Michelle Woods – författare

The teaching of texts in translation has become an increasingly common practice, but so too has the teaching of texts from languages and cultures with which the instructor may have little or no familiarity. The authors in this volume present a variety of pedagogical approaches to promote translation literacy and to address the distinct phenomenology of translated texts. The approaches set forward in this volume address the nature of the translator’s task and how texts travel across linguistic and cultural boundaries in translation, including how they are packaged for new audiences, with the aim of fostering critical reading practices that focus on translations as translations. The organizing principle of the book is the specific pedagogical contexts in which translated texts are being used, such as courses on a single work, survey courses on a single national literature or a single author, and courses on world literature. Examples are provided from the widest possible variety of world languages and literary traditions, as well as modes of writing (prose, poetry, drama, film, and religious and historical texts) with the aim that many of the pedagogical approaches and strategies can be easily adapted for use with other works and traditions. An introductory section by the editors, Brian James Baer and Michelle Woods, sets the theoretical stage for the volume.Written and edited by authorities in the field of literature and translation, this book is an essential manual for all instructors and lecturers in world and comparative literature and literary translation.

The teaching of texts in translation has become an increasingly common practice, but so too has the teaching of texts from languages and cultures with which the instructor may have little or no familiarity. The authors in this volume present a variety of pedagogical approaches to promote translation literacy and to address the distinct phenomenology of translated texts. The approaches set forward in this volume address the nature of the translator’s task and how texts travel across linguistic and cultural boundaries in translation, including how they are packaged for new audiences, with the aim of fostering critical reading practices that focus on translations as translations. The organizing principle of the book is the specific pedagogical contexts in which translated texts are being used, such as courses on a single work, survey courses on a single national literature or a single author, and courses on world literature. Examples are provided from the widest possible variety of world languages and literary traditions, as well as modes of writing (prose, poetry, drama, film, and religious and historical texts) with the aim that many of the pedagogical approaches and strategies can be easily adapted for use with other works and traditions. An introductory section by the editors, Brian James Baer and Michelle Woods, sets the theoretical stage for the volume.Written and edited by authorities in the field of literature and translation, this book is an essential manual for all instructors and lecturers in world and comparative literature and literary translation.

Authorizing Translation applies ground-breaking research on literary translation to examine the intersection between Translation Studies and literary criticism, rethinking ways in which analyzing translation and the authority of the translator can provide nuanced micro and macro readings of literary work and the worlds through which it moves. A substantial introduction surveys the field and suggests possible avenues for future research, while six case-study-based chapters by a new generation of Literature and Translation Studies scholars focus on the question of authority by asking: Who authors translations? Who authorizes translations? What authority do translations have in different cultural contexts? What authority does Literary Translation Studies have as a field? The hermeneutic role of the translator is explored through the literary periods of Romanticism, Modernism, and Postmodernism, and through different cultures and languages. The case studies focus on data-centered analysis of reviews of translated literature, ultimately illustrating how the translator’s authority creates and hybridizes literary cultures.Authorizing Translation will be of interest to students and researchers of Literary Translation and Translation Studies. Additional resources for Translation and Interpreting Studies are available on the Routledge Translation Studies Portal: http://cw.routledge.com/textbooks/translationstudies.

Authorizing Translation applies ground-breaking research on literary translation to examine the intersection between Translation Studies and literary criticism, rethinking ways in which analyzing translation and the authority of the translator can provide nuanced micro and macro readings of literary work and the worlds through which it moves. A substantial introduction surveys the field and suggests possible avenues for future research, while six case-study-based chapters by a new generation of Literature and Translation Studies scholars focus on the question of authority by asking: Who authors translations? Who authorizes translations? What authority do translations have in different cultural contexts? What authority does Literary Translation Studies have as a field?The hermeneutic role of the translator is explored through the literary periods of Romanticism, Modernism, and Postmodernism, and through different cultures and languages. The case studies focus on data-centered analysis of reviews of translated literature, ultimately illustrating how the translator’s authority creates and hybridizes literary cultures.Authorizing Translation will be of interest to students and researchers of Literary Translation and Translation Studies. Additional resources for Translation and Interpreting Studies are available on the Routledge Translation Studies Portal: http://cw.routledge.com/textbooks/translationstudies.

A play is written, faces censorship and is banned in its native country. There is strong international interest; the play is translated into English, it is adapted, and it is not performed. Censoring Translation questions the role of textual translation practices in shaping the circulation and reception of foreign censored theatre. It examines three forms of censorship in relation to translation: ideological censorship; gender censorship; and market censorship. This examination of censorship is informed by extensive archival evidence from the previously unseen archives of Vaclav Havel's main theatre translator, Vera Blackwell, which includes drafts of playscripts, legal negotiations, reviews, interviews, notes and previously unseen correspondence over thirty years with Havel and central figures of the theatre world, such as Kenneth Tynan, Martin Esslin, and Tom Stoppard. Michelle Woods uses this previously unresearched archive to explore broader questions on censorship, asking why texts are translated at a given time, who translates them, how their identity may affect the translation, and how the constituents of success in a target culture may involve elements of censorship.

