This week, we’re back to the Linguamania podcast, produced by the Creative Multilingualism research programme. The third episode in the podcast series explores the question ‘Why should we read translated texts?’ and features two of our brilliant Modern Languages tutors: Prof. Jane Hiddleston, Tutor in French at Exeter College, and Dr Laura Lonsdale, Tutor in Spanish at Queen’s College.
In this episode of LinguaMania, we’re exploring what we lose or gain when we read a translated book. Are we missing something by reading the English translation and not the original language version? Or can the translation process enhance the text in some way? Jane Hiddleston and Laura Lonsdale from the University of Oxford discuss these questions and also look at what fiction and translation can tell us about how languages blend with one another and interact.
Listen to the podcast below or peruse the full transcript here.
The Oxford Research Centre in the Humanities (TORCH) is a thriving hub of activities bringing together our community of scholars – students and tutors alike – across subjects within the humanities. One of their regular events is the ‘Book at Lunchtime’ series, which is usually a discussion of a recent publication by an academic from Oxford. On today’s blog, we’re featuring the Book at Lunchtime episode starring our very own Polly Jones, Associate Professor of Russian at University College. Prof. Jones discusses her book Revolution Rekindled. The Writers and Readers of Late Soviet Biography with Professor Ann Jefferson, Dr Katherine Lebow, and Professor Stephen Lovell.
Polly Jones offers the first ever archival and oral history study of Brezhnev-era publishing and propaganda production, highlighting the consistent pressure throughout late socialism to find new forms of propaganda and inspiring ‘revolutionary’ narratives, and challenges the widespread idea that these became ‘standardised’ and ‘stagnant’ soon after Stalin’s death. Jones reveals the vitality and popularity of late Soviet culture, especially biography and historical fiction. She emphasises that both writers and readers found in late Soviet ‘official’ publishing opportunities to reflect on complex questions of Russian and Soviet history and identity and employs extensive new archival material, and oral history interviews with some of the leading literary and cultural figures of the Brezhnev era.
Before our usual blog kicks off today, please note this special announcement: as a result of the developing Covid-19 situation, we regret that we have had to cancel the Modern Languages Open Day which had been scheduled for Saturday 2 May. Please keep an eye on our ‘meet us‘ pages for details of open days later in the year.
Now, where were we?… We’re on a roll with the podcasting as this week we check back in with the Linguamania podcast, produced by Creative Multilingualism. In the second episode of this fascinating series, the speakers focus on the topic ‘Understanding our Natural World: why languages matter’. Here’s the podcast…
This podcast draws on the research of Felice Wyndham, Karen Park, and Andrew Gosler, who are academics in Strand 2 (‘Naming’) of the programme. This strand is themed around ‘Creating a Meaningful World: Nature in Name, Metaphor and Myth ‘. They examine the creativity at work as people across diverse language backgrounds respond to the natural world through naming, metaphor, and myth. This includes questions like:
Are words influenced by local environments?
How do we explain similarities and differences between linguistic diversity and biodiversity?
What do different approaches to naming reveal about the role and mechanisms of creativity in language?
Birds provide the natural lens through which this research is pursued: the migrations of barn swallows link a multitude of different languages; owls bear an otherworldly salience acknowledged across cultures; and each community boasts those birds unique to place that hold special significance.
Last week we brought you news of an exciting new podcast from Creative Multilingualism. This week, we have another new podcast to share with you – this one produced by some of our academics in collaboration with the wonderful Year 10 students at Oxford Spires Academy.The podcasts are available to listen to here.
The Oxford Spires Academy’s project “A Writer’s War” was designed to examine how writers from the UK, France, and Germany responded to the First World War in poetry and prose. Students were encouraged to draw parallels between texts in three languages, and examined the respective authors’ experiences of the war, as well as cultural and artistic reactions to war. To this end, students were encouraged to ponder whether war, for the writers in question, was seen as a patriotic endeavour, or as a time of suffering, or as something altogether quite different. Students were shown archive documents sent from the trenches or diary entries from those at home.
