Thursday 4th November, 4-6pm, online via Teams
“Multilingual Creative Writing as Hospitable Practice”
a Round Table with
Prof. Sara Greaves, Aix-Marseille Université
Lou Sarabadzic, Writer and Translator
Dr Luc Dall’Armellina, CY Cergy Paris Université
Dr Elise Hugueny-Léger, University of St Andrews
Short research papers will be followed by a discussion and Q&A with the adience
Inhospitable Language(s) and the Plurilingual ‘Skin-Voice’, by Sara Greaves
Prof. Sara Greaves is an Associate Professor at Aix-Marseille University and a member of the LERMA research centre. She is head of the ECMA Master’s degree (Cultural Studies on the English-Speaking World). Her research interests are 20th and 21st century poetry, translation studies and creative writing. She has published widely in these fields and in 2016 published a book on the English poet James Fenton, Côté guerre côté jardin : excursions dans la poésie de James Fenton, Presses Universitaires de Provence, including translations of a selection of his poems, a critical essay and a translator’s postface. Forthcoming is a collective work, Language Learning and the Mother Tongue: Multidisciplinary Perspectives, co-edited by Sara Greaves (translator and editor) & Monique De Mattia-Viviès (editor), Cambridge University Press, 2022.
Sara.greaves@univ-amu.fr
On being a guest, by Lou Sarabadzic
Lou Sarabadzic is a French author based in Warwickshire, in England. She writes in – and sometimes translates from – French and English. Lou has published 5 books in French, and her poems, in French and/or English have appeared in several journals and anthologies.
Her most recent work includes an ephemeral poetic experience using Augmented Reality. In June 2021, she created two booklets, one in French (Mémoires augmentées) and one in English (Augmented Memories), each of which could only be read one day at a time, over 12 days, in July 2021, by scanning the first page with an Augmented Reality app. This project questioned notions such as time, (self-)translation, and immersive storytelling in a digital world.
https://www.lousarabadzic.com/
La communauté sensible des écriture / lecture / traduction / interprétation entre les langues, by Luc Dall’Armellina
Luc Dall’Armellina is a writer, designer of digital devices and lecturer in arts & information and communication sciences, member of EMA Laboratory [Cergy-Pontoise University], associated member of Paragraphe Laboratory [ Paris 8 University ]. He has been teaching hypermedia design at the Valence School of Fine Arts since 1999 and contemporary art and technology at the university of technology of Compiègne (2008-2011).Since 1997, his e-writing feeds on literature, interface design, critical analysis of digital technologies, questioning present narrative forms in search of new spaces and terms of exchanges.His doctoral dissertation, entitled “Fields of sign, from design hypermedia to an ecology of the screen” [ University of Paris 8, 2003 ] has expanded into a study on Net-Art [CNRS – 2005-2007].His practices, from teaching to writing experimentations to research, clearly show a deliberate option for considering the links between art, technology and philosophy under a general perspective in places where we are both ignorant and knowledgeable.
Welcoming False Friends, by Elise Hugueny-Léger
Dr Elise Hugueny-Léger is a Senior Lecturer in French Studies at St Andrews. She has published extensively on Annie Ernaux, autofiction and constructions of authorship. Her more recent projects emerge from her interest in creative writing practices and workshops and include work on second-language creative writing and the involvement of authors in writing workshops in France.
To register for this event, please contact Dr Elodie Laügt (el40)
Thursday 6th May 2021, 6-7.30pm, online via Team
Dr Karen A. Brown
Assessing the Translator’s Commitment to Polysemy: Five English-language Versions of Sonetos del amor oscuro
Whether Federico García Lorca (1898-1936) engaged in sonnet-writing for catharsis or to offer his own contribution to stylistic approaches that had suddenly become fashionable again during the early to mid-1930s, he was neither reluctant nor overly committed to the ethos of self-revelation or to structural rigidity. The poet’s nonconformist urges are simultaneously articulated and silenced, and the silencing takes place within the text itself. Indeed, like some of his contemporaries, Lorca’s classical sonnets structurally contain his reflections on sexual marginality. But while the likes of Emilio Prados (1899-1962) and Juan Gil-Albert (1904-1994) were more explicitly revelatory in their approaches, Lorca opted for maximal disguise. Sonetos therefore functions equally as a work about generalised forbidden love, as well as textual evidence of Lorca’s personal preoccupation with unorthodox sexuality. Silences pervade the source text, as he strategized concealment via polysemy and ambiguity.
