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Poetry Translating as Expert Action Processes, priorities and networks

(Amelia) #1

  • chapter Acknowledgements xv

  • Introduction

  • 1.1 About this book

    • 1.1.1 Poetry translating

    • 1.1.2 Poetry translation as expert action



  • 1.2 Reasons for researching poetry translation

    • 1.2.1 The value of poetry translation

    • 1.2.2 The research picture

    • 1.2.3 The wider view



  • 1.3 Five studies and a conclusion

  • 1.4 Research methodology

    • 1.4.1 Theories and methods

    • 1.4.2 You are what you research



  • chapter

  • Poetry in a political preface

  • 2.1 Foreword

  • 2.2 Context: Poetry and political prose

  • 2.3 The foundations of a model

    • 2.3.1 Action, context and subjectivity

    • 2.3.2 Relation, discourse and networks

      • 2.3.2.1 First-order networks

      • 2.3.2.2 Second-order networks

      • 2.3.2.3 Third-order networks



    • 2.3.3 Sketching out the framework



  • 2.4 Poems and translations

    • 2.4.1 Poetry as a genre

    • 2.4.2 Translations



  • 2.5 The translator as subject

    • 2.5.1 Cognition

    • 2.5.2 Emotion

      • 2.5.3 Creativity  Poetry Translating as Expert Action

      • 2.5.4 Metacognition





  • 2.6 First-order networks

    • 2.6.1 Translating agents, text complex and transmission

    • 2.6.2 Situation, motives, power



  • 2.7 Second-order networks

    • 2.7.1 Interest networks

    • 2.7.2 Fields and habitus

    • 2.7.3 Profession

    • 2.7.4 System



  • 2.8 Third-order networks

    • 2.8.1 Background and identities

    • 2.8.2 Culture and community

    • 2.8.3 Beliefs, ideologies and ethics



  • 2.9 Afterword

  • chapter

  • Poetry translation webs

  • 3.1 Introduction: Webs, poetry, war and peace

    • 3.1.1 Webs

    • 3.1.2 Background and context

      • 3.1.2.1 Bosnian, BCS and English

      • 3.1.2.2 Culture wars and a ‘post-’ peace





  • 3.2 Methods: Surveying Bosnian poetry translation

  • 3.3 Findings: Projects, teams, career webs and reviews

    • 3.3.1 Poetry translation projects

    • 3.3.2 Poetry translation teams

      • 3.3.2.1 Network patterns

      • 3.3.2.2 Actors, roles and power

      • 3.3.2.3 Space, allegiance and identity



    • 3.3.3 Career webs

      • 3.3.3.1 Translators, projects and poets

      • 3.3.3.2 Career maps



    • 3.3.4 Projects and reviewers

      • 3.3.4.1 Paper and web reviews

      • 3.3.4.2 Which projects get reviewed?