The students were also taken to Magdalen College, where they examined various memorials such as that commemorating Ernst Stadler, a German Expressionist poet, Rhodes scholar, and Magdalen alumnus. Stadler was killed in battle at Zandvoorde near Ypres in the early months of World War I. Stadler was not named on the Magdalen War Memorial as he was a foreign combatant, but later received a separate plaque on Magdalen’s grounds. This opportunity enabled students to examine the politics of commemoration and the question of post-war reconciliation. Students were encouraged to think about such issues beyond the case of WW1.
Royal Irish Rifles ration party Somme July 1916 . Via Wikimedia Commons.
Organised by the Head of Languages, Rebekah Finch, students at the
Oxford Spires Academy engaged in research-led workshops with
interventions from Professor Toby Garfitt, Professor Ritchie Robertson, and Andrew Wynn-Owen
(a current Ph.D. student and published poet) on the literatures of the
three linguistic areas. The students also enjoyed a creative writing
workshop with Andrew Wynn Owen, where they wrote their own poems about
war.
Catriona Oliphant of Chrome Media
presented a skills workshop on creating podcasts, after which each
pupil made a short podcast about the project and experience, discussing
what they had seen, read, thought, or written.
Professor Toby Garfitt, Professor Ritchie Robertson, Andrew Wynn-Owen, Professor Santanu Das (a specialist of WW1 and the Indian sub-continent) and Professor Catriona Seth also recorded podcasts on the topic.
The students enjoyed studying parallel and diverging literary
traditions, and gained a greater awareness of various literary genres,
the politics of commemoration, gendered reactions to war, and war as the
subject for literary texts.
Cilck here to access the podcasts. There are nine episodes:
Dulce et Decorum Est. In the first four podcasts, we hear from Year 10 students at Oxford Spires Academy.
Fête. This is the second of four podcasts, in which we hear from Year 10 students at Oxford Spires Academy.
All Quiet on the Western Front. This is the third of four podcasts in which we hear from Year 10 students at Oxford Spires Academy.
In Memoriam. This is the last of four podcasts in which we hear from Year 10 students at Oxford Spires Academy.
Gas! GAS! Quick, boys! In this podcast, we hear from Prize Fellow and poet Andrew Wynn Owen and Senior Research Fellow Prof. Santanu Das of All Souls College about the British response to the First World War.
Art, Adventure, Love. In this podcast, we hear from Prof. Toby Garfitt, Emeritus Fellow of Magdalen College, about the response in France to the First World War.
Storm of Steel. In this podcast, we hear from Ritchie Robertson, Taylor Professor of the German Language and Literature and Fellow of The Queen’s College, about the German response to the First World War.
From Across the Seas They Came. We conclude this group of podcasts with a discussion about responses to the First World War in former colonies of the British and French Empires. Catriona Seth, Marshal Foch Professor of French Literature and Fellow of All Souls College, chairs a conversation between Prof. Santanu Das, Senior Research Fellow, All Souls College, and Prof. Toby Garfitt, Emeritus Fellow of Magdalen College.
President Warren at Home. In the final podcast in our series, we visit the archives of Magdalen College to hear from archivist Dr Charlotte Berry and archives assistant Ben Taylor about some of the items in the College’s First World War collection.
There’s an exciting new podcast out there for all you language lovers. Creative Multilingualism, an AHRC-funded research programme examining creativity in language learning, has launched a podcast which explores different aspects of language learning and how these interesect with the programme’s different strands.
Produced by researchers from Creative Multilingualism, the LinguaMania podcast explores some fascinating perspectives on languages and language learning, asking: Do we really need human translators? Why do we use metaphors and what do they teach us about other languages and cultures? How much of an unfamiliar language can we understand? Would creative language teaching make the subject more popular? Can languages help protect the natural environment? And so much more… So stop what you’re doing and start exploring the wonderful world of multilingualism!
