that (embarrassingly) always spills out or crops up when one is least ready for it to do so, revealing or mis-revealing a particular linguistic genealogy. Looking closely at Québécois poet Michèle Lalonde’s iconic 1967 poem-manifesto Speak White, and various recorded performances of this poem by speakers offering distinctive manners of accenting or pronouncing the bilingual (English–French) relations and agonisms enacted in the poem, this chapter further reflects autoethnographically or autocritically at ways the author’s own transnational and hybrid relation to these languages further helps to complicate national and international narratives. At once personal and political, historical, and critical, the chapter reflects on ways that language performatively offers an affective archive of one’s embodied and ancestral trajectories, and fails ever quite to account for how we experience the migrations and misalignments of our everyday.