A play is written, faces censorship and is banned in its native country. There is strong international interest; the play is translated into English, it is adapted, and it is not performed. Censoring Translation questions the role of textual translation practices in shaping the circulation and reception of foreign censored theatre. It examines three forms of censorship in relation to translation: ideological censorship; gender censorship; and market censorship. This examination of censorship is informed by extensive archival evidence from the previously unseen archives of Vaclav Havel's main theatre translator, Vera Blackwell, which includes drafts of playscripts, legal negotiations, reviews, interviews, notes and previously unseen correspondence over thirty years with Havel and central figures of the theatre world, such as Kenneth Tynan, Martin Esslin, and Tom Stoppard. Michelle Woods uses this previously unresearched archive to explore broader questions on censorship, asking why texts are translated at a given time, who translates them, how their identity may affect the translation, and how the constituents of success in a target culture may involve elements of censorship.

Kafka Translated is the first book to look at the issue of translation and Kafka's work. What effect do the translations have on how we read Kafka? Are our interpretations of Kafka influenced by the translators' interpretations? In what ways has Kafka been 'translated' into Anglo-American culture by popular culture and by academics? Michelle Woods investigates issues central to the burgeoning field of translation studies: the notion of cultural untranslatability; the centrality of female translators in literary history; and the under-representation of the influence of the translator as interpreter of literary texts. She specifically focuses on the role of two of Kafka's first translators, Milena Jesenská and Willa Muir, as well as two contemporary translators, Mark Harman and Michael Hofmann, and how their work might allow us to reassess reading Kafka. From here Woods opens up the whole process of translation and re-examines accepted and prevailing interpretations of Kafka's work.

Interpreting The Amistad Trials traces the signal importance of interpreters and translators in the famous 19th-century Amistad case and discusses how race, ethnicity, slavery, and colonialism shaped this story. From the recruitment process to the various oral to sign languages that mediated linguistically in the Africans’ life inside and outside the courtroom, and from evidentiary documents to fraudulent translations to credible testimonies, Jeanette Zaragoza-De León demonstrates the crucial importance of translation and interpretation in the Amistad plot and outcome. De León examines handwritten letters, pamphlets, newspapers, and judicial files, and adopts a critical race theory and postcolonial lens to analyze these materials. Although these critical interpretations and translations travelled transatlantically via Europe, Africa, the Caribbean, and the United States, De León highlights the common thread which also geographically unites Venezuela, Puerto Rico, and the Dominican Republic as part of the Amistad story.One of the most comprehensive studies of recorded events in the history of interpretation and translation in the Americas, Interpreting The Amistad Trials is a valuable resource for researchers studying coloniality, enslavement, race and ethnic studies and examining how these issues mattered then and now.

Brian James Baer explores the central role played by translation in the construction of modern Russian literature. Peter I’s policy of forced Westernization resulted in translation becoming a widely discussed and highly visible practice in Russia, a multi-lingual empire with a polyglot elite. Yet Russia’s accumulation of cultural capital through translation occurred at a time when the Romantic obsession with originality was marginalizing translation as mere imitation. The awareness on the part of Russian writers that their literature and, by extension, their cultural identity were “born in translation” produced a sustained and sophisticated critique of Romantic authorship and national identity that has long been obscured by the nationalist focus of traditional literary studies.By offering a re-reading of seminal works of the Russian literary canon that thematize translation, alongside studies of the circulation and reception of specific translated texts, Translation and the Making of Modern Russian Literature models the long overdue integration of translation into literary and cultural studies.

Translating Milan Kundera uses new archival research to view the wider cultural scope of the translation issue involving the controversies surrounding Kundera’s translated novels. It focuses on the language of the novels, Kundera’s ‘lost’ works, writing as translation, interpretation, exile, censorship and the social responses to translated fiction in the Anglophone world.

Presents original archival research on eight largely unknown émigrée translators whose work during the Cold War actively contributed to and, in some cases, decisively shaped the reception of Russian and Soviet literature throughout the English-speaking world.In this open access volume, Cathy McAteer profiles female translators of Russian and Soviet literature into English during the last century, focusing on the UK, USSR and US. Through cultural mediation, most often translation, each woman represents a unique encounter with Cold War politics. Drawing from extensive archival material, including British Intelligence files, reviews, publications and memoirs, Cold War Women sketches the microhistories of eight complex and occasionally controversial bilingual women: Moura Budberg, Vera Traill, Evelyn Manning, Margaret Wettlin, Violet Dutt, Edith Bone, Olga Carlisle, and Mirra Ginsburg. Many of these women, in addition to their work as translators and publishers of Soviet literature, led complex political lives that brought them under scrutiny for espionage, and even suspected assassination.Cold War Women explores how literary translation became a uniquely enabling career for each of these women, both in personally challenging gender norms, and in showing translation's soft power for galvanizing propagandist and humanitarian change. The book thus rehabilitates forgotten but influential female translators of Russian literature whose contributions helped to shape the Anglophone reception of Russian and Soviet literature both during and beyond their fraught historical moment.The ebook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com. Open access was funded by the University of Exeter.