The first episode examines the question “How ‘foreign’ are ‘foreign languages’?” Many people think foreign languages are alien to us, unless of course we’ve spent years studying them. But is this really the case? Or can we actually understand some words in a different language – even if we’ve never studied that language before?
In episode 1 of the LinguaMania podcast, Professor Martin Maiden suggests that languages aren’t always as foreign as we think, especially if we have some tricks up our sleeve to help us decipher them. You can see the full transcription of the podcast on the Creative Multilingualism website.
Last week, we brought you part 1 of an interview with Dr Analía Gerbaudo, who was Global South Visiting Fellow at Oxford last term. Today, our undergraduates Stephanie and Sarah bring you the concluding part of this interview, which covers Dr Gerbaudo’s experience founding a literary magazineand an insight into her own writing.
SL & SW: En 2014, usted fundó la revista literaria El Taco en la Brea, además de ser la directora de la editorial Vera cartonera. ¿Qué la inspiró a fundar una revista literaria? ¿Qué desafíos enfrentó al fundar la revista y qué desafíos sigue enfrentando al ser la directora de una editorial?
AG: Mis fantasías de intervención son pretenciosas. Porque sé que es imposible, me encantaría que nuestra revista tuviera el impacto que tuvo en el campo intelectual argentino Punto de vista. Sé que es absolutamente imposible que una revista universitaria tenga el alcance y la llegada que esa revista cultural tuvo en Argentina, en Latinoamérica y más allá, entre 1978 y 2008. Siendo un poco más realista, y en un orden más “nano”, me interesa que los resultados de investigación realizados con fondos públicos puedan ponerse a disposición en una revista on line, de calidad y con acceso abierto para todo aquel que necesite utilizarlo. La editorial cartonera también se mueve en una tensión entre lo pensable y lo posible, tanto en términos de producción como de circulación y consumo: se intenta contribuir a generar nuevos lectores porque se apuesta a la lectura como una de las vías privilegiadas en la construcción de agencia política. Se intenta, entonces, acercar un bien simbólico de calidad a bajo precio: el libro es un objeto suntuoso incluso para un amplio sector de la clase media baja argentina y de nuestro estudiantado universitario, aun cuando la carrera elegida haya sido letras (recordemos que las carreras de grado universitario en Argentina son gratuitas: a ellas acceden estudiantes de ingresos económicos diversos). Y como en el caso de la revista, nuestras fantasías de intervención también tienen un ángulo desmesurado y delirante: estamos trabajando en una página Web para colgar todos nuestros libros cartoneros en acceso abierto. Intentamos con esto generar una circulación que vaya más allá de Argentina. Intentamos generar una circulación que contribuya a incidir en la configuración de la Word literature. Nuestros desafíos son los que atraviesa cualquier espacio institucionalizado en un país inestable como Argentina, con políticas públicas variables. Es decir, nuestros desafíos son poder sostener la calidad a pesar de la falta de financiamiento. Parece una tontería pero tener dinero para invertir en un buen diseño o para algo básico como comprar el papel (en el caso de la cartonera) no son cosas aseguradas. Como Sapiro muestra en sus análisis de la producción literaria bajo la ocupación alemana, el acceso al papel era un problema. En Argentina, el acceso al papel fue un problema no sólo bajo los regímenes dictatoriales. Este es un ejemplo, entre otros. Podríamos analizar con detalle qué relación hay entre, otra vez, activismo y trabajo intelectual en países periféricos como Argentina, Chile, Brasil, Bolivia, constantemente jaqueados por diferentes formas de violencia estatal dados los vaivenes entre ciclos expansionistas de derechos y posdictaduras.
SL & SW: In 2014, you founded the literary magazine El Taco en la Brea, in addition to being the director of the publishing house Vera cartonera. What inspired you to found a literary magazine? What challenges did you face in founding the magazine, and what do you continue to face in being the director of a publishing house?
