essay on translation as creative writing

• DOI: 10.1080/14790726.2020.1762665
• Corpus ID: 225698212

Translation as creative writing practice

• Published in New Writing 11 June 2020
• Linguistics

5 Citations

From the derived to the deviant: a translation-based creative writing pedagogy, text production for novice translators, mechanics of esl/efl writing performance at the tertiary level, the mechanics of esl/efl writing performance at the tertiary level, reescrituras míticas y el giro de ficción en traducción: achilles, de elizabeth cook, 28 references, the creative voice of the translator of latin american literature, translation and creativity: perspectives on creative writing and translation studies, chapter 4. literary translation as a creative practice in l2 writing pedagogies, the translator's invisibility: a history of translation, translation at the cross-roads: time for the transcreational turn.

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Translation Plus: On Literary Translation and Creative Writing

2015, The AALITRA Review

How do the disciplines of translation studies and creative writing relate in an institutional setting or in current practice more broadly? What role does translation play in the creative writing workshop or classroom, especially for students writing in English as a second language? What benefits are there in the interchange? What can translation add? The article considers these questions in a wide-ranging discussion of writing processes that recognize translation as both a constraint and a highly elastic and enabling concept. Reference is made to writers such as Juan Pablo Villalobos, Ben Lerner and Merlinda Bobis whose work is thematically concerned with issues of translation, and the author’s own novel, The Red Thread, which adapts a Chinese text, as well as pedagogical experiments in creative writing involving literary texts from languages other than English. This contributes to an argument that translation is an integral part of contemporary creative practice in a world characterized by mobility, multiplicity and transculturalism.

Related Papers

Nicholas Jose

Cambridge University Press

Delphine Grass

In Translation as Creative-Critical Practice, Delphine Grass questions the separation between practice and theory in translation studies through her analysis of creative-critical translation experiments. Focusing on contemporary literary and artistic engagements with translation such as the autotheoretical translation memoir, performative translations and 'transtopian' literary and visual art works, this Element argues for a renewed engagement with translation theory from the point of view of translation as artistic and practice-based research capable of reframing translation theory. Exploring examples of translation as both a norm-breaking and world-making activity in the works of Kate Briggs, Ayesha Manazir Siddiqi, Noémie Grunenwald, Anne Carson, Charles Bernstein, Chantal Wright or Slavs and Tatars to name a few, this Element prompts us to reconsider the current place of translation practice in translation studies. https://www.cambridge.org/core/elements/translation-as-creativecritical-practice/CAB7EFF5BFA456C0D33BA241566B797D

Dr. RUZBEH BABAEE

This interview was conducted with Emerita Professor Margaret Rogers with the aim of providing a brief but informative summary of the relationship between translation and creative writing. Emerita Professor Rogers is in the Centre for Translation Studies, School of English and Languages, University of Surrey, UK. She is also the founder of Terminology Network at the Institute of Translation and Interpreting in the UK. Professor Rogers introduced creative writing into the translation curriculum some 10 years ago at her own university.

Rita Wilson

Fiona Doloughan

The term ‘translation’ has come under increased pressure in recent times from a number of different disciplinary directions (e.g. Cultural Studies, Postcolonial Studies, Comparative and World Literature) including from within Translation Studies itself (Gentzler, 2011, Bassnett, 2012). Its default meaning of linguistic and cultural transfer from language A to language B or from ‘source’ to ‘target’ text has been interrogated in the light of a nexus of arguably related phenomena: the apparent deterritorialization (James, 2008) or relocation of English (Saraceni, 2010) and the rise of English as a lingua franca; an increasingly translingual orientation to language practices (Canagarajah, 2013) and the construction of social and literary identities (Kellman, 2000; Steinitz 2013). Against the backdrop of shifting conceptions of translation,this chapter will focus on the various uses to which translation is put in the work of Chinese-born writer and film-maker, Xiaolu Guo. While referenc...