Presents original archival research on eight largely unknown émigrée translators whose work during the Cold War actively contributed to and, in some cases, decisively shaped the reception of Russian and Soviet literature throughout the English-speaking world.In this open access volume, Cathy McAteer profiles female translators of Russian and Soviet literature into English during the last century, focusing on the UK, USSR and US. Through cultural mediation, most often translation, each woman represents a unique encounter with Cold War politics. Drawing from extensive archival material, including British Intelligence files, reviews, publications and memoirs, Cold War Women sketches the microhistories of eight complex and occasionally controversial bilingual women: Moura Budberg, Vera Traill, Evelyn Manning, Margaret Wettlin, Violet Dutt, Edith Bone, Olga Carlisle, and Mirra Ginsburg. Many of these women, in addition to their work as translators and publishers of Soviet literature, led complex political lives that brought them under scrutiny for espionage, and even suspected assassination.Cold War Women explores how literary translation became a uniquely enabling career for each of these women, both in personally challenging gender norms, and in showing translation's soft power for galvanizing propagandist and humanitarian change. The book thus rehabilitates forgotten but influential female translators of Russian literature whose contributions helped to shape the Anglophone reception of Russian and Soviet literature both during and beyond their fraught historical moment.The ebook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com. Open access was funded by the University of Exeter.

Through case studies of émigré literary translators and editors, this open access book traces how Russian literature kindled the American imagination in the 20th century.In the 19th century, American literature was invaded by great Russian novels, including the works of Turgenev, Tolstoy, Dostoevsky, Gorky, and others, all mediated, translated, and sometimes even discovered by devoted freelance translators like Isabel Hapgood, Leo Wiener, and Nathan Haskell Dole. Throughout the 1900s these translators made Russian literature, from Nobel prizewinners like Solzhenitsyn to obscure émigrés like Mark Aldanov, accessible to American readers. Some literary translators were also publishers, like Nicholas Wreden (1901-55), at different times a bookseller at Scribner’s, an editor at E.P. Dutton and a publishing executive at Little, Brown. His style was so well-regarded that Hemingway wished he wrote in Russian so that Wreden could translate him. He was also a lumberjack, a trainee naval officer and an émigré who fled Russia in 1920 to become a naturalized American citizen. Uniquely, as a translator and as a publisher, Wreden helped determine which Russian novels the American public would read.This book tells Wreden’s story. It also reconstructs, using archival sources, the lives of other extraordinary translator-publishers like Thomas Seltzer, Bernard Guilbert Guerney, and Carl Proffer, who, with his wife Ellendea, ran Ardis Publishers, the firm that brought Soviet writing to the US. Invading the American Canon tells the history of the translation of Russian literature in America and its changing critical reception over a hundred turbulent years.The ebook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com. Open access was funded by a European Research Council Horizon 2020 Starting Grant (grant agreement no. 802437)

Why, at the height of the Cold War, was Kurt Vonnegut freely published in Russian translation in the top literary journals and book series in the USSR?Sarah D. Phillips explores a fascinating yet little-known chapter in the history of literary and cultural diplomacy during the Cold War: the popularity of the American author Kurt Vonnegut in the Soviet Union during the 1970s. Drawing from previously untouched archives of manuscripts, letters, and FBI files, along with her interviews of literary and cultural figures active then in the USSR, Phillips investigates several key yet little-explored questions about Vonnegut's "Soviet Chapter." What was it about Vonnegut’s writing that so appealed to readers and literary critics in the 1970s Soviet Union? Were Vonnegut’s works censored, and if so, what exactly fell prey to the infamous “Red Pencil”? How much was Vonnegut aware of his cult status in the land of Lenin? Alongside an account of Cold War politics and literary cultural diplomacy, Kurt Vonnegut in the USSR is also a book about relationships — between Vonnegut and the Soviet reading public, between Vonnegut and the Soviet literary establishment, and most especially, between Vonnegut and the woman whose masterful translations were devoured by readers of Russian: the famous Soviet translator Rita Rait (1898-1989). A work at the intersection of anthropology, history, and literary, translation, American, and Slavic studies, Kurt Vonnegut in the USSR is a close look at the unique contexts around an author and his readers, and the legacies of this literary cultural diplomacy in American and post-Soviet literary cultures today.