Performativity and Translation Studies:
Dennitza Gabrakova, City University of Hong Kong,
Douglas Robinson, Hong Kong Baptist University,
John Milton, University of São Paulo, Brazil,

As Cristina Marinetti argues, "The concept of performativity itself has yet to be fully articulated in relation to translation"; indeed, performativity has only recently begun to cross paths with Translation Studies, particularly with a focus on the translator's agency or identity and on translation as embodied epistemologies and aesthetics.

Performativity intersects with Translation in various ways: Sherry Simon (1998) and Edwin Gentzler (2008) discuss adopting a performative perspective "especially in relation to unpacking notions of identity". Douglas Robinson discusses the "performative linguistics of translation", that is, "translating as 'doing', doing something to the target reader". He also mentions "Translating as colonizing, or as fighting the lingering effects of colonialism; translating as resisting global capitalism, translating as fighting patriarchy, as liberating women (and men) from patriarchal gender roles (...) the translator as a doer, an actor on variously conceived cultural, professional, and cognitive stages" (Robinson 2003).

A recent special issue of Target (25:3) was dedicated to the role of translation and performativity in the theatre, and a colloquium organized by the proposers of the present panel in Hong Kong in January 2014 discussed "Performativity and Translation". Most of the papers examined aspects of performativity in theatre translation, a starting point for evaluating the innovative potential of Performativity as a productive rather than a merely reproductive force in other areas of Translation Studies. The Hong Kong colloquium attracted interest from scholars who demonstrated genuine enthusiasm and creativity in approaching this new topic and generating cross-disciplinary and cross-cultural dialogues. The present panel will be a natural continuation of this on-going discussion.

Possible research areas are: Dubbing and Subtitling, where the on-screen words or those the actors mouth reperform, closely or not so closely, those of the original; the Translator's Preface and other paratexts, which introduce a second performance to the original, supporting, contradicting, directing, or diverting the reader from the original text; Natural Translation, where, within the immigrant family, the language performance skills of the child may give them enormous power; translation for a specialized audience such as children or the deaf, where the translation must perform a role to construct a specific relationship; Interpreting Studies, where the neutrality of the interpreter comes into question.

Such intersections of performativity with Translation and Interpretation Studies will open up new perspectives on the role and practice of translation as an integral part of the performativity of culture on multiple levels: ethnicity, race, marginalization, generation, and gender, as well as the performativity of cross-cultural dynamics.

 

 

For informal enquiries: [jmiltonATuspDOTbr]

 

Dennitza Gabrakovais Assistant Professor in Japanese Studies at City University of Hong Kong. She is interested in the rhetoric of translation in connection to Postcolonial Studies and cultural identity. Currently Dennitza is working on a project related to the translation of (Postcolonial) theory into Japanese as a social and cultural intervention.

 

Douglas Robinson is Chair Professor of English and Dean of Arts at Hong Kong Baptist University and author of The Translator's Turn, Translation and Taboo, Translation and Empire, Becoming a Translator, What Is Translation?, Who Translates?, Performative Linguistics (the relevant predecessor for his talk here), Translation and the Problem of Sway, and Schleiermacher's Icoses, and editor of Western Translation Theory from Herodotus to Nietzsche. His forthcoming books include Semiotranslating Peirce and The Dao of Translation. He is currently at work on a translation of Finland's greatest novel, Aleksis Kivi's Seven Brothers (1870).

 

 

John Milton is Titular Professor, University of São Paulo, Brazil, teaching English Literature at undergraduate level and Translation Studies at M.A. and Ph. D. He is also the Coordinator of the M.A. and Ph.D. programmes in Translation Studies. His main academic interest is in the theory, history, sociology and politics of translation and has published several books in Brazil and edited Agents of Translation, John Benjamins, 2009. He has also published many articles in Brazil, and in Target and The Translator, and translated poetry from Portuguese into English, and, together with Alberto Marsicano, Keats, Wordsworth and Shelley into Portuguese. 