      • 3.3.4.3 Source-culture signals and images

      • 3.3.4.4 Images of translating





  • 3.4 Discussion: Poetry translation networks

    • 3.4.1 Projects, teams and players

      • 3.4.1.1 Project space and allegiance



    • 3.4.2 Fields Table of contents 

    • 3.4.3 Interest networks

      • 3.4.3.1 Web and paper publication

      • 3.4.3.2 Translation in reviewers’ eyes



    • 3.4.4 Poetry translation systems

    • 3.4.5 Ideologies, identities and imagined communities

      • 3.4.5.1 Partiality

      • 3.4.5.2 Images of the source culture





  • 3.5 Afterword

  • chapter

  • Talks with translators

  • 4.1 Introduction: The translator’s-eye-view

  • 4.2 Methods: Interviewing translators

  • 4.3 Findings: Translation projects, processes and products

    • 4.3.1 Motivation and emotion

    • 4.3.2 Forming the team, shaping the project

      • 4.3.2.1 Building vs. joining a team

      • 4.3.2.2 Selection criteria and expertise



    • 4.3.3 Translating processes

      • 4.3.3.1 Drafting and drawer time

      • 4.3.3.2 Cognitive orientation

      • 4.3.3.3 Early-version wording

      • 4.3.3.4 Speed and momentum



    • 4.3.4 Translation as product

      • 4.3.4.1 Reliability

      • 4.3.4.2 Poetic image and poetic form

      • 4.3.4.3 Non-standard style



    • 4.3.5 Working with translating agents

      • 4.3.5.1 Degrees of dependence

      • 4.3.5.2 Co-translating

      • 4.3.5.3 Text helpers



    • 4.3.6 After publication



  • 4.4 Discussion: Translators and how they translate poems

    • 4.4.1.1 Cognition and action

    • 4.4.1.2 Continua and personae

    • 4.4.1.3 Double aim, double bind

    • 4.4.2 Loyalty and norms

      • 4.4.2.1 Loyalty, similarity and invisibility

      • 4.4.2.2 Is there a ‘right’ relation norm?



    • 4.4.3 Emotion and motivation  Poetry Translating as Expert Action

    • 4.4.4 Metacognition and identity

      • 4.4.4.1 Self-evaluation and expertise

      • 4.4.4.2 Self-image and identity



    • 4.4.5 Further interpersonal issues

      • 4.4.5.1 Translating agents

      • 4.4.5.2 Recruitment

      • 4.4.5.3 Autonomy and collegiality





  • 4.5 Afterword

  • chapter

  • Five translators translate

  • 5.1 Introduction: Researching real-time processes

  • 5.2 Methods: The Toen wij think-alouds

    • 5.2.1 Setting, source poem and data-gathering

    • 5.2.2 Validity

    • 5.2.3 Data analysis



  • 5.3 Findings: How the Toen wij translators translated

    • 5.3.1 Task time

    • 5.3.2 Drafts and versions

      • 5.3.2.1 Time management

      • 5.3.2.2 Processes and priorities from draft to draft

      • 5.3.2.3 Drafting patterns revisited



    • 5.3.3 Runs-through

    • 5.3.4 Macro-sequences and Lines

    • 5.3.5 Micro-sequences and foci

      • 5.3.5.1 Shared features

      • 5.3.5.2 Lexis

      • 5.3.5.3 Image, re-imaging and source-poet intent

      • 5.3.5.4 Feel/Flow and Scan

      • 5.3.5.5 Grammar and discourse

      • 5.3.5.6 Sound

      • 5.3.5.7 Intertextuality

      • 5.3.5.8 Text helpers

      • 5.3.5.9 Evaluation

      • 5.3.5.10 Target readers





  • 5.4 Discussion: Cognition, creativity and community

    • 5.4.1 Cognition and action

      • 5.4.1.1 Managing translation processes

      • 5.4.1.2 Establishing and conveying meaning

      • 5.4.1.3 Intrinsic form Table of contents 

      • 5.4.1.4 Creativity



    • 5.4.2 Emotion

    • 5.4.3 Te a m

    • 5.4.4 Community

      • 5.4.4.1 Cognitive habitus

      • 5.4.4.2 Variation between translators

      • 5.4.4.3 Target readers



    • 5.4.5 System



  • 5.5 Afterword

  • chapter

  • Translating rhyme and rhythm

  • 6.1 Introduction: Comparing two poems’ processes

  • 6.2 Methods: Krik and the Kulenović project

    • 6.2.1 Setting, source poem and data-gathering

    • 6.2.2 Generalizability



  • 6.3 Findings: Toen wij and Krik compared

    • 6.3.1 Task time

    • 6.3.2 Drafts and versions

    • 6.3.3 Runs-through

    • 6.3.4 Macro-sequences and Lines

    • 6.3.5 Micro-sequences, foci and creativity

      • 6.3.5.1 Comparing profiles

      • 6.3.5.2 Managing rhyme and rhythm

      • 6.3.5.3 Generating rhyme pairs

      • 6.3.5.4 Rhythm and fluency

      • 6.3.5.5 Polishing

      • 6.3.5.6 Semantic shifts and creativity



    • 6.3.6 Team, project and community



  • 6.4 Discussion: Two poems and two projects

    • 6.4.1 Cognition and action

      • 6.4.1.1 Cognitive habitus and approach

        • Semantics and Jakobson’s poetic 6.4.1.2 Putting approach into action:



