Madeleine Campbell – författare

Campbell, Vidal and their contributors expand the notion of translation beyond linguistic, modal and medial borders to embrace posthumanist perspectives through a holistic experiential epistemology which envisions translation as engaged, situated social practice.The first of two volumes, this book focuses on questions of materiality and play. Drawing together contributions on theory, methodology and practice from translators, scholars and practitioners working in the creative and performing arts, this book explores how contemporary, experiential acts of interpretation, mediation and negotiation can serve to bridge social and cultural discontinuities across time and space. These range from ancestral past to digital present, from rural to urban environments across the globe. Experiential translation applies a transdisciplinary lens to problematize views of translation and untranslatability traditionally bound by structuralist frames of reference and the reserve of professional linguistic translation. The chapters in this book apply this experiential lens to understand a pluriverse of creative translation practices where the translator’s subject position in relation to the ‘original’ is transformed by the role of experimentation, creativity and play.This book and its companion volume The Translation of Experience: Cultural Artefacts in Experiential Translation will be of particular interest to translators and arts practitioners, scholars and researchers in the transdisciplinary field of humanities.The Open Access version of this book, available at http://www.taylorfrancis.com, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives (CC BY-NC-ND) 4.0 license.Funding: This work was supported by UKRI under AHRC Grant AH/V008234/1, awarded to Ricarda Vidal, King’s College London (Principal Investigator) and Madeleine Campbell, University of Edinburgh (Co-Investigator).

Campbell, Vidal and their contributors expand the notion of translation beyond linguistic, modal and medial borders to embrace posthumanist perspectives through a holistic experiential epistemology which envisions translation as engaged, situated social practice.The first of two volumes, this book focuses on questions of materiality and play. Drawing together contributions on theory, methodology and practice from translators, scholars and practitioners working in the creative and performing arts, this book explores how contemporary, experiential acts of interpretation, mediation and negotiation can serve to bridge social and cultural discontinuities across time and space. These range from ancestral past to digital present, from rural to urban environments across the globe. Experiential translation applies a transdisciplinary lens to problematize views of translation and untranslatability traditionally bound by structuralist frames of reference and the reserve of professional linguistic translation. The chapters in this book apply this experiential lens to understand a pluriverse of creative translation practices where the translator’s subject position in relation to the ‘original’ is transformed by the role of experimentation, creativity and play.This book and its companion volume The Translation of Experience: Cultural Artefacts in Experiential Translation will be of particular interest to translators and arts practitioners, scholars and researchers in the transdisciplinary field of humanities.The Open Access version of this book, available at http://www.taylorfrancis.com, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives (CC BY-NC-ND) 4.0 license.Funding: This work was supported by UKRI under AHRC Grant AH/V008234/1, awarded to Ricarda Vidal, King’s College London (Principal Investigator) and Madeleine Campbell, University of Edinburgh (Co-Investigator).

Experience is a multilayered, cumulative affair with transformation at its core. Its study, a necessary first step for its translation, requires an exploration of embodiment, the senses, and cultural and social environments.The second of two volumes, this book explores how artefacts, as outcomes of experience brought about by the “artistranslator” perform semiotic work. This semiotic work arises through the intervention of their makers but also through their viewers/audience, often through the latter’s direct participation in the artefacts’ creation, which we see as an open-ended process. Drawing on diverse examples from across the world, the chapters explore visual materiality, the digital world and the multisensory nature of artefacts such as monuments, festivals, theatre performances, artworks, rituals, the urban environment and human bodies—the embodied perception of which may draw holistically or variously on the haptic, olfactory, auditory, kinetic or kinaesthetic senses. Throughout the book, experiential translation is framed as a political endeavour that allows experience to be shared across linguistic, cultural, generational or gendered divides in the form of artefacts that facilitate transformation and the acquisition of knowledge.This book and its companion volume The Experience of Translation: Materiality and Play in Experiential Translation include an international range of contributions from graduate students and early career researchers (ECRs) to tenured academics in translation studies, comparative literature, performance arts, fine arts, media and cultural studies, as well as educators, artists and curators. It will be of particular interest to translators and arts practitioners, scholars and researchers in the transdisciplinary field of humanities.

Experience is a multilayered, cumulative affair with transformation at its core. Its study, a necessary first step for its translation, requires an exploration of embodiment, the senses, and cultural and social environments.The second of two volumes, this book explores how artefacts, as outcomes of experience brought about by the “artistranslator” perform semiotic work. This semiotic work arises through the intervention of their makers but also through their viewers/audience, often through the latter’s direct participation in the artefacts’ creation, which we see as an open-ended process. Drawing on diverse examples from across the world, the chapters explore visual materiality, the digital world and the multisensory nature of artefacts such as monuments, festivals, theatre performances, artworks, rituals, the urban environment and human bodies—the embodied perception of which may draw holistically or variously on the haptic, olfactory, auditory, kinetic or kinaesthetic senses. Throughout the book, experiential translation is framed as a political endeavour that allows experience to be shared across linguistic, cultural, generational or gendered divides in the form of artefacts that facilitate transformation and the acquisition of knowledge.This book and its companion volume The Experience of Translation: Materiality and Play in Experiential Translation include an international range of contributions from graduate students and early career researchers (ECRs) to tenured academics in translation studies, comparative literature, performance arts, fine arts, media and cultural studies, as well as educators, artists and curators. It will be of particular interest to translators and arts practitioners, scholars and researchers in the transdisciplinary field of humanities.

Everyone has a view about animal ethics. Each of us, for example, has an opinion about whether we should eat meat; whether animals should be used for scientific research, or whether the use of animals in sport is acceptable. But very few of us stop to wonder about the basis of our views, or to rationalise them. In this book, Madeleine Campbell aims to enable us to do so, by addressing a series of questions such as: When does animal use become abuse? Why do we treat some animals differently from others? Are there some things which we should never do to animals? And, just because we can, should we? Drawing on her experience as a Veterinarian; a European Diplomate in Animal Welfare Science, Ethics and Law; a researcher and teacher, and a member of various industry ethical review bodies and of welfare and ethics committees for membership organisations and government, the author takes ethical argument beyond academia and applies it to the question which currently dominates societal debate about human-animal interactions: what (if anything) is a reasonable use of an animal?Animals, Ethics, and Us offers a stripped back, balanced and moderate perspective, based on logical argument, philosophical principles and sound science. It is a thought-provoking read aimed at a broad readership including informed owners and animal enthusiasts, as well as useful a primer for students of animal ethics, welfare and veterinary medicine.

This book analyses intersemiotic translation, where the translator works across sign systems and cultural boundaries. Challenging Roman Jakobson’s seminal definitions, it examines how a poem may be expressed as dance, a short story as an olfactory experience, or a film as a painting. This emergent process opens up a myriad of synaesthetic possibilities for both translator and target audience to experience form and sense beyond the limitations of words. The editors draw together theoretical and creative contributions from translators, artists, performers, academics and curators who have explored intersemiotic translation in their practice. The contributions offer a practitioner’s perspective on this rapidly evolving, interdisciplinary field which spans semiotics, cognitive poetics, psychoanalysis and transformative learning theory. The book underlines the intermedial and multimodal nature of perception and expression, where semiotic boundaries are considered fluid and heuristic rather than ontological. It will be of particular interest to practitioners, scholars and students of modern foreign languages, linguistics, literary and cultural studies, interdisciplinary humanities, visual arts, theatre and the performing arts.