 

 

Introduction: Dennitza Gabrakova

PART 1: THEATRICAL TRANSCULTURATIONS

PAPER 1 – 20 minutes for presentation + 10 minutes for discussion

Performativity and Translation ethics in multicultural theatre
Cristina Marinetti

As a profoundly hermeneutic practice, involving interpretation alongside choice and representation, translation brings to the fore the ethical dimension of cross-cultural encounters. Although rich in a variety of positions – from relativity (Pym, 2002) to intervention and resistance (Venuti, 2007) – debates over the ethics of translation have traditionally been based on discussions of translation as a primarily textual and subsequently social phenomenon (Buzelin, 2006), where cultural representations are negotiated, preserved and changed through a series of interventions mappable onto texts and paratexts and more recently onto enquiries into the translator's unconscious (Venuti, 2012). In this paper, I intend to explore the question of translation ethics not from a textual or social but from a performative perspective, looking at instances where translation occurs not in the written text or in the negotiations around a written text, but in the process of devising and enacting a performance. My research on the performance aesthetics of Italian multicultural company Teatro delle Albe and suggests that a different set of variables are at play when translation occurs not 'on the page' but 'on the stage' and in this paper I intend to articulate, with the help of insights from research on ethics in intercultural performance (Ridout 2009, Barucha 2004), how they relate to and possibly even challenge existing models of translation ethics.

Barucha, 2004 Theatre and the World: Performance and the Politics of Culture. London: Routledge. Buzelin, 2006 'Translation Ethnography and the Production of Knowledge'. St Piere ed. In Translation: Reflections, Refractions andTransformations. Amsterdam: John Benjamins. Ridout, 2009 Theatre and Ethics. London: Palgrave Macmillan. Venuti, 2007 'Translation, Simulacra and Resistance' Translation Studies 1 (1). Venuti, 2012 Translation Changes Everything. London: Routledge.

Cristina Marinetti is Lecturer in Translation Studies at Cardiff University and director of the Translation Programme. Her primary area of research is translation studies but I also have a strong interest in theatre history and theatre practice. She has published on translation theory in relation to identity and performance, on drama and multimedia translation and on the interface between translation theory and practice. Her research is comparative in nature and combines historical/cultural analysis with reflections on her own translation practice.

PAPER 2 – 20 minutes for presentation + 10 minutes for discussion
Issues in the Performative Turn
Scott Williams 

The performative turn in Translation Studies builds on the many other developments in the field over the last decades. The notions of performance and performativity are key in examining translations across genres, from drama to the oral tradition and localization. Working mainly with translations to and from German, we will consider several issues. The performative turn demands that we correlate theatre translation with other types of rewriting. Connecting theatre and the oral tradition of the epic, for instance, also highlights the influence of physicality; for instance, in terms of sound ("speakability" is a recurrent issue in theatre translation). A fairly recent translation of Homer's epics (by Raoul Schrott) illustrates the cross-over of genres that can constitute the totality of rewriting. Thus the translation was commissioned for a radio performance and also appeared as written publication in conjunction with yet another book by the translator proposing a new theory of the Iliad's origins. The entire production taken collectively represents the multiplicity of rewriting as action. The necessity of negotiation is important in any stage production (e.g., of German drama) but also in website creation. Thus the collective input into English productions of the Swiss playwright Friedrich Dürrenmatt parallels the various players in, for instance, website productions. Indeed, the internet provides a different stage upon which even Homer can be enacted. Thus a format that emphasizes textuality above orality can still perform a text, as Walter Grond attempted with Homer's Odyssey. Grond (Absolut Homer) challenged twenty-two authors to rewrite parts of the Odyssey. Although now in book form, it was originally a piece of concept art in which the various texts were online with key phrases hyperlinked to passages by the other authors. Thus each reading depended on the reader physically manipulating the mouse to click on whichever linked phrase was most appealing. Since each reader each time may link to different texts, every reading experience became a different 'odyssey.' Different authors wrote the text, but someone also had to decide which phrases to link, just as someone had to write the code and maintain the site. Some might restrict the association with performance to only theatre translation; but by sketching out the parallels between theatre translation and other rewritings one can better appreciate the scope of the performative turn.

Scott G. Williams (Ph.D. in Comparative Literature at the University of Texas at Austin) has published translations of over 20 contemporary German-language authors. He has written articles on, for instance, computer assisted language learning, the modern reception of Greco-Roman antiquity, and the application of translation theory to the study of modern literature. He is currently working on issues of translation and performance.

PAPER 3 – 20 minutes for presentation + 10 minutes for discussion

From Performance Studies to Translation Studies: Translations Performed in Brazil: Anchieta, the Minas Conspiracy, and Monteiro Lobato
John Milton

In the Introduction to The Performance Studies Reader Richard Schechner stresses the need to broaden Performing Arts curricula to examine "how performance is used in politics, medicine, religion, popular entertainments, and ordinary face-to-face interactions" (p.8), analysing the relationships between authors, performers, directors, and spectators. This panel adds Translation and Interpretation to Schechner's list, seeing translators and interpreters as performers of a text authored in a different language, and whose audience, in the case of most translations, or broadcasted Interpreting, is largely unknown, though Interpreting includes a large number of situations, including the very theatrical and performative Consecutive Interpreting.