      • 6.4.1.3 Processes

      • 6.4.1.4 Creative problem-solving

      • 6.4.1.5 Other types of poem



    • 6.4.2 The world outside the poem: Team, project and ideology



  • 6.5 Afterword

  • chapter  Poetry Translating as Expert Action

  • Conclusion



    1. 1 Towards a model of poetry translating





    1. 2 The translator and translating



    • 7.2.1 Emotion

    • 7.2.2 Cognition: Translating and managing the translation task

      • 7.2.2.1 Understanding and communicating poetic text

      • 7.2.2.2 Task and project management



    • 7.2.3 Norms and creativity

      • 7.2.3.1 Norms

      • 7.2.3.2 Creativity



    • 7.2.4 Areas of variation

      • 7.2.4.1 Between translators

      • 7.2.4.2 Between poems







    1. 3 Who is the poetry translator?



    • 7.3.1 Skill and career patterns

    • 7.3.2 Poetry translators as translators

    • 7.3.3 Poetry translators as professionals





    1. 4 Project and team



    • 7.4.1 People and power

    • 7.4.2 Team motives and identity





    1. 5 Extended networks



    • 7.5.1 Choosing and communicating texts

      • 7.5.1.1 Choosing, producing and publishing

      • 7.5.1.2 Webocracy and the rule of paper

      • 7.5.1.3 Readers and knowledges



    • 7.5.2 Fields and systems

    • 7.5.3 Cultures and sub-cultures

    • 7.5.4 Ideology

    • 7.5.5 A translator’s identities

    • 7.5.6 Global power





    1. 6 Implications



    • 7.6.1 Poetry translation research

    • 7.6.2 Translation studies

    • 7.6.3 Translator training and translating players



  • References

  • Index

  • Figure 1. The Yugoslav successor states in 2010: Sketch map Table of figures

  • Figure 2. Stećak (Radimlje necropolis, Bosnia)

  • Figure 3. Final copy-edited version of article

  • Figure 4. Poetry translating action: A provisional model

  • Figure 5. Intersecting habitus

  • Figure 6. Scar on the Stone (Agee 1998b): Actor network

  • Figure 7. Place of publication (translation projects)

  • Figure 8. Translation projects per translator

  • Figure 9. Poets per translator

  • Figure 10. Ulvija Tanović, career map

  • Figure 11. Wayles Browne, career map

  • Figure 12. Translation projects with reviews

  • Figure 13. Key-theme tags for translation projects and reviews

  • Figure 14. Reviewers’ mentions and judgements of translation

  • Figure 15. Initiation-Commission Continuum

  • Figure 16. Source-Language Knowledge Continuum

  • Figure 17. Cognitive-Orientation Continuum

  • Figure 18. Early-Version Wording Continuum

  • Figure 19. Translating-Speed Continuum

  • Figure 20. Writer/Reader Orientation Continuum

  • Figure 21. Correspondence-Hierarchy Continuum

  • Figure 22. Translating-Agent Continuum

  • Figure 23. Toen wij: Source poem + English interlinear

  • Figure 24. Toen wij: English versions after Draft

  • Figure 25. Toen wij: extract from think-aloud protocol (Fleur, Draft 1)

  • Figure 26. Toen wij: Version 1 (Fleur, Lines 6–7)

  • Figure 27. Micro-sequence foci

  • Figure 28. Toen wij: Whole-project translating time per translator

  • Figure 29. Toen wij: time per draft and translator

  • Figure 30. Toen wij: Version 1 (Hugo, Lines 8–9)

  • Figure 31. Toen wij: Version 2 (Hugo, Lines 8–9)

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