Proceedings of the Second International Conference on Creativity and Writing : The 2nd International Conference on Creativity and Writing, Orivesi, Finland

Cristina Vezzaro

This contribution focuses on the implications of creative processes with respect to translation. Translation offers, indeed, a great ambiguity as far as creativity is concerned. This paper explores by means of practical examples and professional experiences how translators relate to the creative act that comes with translating. Being in touch with one’s inner self, recognizing that the translation process cannot be left untouched by one’s own imagery and being aware of the act of choice that comes with every written sentence can help translators find their own creative voices. The combination of an awareness that allows translators to listen and be respectful of the author’s style and a deep sense of one’s creative possibilities can lead to a comprehensive creative act that includes the author, the translator and the readers.

Lily Robert-Foley

As many have suggested, translation may serve as an interpretive gesture, or as a privileged reading of a text. In addition, many have interrogated the locating of the hazy line separating translation and rewriting. In 2011, Krupskaya press released a new translation of Gaius Valerius Catullus by San Francisco poet, Brandon Brown, which troubles the distinction between these and other traditional notions of translation. This short examples takes an in-depth look into Brown's unique way of rewriting, translating and rewriting translation.

Muftah Adam

Offering an original reconceptualization of literary translation, Clive Scott argues against traditional approaches to the theory and practice of translation. Instead, he suggests that translation should attend more to the phenomenology of reading, triggering creative textual thinking in the responsive reader rather than testing the hermeneutic skills of the professional translator. In this new guise, translation enlists the reader as an active participant in the constant re-fashioning of the text's structural, associative, intertextual and inter-sensory possibilities, so that our larger understanding of ecology, anthropology, comparative literature and aesthetics is fundamentally transformed and our sense of the expressive resources of language is radically extended. Literary translation thus assumes an existential value which takes us beyond the text itself to how it situates us in the world, and what part it plays in the geography of human relationships.

Jorge J. Sánchez Iglesias

International Journal of Comparative Literature and Translation Studies [IJCLTS]

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Journal of Creative Writing Studies

Home > JCWS > Vol. 8 > Iss. 1

Crossing the Boundaries: Integrating Poetry Writing with Translation Practice

Xia Fang , Yangzhou University Follow

How is poetry translation essentially different from poetry writing? Poetry writing pertains primarily to the acquisition of a main skills set, for instance the mastery of poetic forms and of literary devices. At the writing level, how does translation correlate with poetry writing? On the one hand, poetry translation predominantly grapples with losses and gains due to incongruities and constraints rooted in poetic forms. Either choosing to comply with or digressing from a certain poetic form remains a constant issue that poetry translation incontrovertibly addresses; the outcome of such often involving rewriting. On the other hand, the practice of poetry translation as a linguistic activity becomes infused into even smaller details of poetry, thus making itself an imitable, yet creative act. In this essay, I want to pursue the following lesser-explored questions: What is the delineation between translation and creative works? How and when does a translator-writer deviate from the original text and assert a certain degree of expressiveness? Along the same line, how does deviation from translation facilitate the translator-writer’s growth in creative writing? To answer these questions, I intend to firstly review the concept of poetry translation as a form of creative writing. This scrutiny then draws some insights from empirical evidence observed from ‘Trans-creative writing’. It is hoped that this experimental method can provide more solid evidence for translation as a creative writing pedagogy.

Recommended Citation

Fang, Xia (2023) "Crossing the Boundaries: Integrating Poetry Writing with Translation Practice," Journal of Creative Writing Studies : Vol. 8: Iss. 1, Article 7. Available at: https://repository.rit.edu/jcws/vol8/iss1/7

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Unending Translation: Creative Critical Experiments in Translation and Life Writing

Deadline for abstract proposals: April 15th, 2022

Publisher: UCL Press (tbc)