In the same volume, Marvin Carlson complements Schechner: "With performance as a kind of critical wedge, the metaphor of theatricality has moved out of the arts into almost every aspect of modern attempts to understand our condition and activities, into almost every branch of the human sciences – sociology, anthropology, ethnography, psychology, linguistics" (p.74).

In this presentation I follow Schechner and Carlson and take performativity and theatricality into the realm of Translation Studies, more specifically three studies I have made, and re-examine them from the perspective of Performativity. Firstly, the translations, or rather, adaptations of the plays of the Portuguese dramatist, Gil Vicente, into the indigenous Brazilian language, Tupi, by the Jesuit missionary José de Anchieta (1534-1597) in Brazil in the 16th century, with the intention of catechising the Brazilian Indians into Catholicism. In which ways did Anchieta translate and perform these translations, and how were they presented to the Tupi Indians? And how can Performativity Studies help us to understand these works?

Secondly, I examine the performative elements of translation in the Minas Conspiracy [Inconfidência Mineira], the thwarted revolution in the Brazilian state of Minas Gerais in 1789. The role of the main figures, the Ensign, or Second Lieutenant, Tiradentes [Tooth-Puller], and the poets, Clãudio Manuel da Costa, and Tomás Gonzaga, have been performed in different ways, according to historical and ideological interpretations of the Conspiracy. And the iconic copy of Claude Ambroise Régnier's Recueil des Lois Constitutives, which enabled the rebels to become familiar with the constitution of the United States and the laws of the 13 states, is now on show in Ouro Preto as a central property of the Conspiracy.

Last, but not least, I analyse the retelling of Peter Pan (1930), by the Brazilian writer and translator José Bento de Monteiro Lobato (1889-1945), especially well-known for his children's fiction: Grandmother Dona Benta retells the story to the children and dolls of the Yellow Woodpecker Farm, and through her insertions and the questions and the comments of the children and dolls, Lobato is able to include critiques of the contemporary Brazilian economic situation and the dictatorship of the populist president, Getúlio Vargas. Copies of Lobato's Peter Pan were even confiscated and destroyed in the state of São Paulo. Thus Lobato's translation is reperforming Barrie's original, and changing the place of enunciation from Barrie to Lobato.

John Milton is Titular Professor, University of São Paulo, Brazil, teaching English Literature at undergraduate level and Translation Studies at M.A. and Ph. D. He is also the Coordinator of the M.A. and Ph.D. programmes in Translation Studies. His main academic interest is in the theory, history, sociology and politics of translation and has published several books in Brazil and edited Agents of Translation, John Benjamins, 2009. He has also published many articles in Brazil, and in Target and The Translator, and translated poetry from Portuguese into English, and, together with Alberto Marsicano, Keats, Wordsworth and Shelley into Portuguese.

PART 2 : ETHICAL INTERVENTIONS

PAPER 4 – 20 minutes for presentation + 10 minutes for discussion
Pragmatic texts and notions of performativity
Candace Séguinot 

The concept of performativity has been related both to the linguistic notion of performatives (Robinson, 2006), and translational discussions of agency and (in)visibility (Simeoni: 1998 , and Venuti: 2008). The introduction of the former as a property of utterances came to be extended to linguistic interaction and the assumptions about communicating that underlie them. The latter have recently shifted from a consideration of the rights and obligations of the translator to an original author or to an internalized professional and social role to the intervention of translators as social actors and activists both inside of and outside of what has traditionally been called translation. This traditional or as it has been called narrow view of translation in the call for papers for the 2015 conference Translation and the Many Languages of Resistance (http://globalizingdissent.wordpress.com) has a complement called broad characterized by mediation in which there may not be more than one language involved, or indeed any language at all.

