| CODE | TTI5006 | ||||||||||||
| TITLE | Translation, Transformation and Rewriting | ||||||||||||
| UM LEVEL | 05 - Postgraduate Modular Diploma or Degree Course | ||||||||||||
| MQF LEVEL | 7 | ||||||||||||
| ECTS CREDITS | 5 | ||||||||||||
| DEPARTMENT | Translation, Terminology and Interpreting Studies | ||||||||||||
| DESCRIPTION | Translation is a type of re-writing. Its effects in terms of influence and manipulation are often unacknowledged or unseen. The study-unit will focus on the translation and adaptation of literary texts over time and space, and across various media. This study-unit will focus on the role translation has played in literary history and in the formation of canons. We will discuss how 鈥榯ranslation鈥� in a literary context is a close cousin of adaptation, appropriation, influence, intertextuality and is part of the myriad ways in which themes, ideas, motifs and characters re-appear in different guises in works in different languages, across literary and cultural traditions 鈥� but which are related and connected. The educated reader recognises repetitions and allusions as meaningful elements of textuality. The category of World Literature is dependent on Translation as its means. The hand of the translator may be made visible or invisible. This manipulation is always part of the event of translation and has a political dimension. Attitudes towards the texts to be translated, as well as the decision of who will be translated (often into English), has both a political and a material dimension. The publishing industry also plays a significant part in determining who or what it believes will sell, in which languages, and in what translation style 鈥� one that emphases or hides the intervening hand of the translator. Many popular texts tend to be translated in an 鈥榠nvisible鈥� style. Our focus will be on rewriting 鈥� the rewritings of texts, themes, ideas and motifs 鈥� across time, space, languages and media. And the role of the 鈥榬ewriter鈥� as translator. Is literary translation a form of creative writing? Is the translator a 鈥榳riter鈥� or a 鈥榮cribe鈥�? How did the two forms of writing get separated and given such vastly different status? The issue of originality is brought into focus. The translation of a text is only one form of re-writing whereas all texts are rewritten in various other ways. Themes are re-worked, myths re-visited, plots re-presented, traditions re-generated. The 'original' text is less original than usually perceived (Derrida). Study-Unit Aims: - To bring into focus the creative writing aspect of transation; - To recognise Adaptation Studies as part of the 鈥榯oolbox鈥� of translators and rewriters of literary and popular texts; - To consider issues such as 鈥榬eformulation鈥� into different genres and media; - To conisder the issue of 鈥榬e-translation鈥�. Why do the same texts get re-translated into the same langauge over time?; - To consider audience expectations; - To recognize that every translation is an interpretation and a re-writing; - That the hand of the translator and a domesticating style is more likely in popular or 'genre' fiction. Learning Outcomes: 1. Knowledge & Understanding: By the end of the study-unit the student will be able to: - Participate in the contemporary debate on the visibility of the literary translator as a creative manipulator of texts; - Consider theethics underlying the act of translation. 2. Skills: By the end of the study-unit the student will be able to: The recognition of the translator / adaptor as a creative re-writer in the 鈥榓fterlife鈥� of texts. Students will become more aware of the issues underlying: - The politics of translation; - The global power of the English language; - The movement of themes, plots and charaters across langauges, genres and media; - How works are re-crafted into dominant modes and re-made for the screen, the stage, dance, and others. Main Text/s and any supplementary readings: Main Texts: - Julie Sanders, Adaptation and Appropriation, 2nd ed., Routledge, 2016. - Lawrence Raw, Translation, Adaptation and Transformation, Bloomsbury, 2012. - Linda Hutcheon and Siobhan O鈥橣lynn, A Theory of Adaptation, 2nd ed., Routledge, 2013. - Peter Bush and Susan Bassnett, Eds., The Translator as Writer, Continuum, 2006. - Vincenza Minutella, Reclaiming 鈥楻omeo and Juliet鈥�: Italian Translations for Page, Stage and Screen, Rodopi, 2013. - Jacqueline Goldfinger and Allison Horsely, Writing Adaptations and Translations for the Stage, Routledge, 2023. (Workbook and guide) - George Bastin, 鈥楢daptation鈥� in The Routledge Encyclopaedia of Translation Studies, Ed., Mona Baker, 1998. Supplementary Readings: - Susan Bassnett, Comparative Literature and Translation and World Literature, Routledge, 2019. (New Perspectives in Translation and Interpreting Studies Eds. Michael Cronin and Moira Inghilleri). - Andr茅 Lefevere, Translation, Rewriting and the Manipulation of Literary Fame Lefevere, Andr茅, Routledge, 1992. |
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| STUDY-UNIT TYPE | Lecture | ||||||||||||
| METHOD OF ASSESSMENT |
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| LECTURER/S | Clare Vassallo |
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The University makes every effort to ensure that the published Courses Plans, Programmes of Study and Study-Unit information are complete and up-to-date at the time of publication. The University reserves the right to make changes in case errors are detected after publication.
The availability of optional units may be subject to timetabling constraints. Units not attracting a sufficient number of registrations may be withdrawn without notice. It should be noted that all the information in the description above applies to study-units available during the academic year 2025/6. It may be subject to change in subsequent years. |
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