The aim of this collected edition is to explore different approaches to translation criticism through the medium of life writing. Traditionally assigned to the paratextual, the translator’s point of view rarely occupies the narrative centre of creative writing and essays. In recent years, however, contemporary translators have taken on a more prominent role in translation criticism, exploring their practice through the medium of memoirs and experimental essays allowing for fragmentation, doubt and openness to be expressed in subjective modes of writing. The translational turn to life writing and the essay can be interpreted as a challenge to the separation between practice and theory which traditionally exists in translation studies. On the one hand, the meeting between translation and life writing can be seen as an attempt to rethink autobiographical forms, reinventing the terms within which we create, shape and think the category of the subject through literature. On the other, creative-critical experiments in essay writing and translation have allowed for a more embodied and situated critical engagement with translation, an opportunity to explore translation as a practice-led thinking of texts and writing in their own right. The meeting between translation and life writing thus shifts our literary focus from thinking about the essence of individual works to thinking about translation as a space of subjective and material entanglement, a practice capable of re-imagining relations not only between cultures but between the traditionally opposed practices of reading and writing, thinking and doing.

In this collected monograph, we ask and call for translators, writers, teachers and critics to approach translation practice from such an embodied, situated position. What happens when translation meets life writing? But also, what happens when translation shapes the essay as a form, and when the essay in its turn continues translation? What happens, in other words, when translation practice becomes the subject rather than the object of literary introspection? How can life writing accounts of translation make us rethink our understanding of the relationship between translation and politics, translation and life?

We welcome experimental essays and life writing experiments, for example: 

- Stories of a translator’s personal experience that narrate the interpretive experience as a writerly one.

- Experimental approaches to translation that rewrite a text through the translator’s engagement with it, or perhaps weave together different types of text, playing with form.

- Reflections on the subject position and voice of the translator, both as a lived experience but also as a politically situated one that is enjoined to tackle on the one hand the appropriative gesture of translation and on the other, the marginalised, secondary position that translation takes in traditional binaries of original/translation.

- Writings that play on the form of the translator’s commentary, responding to the traditional forms of translator prefaces, footnotes etc.

- Essays that multiply translational variants through a collection of hybrid approaches.

- Translations where the figure of the author is translated into the figure of the translator

- Stories of translation that give unique openings onto texts, for example through the interweaving of translation and commentary in the translation of genetic material (manuscripts, authorial marginalia, intertexts etc.)

- Writings that explore translation as fiction, in the sense given by Kate Briggs as an invitation to suspend one’s disbelief, to enter the foreign as though it is familiar, but also that tell a story of the time and place of the translating figure.

- Writings that visibilise the translator's voice but their process and technique, challenging the injunction to produce a unitary, sole text as a finished product to be sellable.

- Translator writings that reflect upon political and identity dynamics such as feminist translation or decolonial practices. Reflections on the specificity of translating minority, regional, non-standardized or non-national languages are also welcome here.

- Heterolingual experiences that mix languages, texts, translations and originals and deterritorialize the attachment of languages to nation states.

Bibliography

C. Bergvall (2016) Drift. Brooklyn, Nightboat.

K. Briggs (2018) This Little Art . London, Fitzcarraldo Editions.

B. Brown (2011) The Poems of Gaius Valerius Catullus . San Francisco, CA, Krupskaya.

                  – (2012) Flowering Mall . Berkeley, Roof.

J. Butler. (2019) ‘Gender in Translation: Beyond Monolingualism’, Philosophia . Albany, N.Y. Vol.9 (1), pp.1-25.

A. Carson (2009) Nox . NYC, New Directions.

S. Collins (2016) Currently & Emotion .Londres, Test Centre.

M. Gansel (2017) Translation as Transhumance , trans. by Ros Schwartz. London, Les Fugitives

D. Grass (2021) ‘Translating the Archives: An Autotheoretical Experiment’, in Thinking Through Relation: Encounters in Creative Critical Writing . ed. by Florian Mussgnug, Mathelinda Nabugodi and Thea Petrou. London, Peter Lang.

T. Hermans (1996) ‘The Translator’s Voice in Translated Narrative’, in Target. International Journal of Translation Studies . Vol.8 (1), pp. 23-48.

