Literary

 

L-1 (T, 1:45-2:30pm) - ALL LEVELS
Using Multiple Translations to Recreate Another Time and Place
Ronnie Apter, professor of English, Central Michigan University, Shepherd, Michigan; and Mark Herman, literary translator, technical translator, chemical engineer, playwright, lyricist, musician, and actor, Shepherd, Michigan

A recent book, A Bilingual Edition of the Love Songs of Bernart de Ventadorn in Occitan and English: SUGAR AND SALT, translates each lyric of the medieval troubadour at least twice: literally and poetically. Further, the poetic translations are of several types: free verse; rhymed and metrical; and rhymed, metrical, and singable either to the original or to modern music. Accompanying the book is a CD on which are performed the singable English translations, together with examples in Occitan demonstrating conflicting theories about medieval performance practices. This presentation discusses each translation type, its purpose, and why more than one type was given for each song. Included are recitations and singing in both Occitan and English, and the playing of excerpts from the CD.

(T, 2:30-3:15pm) - ALL LEVELS
The Writer As Literary Translator

Martin A. David, literary translator, San Francisco, California

Literary translation is an art form that requires much more than knowledge of the source and target languages The literary translator must possess the imagination and creativity of a writer, the research skills and deductive reasoning of a detective, and the fearless daring of an adventurer. Add to this a love for, and understanding of, both languages and their cultural context. The presenter will discuss the writer's role in literary translation and tell of his own exploits translating the works of Danish literary masters, most of whom died long before he was born.

L-2 (T, 3:30-4:15pm) - ALL LEVELS
In the House of the Fortunate Buddhas: Flirting with Porn?
Clifford E. Landers, administrator, ATA Literary Division, and professor of political science, New Jersey City University, Montclair, New Jersey

João Ubaldo Riberio is a member of the Brazilian Academy of Letters and among the most respected contemporary writers in his country. When he agreed to produce, as part of a series on the seven deadly sins, a novel focusing on lust, he little expected to ignite a firestorm of criticism. He has been called a pornographer, a panderer, and a sellout. The controversy surrounding this short novel has only slowly subsided, and it remains to be seen whether the English translation, scheduled for 2001, will provoke similar reactions. This presentation deals with the novel itself, the response it engendered, and the difficulties of rendering it into English. It also argues that the author and his work have been gravely misunderstood.

(T, 4:15-5:00pm) - ALL LEVELS
The Pleasures of Sex (in translation)
Alexis Levitin, professor of English, State University of New York-Plattsburgh, New York

Let us turn to Plato first. Plato considered literature a form of music. In fact, the earliest Greek poets were singers who accompanied themselves on the lyre or cithara. Terpsichore is the Greek muse of both dance and lyric poetry. The force uniting music, dance, and poetry is, of course, rhythm, our most fundamental comfort and need, and one which is a presence in our lives months before we are actually born. Often in translating poetry, rhythm (reinforced by sound-play) is the most essential element to preserve. Let us look at one sexy Amazonian lyric, Anibal Beca's With the Tide, and see if sex, like some wines, can travel well, surviving the voyage from Bossa Nova Brazil to our own more Puritanical shores.

L-3 (F, 10:15-11:00am) - ALL LEVELS
What Did He Do with the Apple? A Look at Raymond Queneau, Translator
Madeleine C. Velguth, professor of French and coordinator, Graduate Certificate Program in Translation, University of Wisconsin-Milwaukee

Novelist, poet, and essayist, twentieth-century writer Raymond Queneau was also a translator, introducing the French to stories by Hart Crane, William Saroyan, Wallace Stevens, and novels by Edgar Wallace, Maurice O'Sullivan, Sinclair Lewis, George du Maurier, and Amos Tutuola. What sort of works are these? Were the translations commissioned or labors of love? Most important, how did Queneau translate? Will we, in the French tradition of les Belles Infidèles, hear his own highly individualistic voice, allusive and given to wordplay, or will we hear voices of the writers from three continents whose works he brought into his language?

L-4 (F, 1:45-3:15pm) - ALL LEVELS
Marilyn Gaddis Rose Lecture Series: Against Fluency --Translation as Reenactment
Andrew Hurley, translator of Latin American literature, San Juan, Puerto Rico

Our third guest speaker in the Marilyn Gaddis Rose Lecture series is Andrew Hurley, whose widely published translations of Latin American writers have won high praise from critics.