In just such a way the evolution of the notion of performativity can help us revisit certain aspects of pragmatic translation. This paper will discuss three areas in particular. The first is the reduced agency in the value-added aspects of the translator's role in the language industries compared to knowledge mobilization. Knowledge translation in particular has been defined as "... a dynamic and iterative process that includes synthesis, dissemination, exchange and ethically-sound [ emphasis mine] application of knowledge..." in the health fields (Canadian Institutes of Health Research, 2000, Cihr-irsc.gc.ca). The transforming of information to make it available to the public used to be based on rhetorical principles, ie the form of argumentation, the use of the second person, etc. Today the recognition of the importance of emotions in decision-making means that audiences are no longer seen as homogeneous, and translators are not constrained by texts to produce texts. Further, even the production of texts in traditional professional translation is being rethought to improve performability as content managers look for ways to analyse and organize language-independent content.

This leads to the question of what cognitively-based observational research can show us about degrees of performativity in the translations themselves and in the agency of the translator.

Candace Séguinot is a Full Professor at the School of Translation at Glendon College, York University, in Toronto, Canada, where she also directs the Program in Technical and Professional Communication. Her research and publications are in the areas of cross-cultural communication, global marketing, theoretical models of the translation process and the nature of professional expertise.

PAPER 5 – 20 minutes for presentation + 10 minutes for discussion

Translation Acts: Discourse, Performativeness and "Emic" Entities
Lenita Esteves (Submission #117)

Common sense holds that the best translations are those that render the source text faithfully, without any loss in meaning, form or tone. It is also well agreed that the task of producing such a translation, despite being an ideal pursued by many, is impossible. In line with Douglas Robinson's ideas as proposed in "Performative Linguistics" (2003) this paper considers translation performatively, that is, as action. This implies an agent, motives and consequences. The most important corollary of this proposal is an alternative way of seeing the role of translators in society — they start being considered as real mediators, leaving behind their function as mere carriers of ideas and meanings. The Speech Act theory, as proposed by J. L. Austin, will serve as a guideline in the exploration of the concept of translation as action, an act performed in the real world. This performative approach of translation is, in Robinson's words, "interested in actual language use in real-world contexts, in the relationships between actual speakers and writers and actual interpreters, specifically in how humans perform verbal actions and respond to the verbal actions performed by others" (p. 4). This work focuses specifically on the way Austin builds his theorization. In his very peculiar way of making theory, Austin does not advance in a straight line, but in a rather sinuous movement, with many reformulations and new developments. Moreover, Austin's insistence on basing his reflections on "ordinary language", taking into account the circumstances under which utterances are made, will be emphasized, along with his reiterated opinion that philosophy should neither oversimplify its issues nor work based on ideal situations that do not correspond with real life. This paper argues that Austin's theoretical attitude, with its uncertainties and open-ends, is an adequate attitude for translation scholars, who should also work with language in use and delve deeply into issues, avoiding oversimplifications. Kanavillil Rajagopalan (1992) has argued that illocutionary acts are "emic" entities, that is, irreducibly cultural units of analysis. Translation acts will also be analyzed here as "emic" entities that resist strict generalizations. On the other hand, "families" of translation acts will be presented – "families" in the Wittgensteinian sense (1953) — of groups whose elements do not have an essential feature, but rather several overlapping similarities. These families are: Translation as diffusion of knowledge; Translation as immersion in textuality; Translation as enrichment; Translation as political engagement.

Lenita Esteves is Associate Professor of Translation Theory and Practice at the University of São Paulo, Brazil. Her main research interests are Translation and Ethics, Historiography of Translation; Translation and Psychoanalysis, and the Reception of Brazilian Literature in the English speaking world.

PAPER 6 – 20 minutes for presentation + 10 minutes for discussion

Translating theory and the Japanese Postcolonial Refraction
Dennitza Gabrakova

This paper focuses on the significance of translation of theory as an site of intersection of the 1) self-fashioning of a type of performative ethical identity of the Japanese intellectual activist and 2) generation of intellectual perspectives with close affinity to postcolonial critique. After briefly outlining the significance of translation for Japanese modernity, the work of several translators of theory will be discussed against the background of the unilateral flow of ideas and Enlightenment. The study of the creative transformations accompanying the translations of T. Eagleton (Literary Theory), Ed. Said, G. Spivak and J. Derrida provide a unique perspective to the Japanese intellectual as "translator", a complex identity negotiating issues of originality and commitment. The translation of Terry Eagleton's Literary Theory by Ohashi Yoichi in 1985 not only attracted the attention of creative writers critical of the Japanese academic establishment, but resulted in a self-critical parody authored precisely by the translator: Ohashi's New Introduction to Literary Theory: Reading Eagleton's Literary Theory (1995). Another important site of the formation of the Japanese intellectual persona as a figure of responsibility is the work of Motohashi Tetsuya, a prolific translator of literary theory and postcolonial critique. The performativity of Motohashi's translational agenda will be analysed through his attempt at popularizing postcolonial perspectives in combination with a critique of Japanese history in his Postcolonialism (2005). The case of Ukai Satoshi, a translator of Derrida and a scholar with a strong penchant for postcolonial critique is particularly illuminating in the way it flows into Ukai's essentially postcolonial ethics and philosophy of translation. Two additional examples will be Komori Yoichi's ground-breaking work Postcolonial as an epistemological case of translation as reception of theory and Nishiyama Yuji's translation of Derrida combined with his documentary film touring.