Arguing that the translator’s responsibility extends to preserving Lorca’s dual purpose, I look for what Kristine L. Muñoz describes as “instances of language use, especially that which involves silence and the unsaid,” which “make the properties polysemy, ambiguity, and strategy clear and memorable tools for analysis” (2016: 43).[1] This paper discusses the extent to which such devices, employed by Lorca, are evident in the translated text. Extracts from five different English translations of Sonetos will be analysed: Willis Barnstone’s version in Masters of the Spanish Sonnet (1993), renderings by Angela Jaffray included in the Christopher Maurer compendium (2002), Jane Duran and Gloria Garcia Lorca’s collaborative effort (2016), Sarah Arvio’s version in Poet in Spain (2017), and Mar Escribano’s Sonnets of Dark Love (2018).
[1] Transcribing Silence: Culture, Relationships, and Communication (New York: Routledge, 2016).
Dr Karen A. Brown recently completed her PhD in Spanish at the University of St Andrews. Her research focuses on the poetry of Federico García Lorca, specifically theories surrounding Retranslation and their relevance to the Spaniard’s prolificacy in the English language. Dr Brown is currently based in Oxford, where she works as a freelance translator and tutor.
email: kab25@st-andrews.ac.uk
twitter: @writerKABrown
To register for this event, please contact Elodie Laügt (el40)
8th April 2021, 5-6.30pm, online via Teams
Dr Jason Allen-Paisant (University of Leeds)
Sound and Otherness: Theses on Poetry and Thought
‘In this talk, I ask what is at stake in knowing through rhythm, sound and vibrations. I propose that to think through rhythm is to listen to what earth and objects tell us, to cultivate a practice of radical listening, to restore slowness, to leverage the heretical, shock quality of slowness in a culture of increasing violence. Ultimately, like Charles Olson, I am interested in all the doubt that muthos (utterance; spoken word) casts on the division between emotion and logic. In considering the ways in which poetry allows us to know through sound, vibrations, and embodied connections, I will explore the question of whether poetry is its own form of rationalism.’
Dr Jason Allen-Paisant is a Lecturer in Caribbean Poetry and Decolonial Thought, with joint appointments in the School of English and the School of Languages, Cultures and Societies at the University of Leeds. He is also Director of the University’s Institute for Colonial and Postcolonial Studies. His research interests lie in theatre and performance studies, critical theory, and poetry. His articles can be found, or are forthcoming, in French Studies, Cultural Critique, New Theatre Quarterly, New Formations, among other journals. His poetry and creative non-fiction have been featured in Granta, The Poetry Review, PN Review, New Poetries VIII, BBC Radio 3’s The Verb, and other venues. His first full-length volume of poems, Thinking with Trees, will be published by Carcanet Press in June 2021.
To register for this event, please contact Elodie Laügt (el40)
Thursday 18th February 2021, 4-5.30pm, online via Teams
Dr Gianluca Rizzo (Colby College, Northward)
On the Outside of the Language Forest: Reading, Writing, and Translating Poetry
Chaired by Margherita Carlotti
A literary critic, translator and poet, Gianluca Rizzo teaches at Colby College (Waterville, ME), where he is the Paul D and Marilyn Paganucci Associate Professor of Italian Language and Literature. His research focuses on modern and contemporary macaronic writing, contemporary poetry, theater, and aesthetics.
He published numerous articles, essays, poems and translations, both from English to Italian and vice versa (on OR, Journal of Italian Translation, Chicago Review, Italica, Forum Italicum, il Verri, Autografo, Studi Novecenteschi, etc). Among the volumes he edited are: Elio Pagliarani, Tutto il teatro (Marsilio, 2013); Carlo Goldoni, Five Comedies (with Michael Hackett, University of Toronto Press, 2016); On the Fringe of the Neoavantgarde. Ai confine della neoavanguardia. Palermo 1963. Los Angeles 2013 (Agincourt Press, 2017); Mariano Bàino, Yellow Fax and Other Poems(Agincourt Press, 2019). With Luigi Ballerini and Paul Vangelisti he also edited Nuova Poesia Americana. Chicago e le praterie(Aragno, 2019).