AG: My “fantasias de intervención” are ambitious.Although I know it is impossible, I would love for our magazine to have the same impact as the cultural magazine Punto de vista did on the Argentinian intellectual scene. But I know that it is absolutely impossible for a university magazine to have the same reach and reception that Punto de vista had in Argentina, in Latin America and beyond, between 1978 and 2008. When I’m being a bit more realistic, and on a smaller, more “nano” scale, I want the research results carried out with public funds to be made available in a quality, online magazine, with open access for anyone who needs to use it. The cartonera publishing house also shifts in a tension between what is conceived and what is possible, as much in terms of production as circulation and consumption. It aims to generate new readers because it is committed to the discipline of reading as one of the privileged methods involved in the construction of political agency. We therefore also have the intention of symbolically reconciling high quality with a low price. Books are a luxury even for a wide section of the lower-middle class in Argentina, as well as for our university students, even when the degree chosen is literature (getting a university degree in Argentina is free, accessible to students from diverse economic backgrounds). And, as in the case of the magazine, our “fantasias de intervención”also have a boundless, delirious element: we are working on a web page to upload all of our cartonero editions with open access. With this, we aim to circulate our work beyond Argentina, and generate a circulation that contributes to underscoring the shape of “world literature”. Our challenges are those that cross into any institutionalized space in an unstable country like Argentina, with changing public politics. That is, our challenges are to be able to maintain quality despite the lack of funding. It seems silly but having money to invest in a good design or for something basic like buying paper (in the case of the cartonera books) is not assured. As Sapiro demonstrates in her analysis of literary production under Nazi occupation, access to paper was a problem. In Argentina, access to paper was not only a problem under dictatorial regimes. This is one example among others. We could, once again, analyse in detail what the relationship is between activism and intellectual labour in peripheral countries such as Argentina, Chile, Brazil and Bolivia – countries constantly rocked by different forms of state violence, given the see-sawing between the expansionist cycles of rights and the post-dictatorial regimes.
SL & SW: Habrá estudiantes que cuando lean esta entrevista tendrán interés en estudiar sus obras. ¿Qué consejos les daría a ellos y a las personas cuyo idioma nativo no es el español si le preguntasen: “por dónde empezar”?
AG: La línea de trabajo que desarrollo se abre con un libro que publiqué en 2016: en Políticas de exhumación. Las clases de los críticos en la universidad argentina de la posdictadura (1984-1986) ensayo una articulación metodológica entre las teorías de Jacques Derrida y de Pierre Bourdieu para analizar cómo se enseñó la teoría literaria y la literatura argentina en mi país durante los primeros años de la restitución “democrática”. En ese libro se muestran modos de leer y de enseñar literatura y teoría literaria desarrolladas entre 1984 y 1986 por algunos de los mejores críticos de argentina: Beatriz Sarlo, Josefina Ludmer, David Viñas, Enrique Pezzoni y Jorge Panesi. Enviar a leer ese libro es enviar a leerlos a ellos. Esa es otra de mis fantasías de nano-intervención más poderosas.
SL & SW: There are students reading this interview who will be interested in studying your works. What advice would you give them, and other people whose native language isn’t Spanish, if they ask where to begin?
AG: The line of work I have developed opens with a book that I published in 2016: in Políticas de exhumación. In Las clases de los críticos en la universidad de argentina de la posdictadura (1984-1986)) I try out an interactive methodology with the theories of Jacques Derrida and Pierre Bourdieu to analyse how literary theory and Argentinian literature was taught in my country during the first years of the “democratic” restitution. This book shows the ways of reading and teaching literature and literary theory developed between 1984 and 1986 by some of Argentina’s best critics: Beatriz Sarlo, Josefina Ludmer, David Viñas, Enrique Pezzoni and Jorge Panesi. In recommending this book to others, I’m urging them to read these critics too. This is another of my more powerful “fantasias de nano-intervención”.