Dennitza Gabrakova is Assistant Professor in Japanese Studies at City University of Hong Kong. She is interested in the rhetoric of translation in connection to Postcolonial Studies and cultural identity. Currently Dennitza is working on a project related to the translation of (Postcolonial) theory into Japanese as a social and cultural intervention.

PART 3: THEORETICAL STAGINGS

PAPER 7

Literary Translation and/as Performance
Sandra Bermann

"Literary Translation and/as Performance"

This paper builds its argument at least in part on my recent article, "Performing Translation," published in 2014 in the Wiley Blackwell Companion to Translation Studies, edited by Catherine Porter and me. In this article, I looked at literary translation from the viewpoint of J.L.Austin's "performative," Jacques Derrida's notions of iterability, and Judith Butler's discussions of gender performativity. Douglas Robinson's work on linguistic performatives and the long and fruitful history of gender studies and translation were also important references. Though I used some literary examples in the course of the essay, it was largely theoretical, meaning to draw in some of the main terms and ideas associated with "performance," "performative" and "performativity" in translation studies. In the paper I propose for this conference, I begin more pragmatically. Here, I examine closely a few examples of literary translation and re-translation in the light of the theoretical concepts analyzed before, but underscoring in a somewhat different way the value of considering translation as a performative act rather than as a reproductive inscription. Reading several translations of Rene Char's Feuillets d'Hypnos, texts dense with allusion as well as with specific historical and political reference, I discuss the ways that different translational "performances" have opened up different interlocutory spaces for engaging audiences and producing new insights. In the process of my analyses, I bring performance and the performative into dialogue with ideas of translatability, untranslatability and ethics raised by Gayatri Spivak in a number of essays and by Emily Apter in her recent Against World Literature: On the Politics of Untranslatability. Indeed, viewing translation as performance heightens our awareness of specific choices that the translator makes (consciously and unconsciously) while grappling with different cultural systems, regimes of power, and political, economic and social constraints, and while negotiating daunting linguistic divides. It also reminds us of the powerful role that translation can play within the field of comparative literature, by opening it to the details of difference and the often illuminating difficulties these pose.

Sandra Bermann is Cotsen Professor of the Humanities and Professor of Comparative Literature at Princeton, where she also serves as Master of Whitman College. Her research and teaching interests include lyric poetry, translation, gender and sexuality, and comparative literature. She is author of The Sonnet Over Time: Studies in the Sonnets of Petrarch, Shakespeare, and Baudelaire; translator of Manzoni's On the Historical Novel; and editor of Nation, Language, and the Ethics of Translation with Michael Wood, and of A Companion to Translation Studies with Catherine Porter.

PAPER 8

Pushing-Hands and Periperformativity
Douglas Robinson

This talk explores the performativity of translation in the context of Martha Cheung's theory of translation as tuishou or "pushing-hands"—the martial arts form of Tai Chi. Specifically, the paper will explore three areas in which Prof. Cheung's formulation of the pushing-hands theory of translation falls into essentializing habits, and offer a performative rereading of those three areas that will seek not to refute her approach but to perfect it: (1) pushing-hands and gender (her focus on yin-gentleness as an essentializingly female foundation for the pushing-hands of translation); (2) pushing-hands and dialogue (her tendency to focus on the translator's unidirectional response to the "incoming force" of the source text, rather than looking at the ongoingness of dialogue); and (3) pushing-hands as (peri)performativity (her tendency to present translation as like pushing-hands as a stable thing, rather than both translation and pushing-hands as a performance—and specifically a way of performing the audience into dialogical participation in the performance).

The talk makes the following claims:

(1) Pushing-hands can be thought of as a gentle, cooperative analogue for a dialogical engagement with an "incoming force," such as a single author or point of view. The implication is that all knowledge is mediated, constructed, and situated.