C. Gepner (2019) Traduire ou perdre pied . Paris, Contre-allée. 

N. Grunwald (2021) Sur les bouts de la langue: traduire en féministe/s . Paris: Contre-allée.

S. Kadiu (2019) Reflexive Translation Studies: Translation as Critical Reflection . London, UCL Press.

​​J. Lahiri (2016) In Other Words . New York, Knopf. 

S. De Lotbinière-Harwood (1991) Re-belle et infidèle, la traduction comme réecriture au féminin; the Body Bilingual, translation as rewriting in the feminine . Québec, Les Editions du remue-ménage/Women’s Press.

E. Mouré (2004) Sheep’s Vigil by a Fervent Person: A transelation of Alberto Caeiro/Fernando Pessoa’s Oguardador de rebanhos . Toronto,House of Anansi Press.

                  – (2014) Secession with Incession . Montréal, Book Thug.

J. Osman & J. Spahr (eds.) (2003) Chain 10: Translucinación. Philadelphia, PA, Temple University Press.

N. Ramayya (2019) States of the Body Produced by Love , Ignota Books.

L. Robert-Foley (2013) m . Luxembourg, Corrupt Press.

C. Rossi (2018) ‘Translation as a Creative Force', The Routledge Handbook of Translation and Culture , ed. by Sue Ann Harding. London, Routledge.

M. de la Torre (2020) Repetition Nineteen . New York, Nightboat Books.

C. Wright (2013) Yoko Tawada’s Portrait of a Tongue . Ottawa, University of Ottowa Press.

Response to proposals: May 15th, 2022

Completed articles due: October 15th 

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Foreign Words and Phrases in an English Texts

In your research, you might find that certain key concepts important to your work do not have a direct English equivalent. In this case, keep the term in the foreign language and italicize it:

After introducing the key term, you can explain to your audience the meaning of the term and how it might compare and contrast with similar terms they know. Using the word without explanation (e.g. anguish instead of toska ) can be seen as misrepresenting the key term, because it does not invoke the other layers of meaning.

Popular Foreign Words

There are a number of commonly used foreign words, abbreviations and phrases that are part of American English: ad hoc, cliché, concerto, genre, sic, versus. Such popular words can be found in a dictionary and are considered a part of the English language. There is no need to translate them, unless they are used by the author in an innovative and unusual ways. In such case, you can provide more context for them.

Quotations Entirely in a Non-English Language

If you are quoting a whole sentence, you do not have to italicize the non-English words.

Keeping the whole sentence untranslated is a strategy that you could use when you are expecting your readers to know the language to some degree, or if you decide that the readers would benefit from reading and appreciating the original text. This is also the case, when the sentence might not be recognizable as an English translation, but is very well known in the original version.

Some texts that you are using might already contain specific formatting in a non-English language. In the example below, part of the quotation was written in italics. Preserve that original formatting in your quotation.

In this quotation, Anzaldúa provides a direct translation of the saying she heard as a child. Note that the saying she heard in Spanish is kept in original (just as she heard it and as she wrote it – in italics ). She also provided a translation of the saying to make it understandable for the readers who might not understand it otherwise.

Making Positive Use of Machine Translation for Writing Essays

Although they remain controversial, machine translation (MT) tools such as Google Translate have become much more accurate and popular in recent years. The switch from “phrase-based” translation systems to “neural” algorithms was a milestone in quality improvements for Google Translate (Le & Schuster, 2016; Caswell & Liang, 2020). A major difference between phrase-based and neural systems is explained by Google research scientists:

Whereas Phrase-Based Machine Translation (PBMT) breaks an input sentence into words and phrases to be translated largely independently, Neural Machine Translation (NMT) considers the entire input sentence as a unit for translation (Le & Schuster, 2016).

Compared to the previous phrase-based systems, Google asserts that neural machine systems produce translations that are immensely improved, reducing translation errors by more than 55%–85% on some major language pairs (Le & Schuster, 2016). Similarly, a recent independent reevaluation study looking at 51 of the 103 languages available reported an increase in accuracy of 34% over an original evaluation study carried out eight years earlier (Aiken, 2019). Even in some languages (such as Japanese and Korean) which are known to be notoriously difficult to translate, there have been discernible improvements.