His latest monograph is titled Poetry on Stage: The Theatre of the Italian Neo-Avant-Garde (University of Toronto Press, 2020) and his most recent book of verse is Il lavoro meccanico. Un’apocalisse in quattro tempi (Oèdipus, 2016).
To register for this event, please contact Elodie Laügt (el40)
Monday 23rd November 2020, 7-8.30pm, online via Teams
Dr Anahid Nersessian (UCLA, University of California)
The Calamity Form
chaired by Dr Ramsey McGlazer
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Wednesday 7th October 2020, 4.30-6pm, online via Teams
Prof. Nina Parish (University of Stirling) & Dr Emma Wagstaff (University of Birmingham)
Editing Bilingual Poetry Anthologies in the Twenty-First Century
In 2016 Nina Parish and Emma Wagstaff published a bilingual poetry anthology of contemporary French poetry with Enitharmon Press. As well as co-editing the volume, they each translated an extract of work by one poet for inclusion in it. The first part of this paper argues that the process of editing an anthology of contemporary poetry with multiple translators is a form of re-writing that not only introduces new writers into the target-language poetic system, but also recasts their positions in the poetic system of the source culture by giving them new readers who have no or few preconceptions about the writers’ place in that system. Those poets whose work was included in the anthology represent a variety of approaches, but it was necessary, in the case of this print volume, to restrict the selection to written texts. The second part of the paper will discuss the possibility of a further anthology that would give voice in translation to important developments in twenty-first-century French poetic practice that takes place outside the page: in performance, for instance (Sabine Macher, Anne-James Chaton), or in digital or augmented reality formats (Alessandro De Francesco). It would, in addition, be possible to include translations of highly allusive and intertextual poetry (Philippe Beck) that is extended by embedded hyperlinks. The paper argues, therefore, that digital technologies contribute a further dimension to the re-writing enacted by bilingual anthologies.
Nina Parish is Professor of French and Francophone Studies at the University of Stirling. She has published on the interaction between text and image in the field of modern and contemporary French Studies. She also works on representations of difficult history, the migrant experience and multilingualism within the museum space. With Emma Wagstaff (University of Birmingham), she co-edited Poetry’s Forms and Transformations, a special issue of L’Esprit Créateur, 58,3 (Fall 2018) and Writing the Real: A Bilingual Anthology of Contemporary French Poetry (London: Enitharmon Press, 2016). They also edited, with Hugues Azérad and Michael G. Kelly, Poetic Practice and the Practice of Poetics in French since 1945 (= double special issue of French Forum, 37, 1-2) (2012), and Chantiers du poème : prémisses et pratiques de la création poétique moderne et contemporaine (Oxford : Peter Lang, 2012).
Emma Wagstaff is Senior Lecturer in French at the University of Birmingham. She works on modern and contemporary French poetry, literary responses to the visual arts, and creative reactions to protest. She has recently published André du Bouchet: Poetic Forms of Attention (Brill, 2020).
If you would like to attend or for enquiries, please email Elodie Laügt at: el40@st-andrews.ac.uk
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Friday 3rd April 2020, 3-5pm, St Andrews, Hebdomadar’s Room
Professor Nina Parish (University of Stirling)
‘Editing bilingual poetry anthologies in the twenty-first century’
Canceled due to UCU industrial action
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2nd March 2020, 6pm, St Andrews, Parliament Hall
‘BREXIT TEARS: Instagraphic Responses’
Artist Calum Colvin and poet Robert Crawford talk about a new collaborative project
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29th October 2019
Research Seminar, 5-6.30pm, St Andrews, Buchanan Building 216.
Dr Claire Gheerardyn (University of Toulouse-Jean Jaurès)
‘”Sculptural Poetry”: Can ONe Sculpt One’s Text?’
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Thursday 21st February 2019
Research Seminar, 1-2.30pm, Hebdomadar’s room
Prof. Seth Whidden (The Queen’s College, Oxford)
‘The Invention of the Sonnet in Prose’
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Wednesday 8 November 2017, 4pm
University of Dundee, Dalhousie Building, 1G05
A joint presentation with the Scottish Centre for Continental Philosophy,
University of Dundee
Jennifer Gosetti-Ferencei, Professor of Philosophy, Fordham University
‘On Poetry and Truth’