(2) Pushing-hands can be thought of as a gentle, cooperative analogue for a dialogical engagement with a whole parlor full of internally and externally dialogized viewpoints. The implication is that all knowledge is even more complexly mediated, constructed, and situated than in (1), featuring incoming and outgoing and interactive forces of which we may never become aware.

(3a) The pushing-hands analogue can also be extended to the translator's engagement first with the source author, then with the target reader. The fact that the translator pushes hands with the source author and the target reader in "stealth" mode—pushing hands with the target reader "as" or "through" the "I" of the source author—complicates the pushing-hands model in interesting ways.

(3b) The pushing-hands analogue can be further extended to the scholar's rhetorical engagement with the audience s/he is trying to persuade, making persuasion a pushing-hands encounter in which speaker and listener both participate, reciprocally.

Douglas Robinson is Chair Professor of English and Dean of Arts at Hong Kong Baptist University and author of The Translator's Turn, Translation and Taboo, Translation and Empire, Becoming a Translator, What Is Translation?, Who Translates?, Performative Linguistics (the relevant predecessor for his talk here), Translation and the Problem of Sway, and Schleiermacher's Icoses, and editor of Western Translation Theory from Herodotus to Nietzsche. His forthcoming books include Semiotranslating Peirce and The Dao of Translation. He is currently at work on a translation of Finland's greatest novel, Aleksis Kivi's Seven Brothers (1870).

PAPER 9 – 20 minutes for presentation + 10 minutes for discussion

A Performative Theory of Translator Style
Gabriela Saldanha (Submission #320)

Drawing on Butler's (1990) performative theory of gender, Harvey (2003: 4) suggests, rather tentatively, the possibilities opened by a performative theory of the translated text as a way of moving beyond an understanding of 'translated texts as caused objects' and towards an understanding of 'translated texts as interfaces' where the problematics of the intercultural crossing is inscribed within their very nature. This understanding of performance and translation resonates with Bhabha's (2007) argument that cultural communication is performative in the sense that it enacts and creates identities, is constructivist rather than essentialist. Underlying these arguments is an understanding of translation as the staging of difference. This paper further develops Harvey's tentative proposal for a performative theory of translation by applying an anthropological understanding of performance, Richard Schechner's (1985) characterisation of performance as restored behaviour, which has also been used to explain theatrical performance, to explain translator's agency, more specifically, what I call 'translator style'. The concept of restored behaviour refers to "the process of framing, editing, and rehearsing; the making and manipulating of strips of behaviour" (Schechenr 1985: 33). Understanding the translator's agency as restored behaviour enables us to conceptualise translator style in a way that is not only reflective, or even interpretative, but constructive. I argue here that in framing, editing and rehearsing the source text, translators are staging differences and creating identities for themselves, the world of the source text and their audiences. This, in turn, enables us to discuss a translator's oeuvre as a coherent body of work which has its own artistic motivating principle. In order to illustrate and support my argument I provide examples of patterns of translation strategies, following the model proposed in Saldanha 2011 for identifying stylistic features in translated texts and then analyse discursive representations of translators' agency. This analysis relies on peritexts produced by translators themselves as well as by professional and non-professional readers, mainly in the form of reviews published on broadsheet newspapers and online. References Bhabha, Homi K. (2007) The location of culture. London: Routledge. Butler, Judith (1990) Gender Trouble: Feminism and the Subversion of Identity. New York and London, Routledge. Harvey, Keith (2003) Intercultural Movements: American Gaby in French Translation, Manchester, UK & Northampton, MA: St Jerome. Saldanha, Gabriela (2010) 'Translator style: methodological considerations', The Translator 17(1) 25-50. Schechner, Richard (1985) Between Theatre & Anthropology, Philadelphia: University of Pennsylvania Press.

Gabriela Saldanha is a Lecturer in Translation Studies at the University of Birmingham (UK). She has published extensively on translation stylistics and is the author of Research Methodologies in Translation (Routledge, 2013) together with Sharon O'Brien. She co-edited the Routledge Encyclopaedia of Translation Studies (Routledge, 2009), together with Mona Baker; and a special issue on 'Global Landscapes of Translation' (Translation Studies, 2013) together with Angela Kershaw. She is also co-editor of New Voices in Translation Studies, InTRAlinea and Translation and Translanguaging in Multilingual Contexts.

Wrap-up: Douglas Robinson

 

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