The controversy is that MT tools might allow students to complete assigned writing tasks without thinking about the language and producing it themselves (and therefore unlikely to learn much or improve their writing skills in the process). However, some university teachers have begun to see the benefits of MT and are seeking ways to encourage students to make positive use of it while avoiding its pitfalls (Lee, 2020; Oda, 2020). The purpose of the present article is twofold: First, to summarize the benefits and drawbacks of MT, and second, to introduce some guiding principles and an awareness-raising activity that will help university students make positive use of MT when researching and writing essays.

Benefits and Drawbacks of MT

Research suggests that MT can help improve EFL students’ writing by raising awareness of their lexical and grammatical errors and assisting students in developing positive writing strategies (Lee, 2020). It can be satisfying for EFL students to use Google Translate in their English writing, especially in finding vocabulary items and in helping complete assigned writing tasks (Tsai, 2019). Oda (2020) found that when it comes to writing speeches in English, MT offers other advantages such as subject-verb agreement, verb and object combination, and translating numbers, making MT more useful than dictionaries for novice and intermediate students.

Students learning English in Japanese universities are often asked to submit essays and speeches. These types of assignments require background research and expressing one’s ideas in the form of sentences or paragraphs. MT is arguably an invaluable tool when students research an essay or speech topic, especially when reading source materials in their first language. Students can use it to translate sentences or paragraphs, or entire web pages in real-time. If they use the Google Translate Chrome Extension tool, they can hover their mouse over a chunk of selected text, click a pop-up button, and the translation results will appear in real-time.

One main drawback of MT is that the translation results are often far from perfect, depending on various factors (e.g., similarity of language pairs and complexity of sentences inputted). One crucial problem is that students may be tempted to copy large chunks of machine-translated text and simply paste it into their essay with barely any effort to paraphrase it. Students might think that, since the translation came from Google Translate, they can just use it as is (without paraphrasing it) while citing the source. They also might think that, since the original text was written in a different language, the teacher might not take the time to check the original source. My experience checking students’ references (and reading the original texts in their first language) revealed this problem existed in several of my intermediate-level students’ essays, so it seems possible that this use of Google Translate is a writing strategy employed by some students. This problem seems to stem from the difficulty of paraphrasing in general and in a second language in particular.

Tips and Rules for Making Positive Use of MT

Oda (2020) offered some tips and rules to help university students in Japan use MT to write speech drafts in English effectively. In short, her Golden Rules for students using MT when writing speeches are: Adopt a translation result only if:

• you understand it,
• you can memorize it (or, at least, read it smoothly) for your speech, and
• you bear responsibility for what you say.     

Students who follow these rules while using MT to aid in their speech-writing activities will be more likely to choose English suitable for their proficiency level and create a speech draft that they can deliver successfully. Although these rules are beneficial for writing speeches, they leave much to be desired when it comes to using MT for other purposes such as researching and writing essays in English.

Thus, when introducing MT as a possible tool for researching and writing essays, it is essential to establish a few ground rules to help students steer clear of pitfalls. I suggest that teachers encourage students to follow what are herein called the Guiding Principles for using MT in researching and writing essays.    

The Guiding Principles for Using MT in Researching and Writing Essays

If you use MT to translate someone else’s writing, you will need to paraphrase and cite the translated output. In other words, if you did not write the sentences that you inputted into Google Translate, then you will need to paraphrase the translation results before you can use them (with a citation) in your essay. If you do not paraphrase the translation results, you could be at risk of committing plagiarism.   

If you use machine translation to translate your own writing, it might not be necessary to paraphrase the translation results, depending on the accuracy of the translation results. In other words, if you wrote the sentences that you inputted into Google Translate, then you might not have to do any paraphrasing of the translation results because the input was your original writing. The output will be a translation of your original sentences. However, the translation results will likely need editing to make it read accurately and smoothly, especially if you wrote and translated long sentences. Do use a good dictionary to check the accuracy of individual words or expressions from the translated output.   

