This course examines the
past and current fates of translation, comparatism and the
related field of World Literature. It
approaches “translation” from the point of view of theory (as the subject of
metadiscursive rumination), of trope (as a rich metaphor for a variety of
processes and experiences of transformation), and of practice (as the
painstaking transference of a text from one language to another or, more
generally, from one medium to another). It approaches “comparatism”
historically as well as theoretically, both tracing its contours through the
origins and growth of a field of study known as “comparative literature” and
exploring the philosophical arguments that have been made for and against
comparatism. How is it possible to engage in an act of cross-cultural
comparison without subjecting one side to the dominant ideas of the other? Is
comparison conceivable without an underlying universalist foundation? What are
some of the different models of comparatism? Such are some of the vexing
questions at the heart of the modern project of comparatism. As these questions
only begin to suggest, translation and comparatism are intimately linked
topics. An act of translation is an act of comparison; and comparatism all too
often depends on translation. Also covered will be a topic closely linked to
translation and comparatism—notions of World Literature, which have made a robust
comeback in the last decade.
The texts for the course
will be theoretical, practical (i.e. essays exploring the actual practice of
translation), literary, and cinematic. The semester has four general themes
running through it (somewhat reflected in the way the readings are organized):
(1) The Theory and Practice of Translation, (2) Translation as Trope, (3)
Comparatism, and (4) The World Literature Debate. The readings pertaining to
the first theme explore translation from a theoretical as well as practical
perspective; for the second theme, we will read/watch literary texts and films
that allow us to appreciate as well as critique the uses of translation as a
trope (that is, as a metaphor); the third theme explores comparatism (a
methodology founded on comparison) as well as comparative literary and cultural
studies as fields of academic inquiry; and under the fourth theme we will
review approaches to as well as critiques of World Literature.
Since I am interested in
translation at a theoretical level at the same time that I am myself a
practicing translator, I welcome student projects that take an analytical
approach to translation as well as projects engaging in actual translation.
Hawaiian and Pacific languages and literatures are outside my area of
expertise, but I welcome student projects relating to them.
Student
Learning Outcomes
At the end of
the semester, students will have a good grasp of translation studies as a
field, of debates around comparatism as a method, and of the debates around World
Literature. They
will have an understanding of the discipline of English today and its
relationship to other disciplines; an understanding of advanced research
methods and/or creative techniques of translation; and an ability to
demonstrate advanced critical analysis in both written and oral formats.
Assignments:
Students will make a presentation related to a reading (also
presented to me as a five-page paper); write a midterm five-page project
proposal accompanied by a five-page annotated bibliography; and submit a
twenty-five page term paper at the end of the semester. The term paper may be
substituted by an appropriate creative project of translation if approved by
me. Class discussions will be supplemented by required and voluntary
discussions online.
Readings
and Required Texts:
1. The Translations Studies Reader, ed. Lawrence Venuti. 3rd Edition.
2. The Tempest (Norton Edition), William Shakespeare
3. A Tempest, Aime Cesaire
4. The English Patient, Michael Ondaatje
5. The English Patient (movie)
6. Cinema Babel, Abe Mark Nornes
7. Course Packet (PDFs online)