L-5 (F, 3:30-4:15pm) - ALL LEVELS
"When the Steel Hits the Sky": Technical Terms in Literary Translation
María Barros, translator, United Nations, New York, New York

Technical and literary translation are two clearly different branches of our profession, but in some cases they are not so far apart as we might suppose. What happens when the subject of literary work is such that it requires the use of specialized and even highly technical vocabulary? This session will analyze the problems involved in such situations using examples taken from the presenter's translation into Spanish of a novel by Colum McCann, This Side of Brightness.

[CANCELLED] (F, 4:15-5:00pm) - ALL LEVELS
On the Use of Historical Translations in Literary Translation
Julie Candler Hayes, French instructor and chair, Department of Modern Languages and Literatures, University of Richmond, Richmond, Virginia

The translation of a literary classic involves a negotiation between contemporary intelligibility and historical authenticity. In undertaking a translation of Choderlos de Laclos's 1782 novel Liaisons dangereuses, I wanted to create a style that would reach out to the contemporary audience with some of the immediacy of the original, while nevertheless bespeaking another time and place. In search of the eighteenth-century idiom, I consulted the first English translation of the novel, published anonymously in 1784. Analysis of this translation, not surprisingly, reveals both successes and failures; more significantly, it offers an eighteenth-century reader's interpretation of the work that suggests alternatives to contemporary readings.

L-6 (S, 8:30-9:15am) - ALL LEVELS
Spanish Literary Workshop: Poetry
Jo Anne Engelbert, ATA Board member, former chair, Spanish/Italian Department and coordinator of Translator Training in Spanish, Montclair State University, Saint Augustine, Florida

Participants will work together on the translation of texts provided by the presenter. To obtain the texts in advance in advance of the conference, please send an email to: Jo Anne Engelbert: engsch@proservice.net

(S, 9:15-10:00am) - ALL LEVELS
Spanish/English Literary Workshop
Andrew Hurley, translator of Latin American literature, San Juan, Puerto Rico

Marliyn Gaddis Rose lecturer Andrew Hurley will focus on problems of Spanish/English literary translation. Participants will work together to translate sample texts provided by the presenter.

L-7 (S, 8:30-9:15am) - ALL LEVELS
Dealing with Linguistic and Cultural Identity in Literary Translation: Analysis of the Spanish Translation of How the García Girls Lost Their Accent by Julia Alvarez

Alicia B Cipria, professor of Spanish translation, Montclair State University, Montclair, New Jersey

Identity and, more specifically, linguistic identity, are key in Julia Alvarez's novel. The characters, who emigrate from the Dominican Republic to the U.S., find themselves caught "between cultures and languages." This presentation examines how this internal struggle is handled in the Spanish translation (from Barcelona). A worrisome example is the use of the pronoun vosotros (you-second person plural, used only in Spain) by characters from the Dominican Republic, where vosotros is not used. How a translation should handle dialect and issues of identity and content in terms of the central theme(s) will be discussed. Any dialogue between the publisher, the author, and the translator should include these elements.

(S, 9:15-10:00am) - ALL LEVELS
Reclaiming a Literary Voice: Translation and Repatriation of Maya Literature
Susan G. Rascón, instructor of translation and Latin American literature, University of Wisconsin-Milwaukee

This session will consist of a summary of the presenter's work as a volunteer translator for the Yax Te' Foundation. The presenter has participated in several translations of works by and about the Maya of Guatemala (novels, poetry, ethnography). The mission of the Foundation is to give voice to Maya writers, and to repatriate documents written about the Maya by anthropologists and others doing fieldwork in Guatemala. This session will give us a chance to reflect on our philosophies of translation, as well as on the practical challenges presented by the texts themselves.

L-8 (S, 1:45-3:15pm) - ALL LEVELS
Literary Division Annual Meeting
Clifford E. Landers, administrator, ATA Literary Division, and professor of political science, New Jersey City University, Montclair, New Jersey

 

For more information, contact ATA,
phone: (703) 683-6100; fax: (703) 683-6122;
or e-mail: conference@atanet.org.