You bear responsibility for what you write. You are responsible for choosing carefully what you write in your essay. This means that, if you are careless about the use of MT in your writing, you will bear the consequences (e.g., you may get a low or zero score on your essay or course, depending on how serious the misuse is and how strict your teacher is).

Students will benefit from learning how to paraphrase the translation results. Paraphrasing means rewriting someone else’s ideas or sentences using your own words without changing the original text’s meaning. In academic writing, paraphrasing is an alternative to quoting. It is usually considered better than quoting because when students can rewrite the ideas in their own words, it shows that they understand the concepts and makes their writing more original. According to Gahan (2018), five easy steps to paraphrasing are:

• Read the passage several times to fully understand the meaning.
• Make a note of key concepts.
• Write your version of the text without looking at the original.
• Compare your paraphrased text with the original passage and make minor adjustments to phrases that remain too similar.
• Cite the source of the ideas you are using.

These steps can be tricky for EFL learners, so teachers need to give them support and tips on paraphrasing effectively. Here are four clever ways that can help students to paraphrase effectively (adapted from Gahan, 2018):

• Start your sentence differently from that of the original source.
• Use synonyms (words or phrases that mean exactly or nearly the same thing as another word or phrase in the same language).
• Change the sentence structure (e.g., from active to passive voice).
• Separate (or combine) the information into more (or fewer) sentences.

In order to raise awareness of the above steps, I suggest trying an activity that will (hopefully) appeal to students as digital natives: Ask students to watch a video on YouTube, read an online article and do a quiz (via Google Forms) that is designed to give them immediate feedback in a self-study manner. Here is a link to a copy of such a quiz I created containing an embedded YouTube video and a link to an online article titled “How to paraphrase sources” (Gahan, 2018) that students can read before answering some questions to self-check their understanding: https://forms.gle/fj9VnJr7oskjozxU6

This awareness-raising approach and the affixed materials can be implemented face-to-face or via remote learning.

It is essential that students are also taught how to check their paraphrasing using good dictionaries so that MT does not appear to be a complete replacement for dictionaries. No matter how useful MT becomes, dictionaries still have an essential role in checking for accuracy.            

This article has summarized some advantages and drawbacks of using MT to research and write essays. It has suggested some guiding principles that students can follow to avoid the pitfalls of MT. It has also shared an awareness-raising activity with digital materials that can be used face-to-face and via distance learning.      

As the use of MT becomes more widespread and inevitable, teachers have an essential role in guiding students and training them in the responsible use of MT, online dictionaries and other resources for second language writing.

Acknowledgement

I would like to thank my colleagues George Higginbotham and Robert Dormer for their invaluable comments on an earlier draft of this article. I also wish to express my thanks to the copy editor Alexandra Terashima for her constructive suggestions.    

Aiken, M. (2019). An updated evaluation of Google Translate accuracy. Studies in Linguistics and Literature, 3 (3), 253–260. https://doi.org/10.22158/sll.v3n3p253

Caswell, I., & Liang, B. (2020). Recent advances in Google Translate . Google AI blog. https://ai.googleblog.com/2020/06/recent-advances-in-google-translate.html

Gahan, C. (2018). How to paraphrase sources . Scribbr. https://www.scribbr.com/citing-sources/how-to-paraphrase/

Le, Q. V., & Schuster, M. (2016). A neural network for machine translation, at production scale . Google AI blog. https://ai.googleblog.com/2016/09/a-neural-network-for-machine.html

Lee, S.-M. (2020). The impact of using machine translation on EFL students’ writing, Computer Assisted Language Learning , 33 (3), 157-175, http://dx.doi.org/10.1080/09588221.2018.1553186

Oda, T. (2020). How to make positive use of machine translation. The Language Teacher , 44 (2), 30–32. https://doi.org/10.37546/JALTTLT44.2

Tsai, S.-C. (2019). Using google translate in EFL drafts: a preliminary investigation. Computer Assisted Language Learning, 32 (5-6), 510–526. http://dx.doi.org/10.1080/09588221.2018.1527361

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