Concluding thoughts from Stephanie and Sarah
Throughout the course of this interview, Gerbaudo gives us an insight into her time at Oxford, the instrumental role of Oxford academics in furthering discussions and a taste of her own approaches to literature and literary theory, especially under censorship and dictatorship. She highlights the influence of Jacques Derrida on her own work, focussing on exhumation policies in her study of historical literary practices. Words are undeniably powerful as she demonstrates with her current role as director of Vera Cartonera editorial. Through her ambitions for the future of the literary magazine, Gerbaudo provokes us into questioning the role of activism, translation and publication in the global dissemination of literature.
We would like to thank Professor Gerbaudo for taking time to talk to us and we hope this taster of her work will inspire others to explore her work further.
This blog post was written by Stephanie Long and Sarah Wadsworth, who are in the final year of their degrees in Spanish. Here, they interview Global South Visiting Fellow, Dr Analía Gerbaudo and discuss literature and political activism, and the role of the translator. Dr Gerbaudo gave this interview in Spanish, and Stephanie and Sarah have translated it into English. As this interview is quite long, we will be publishing it in two parts – check back next week for part 2.
At the end of 2019, we were fortunate enough to have the opportunity to interview Dr Analía Gerbaudo, a Global South Visiting Fellow appointed by the Research Centre for Humanities (TORCH) here in Oxford. She is Professor of Literary Theory and Didactics of Language and Literature at the National University of Litoral in her home country of Argentina, as well as the director of the independent publishing house Vera cartonera, and editor-in-chief of the online literary journal, El Taco en la Brea, which she founded in 2014. Given that one of the key aims of the TORCH project is to help diversify the curriculum at Oxford University, it seems only fitting that such a talented individual with involvement in the “cartonero” movement in Argentina – a movement dedicated to providing quality literature at an affordable price – should have received this appointment. “Translation is necessary in order for one to share texts,” Dr Gerbaudo tells us in one of her answers. For that reason, we feel privileged to have conducted and translated from Spanish the interview presented below. It is a pleasure to share with others Dr Gerbaudo’s obvious knowledge and experience.
SL & SW: Tenemos el privilegio de tener una entrevista con usted aquí en Oxford. En el verano, usted fue nombrada por la organización TORCH (The Oxford Research Centre in the Humanities) como una << Global South Visiting Fellow >>. Según usted, ¿en qué consiste dicho nombramiento y cómo se relaciona con sus investigaciones literarias?
AG: Resulta complejo expresar con palabras lo que la experiencia habilitada por este nombramiento de TORCH me ha permitido. Se trata de algo mucho más complejo que la ya enorme posibilidad de transmitir en uno de los centros de producción intelectual más prestigiosos del mundo los resultados de mis investigaciones (siempre repito que el mapa mundial de los estudios literarios tiene tres grandes polos situados en Francia, en Estados Unidos y en Inglaterra): para alguien que estudia los procesos de institucionalización de las disciplinas, conocer las condiciones de producción de la Universidad de Oxford ya es, de por sí, una experiencia intraducible (es decir, es necesario atravesarla, no hay otro modo de sintetizar las sensaciones que uno siente cuando descubre estas increíbles bibliotecas, los equipadísimos espacios de trabajo, los edificios cuidados, los lugares de recreación, la universidad misma en su conjunto). Y en esa línea, hay algo de la sociabilidad académica que me ha parecido muy interesante. Me refiero al modo en que los profesores que confiaron en que mi visita podría realizar algún aporte han organizado los coloquios, los workshops y las presentaciones: se trató de un trabajo realizado con una responsabilidad, un profesionalismo y una obsesión que merecen verdaderamente destacarse (además de donarme su tiempo para organizar cada detalle: recordemos que el filósofo francés Jacques Derrida nos advierte que el único bien del que se tiene derecho a ser avaros es el tiempo dado su carácter irrecuperable). El trabajo que han realizado Stefano María Evangelista, Ben Bollig y Laura Marcus es absolutamente imposible de resumir en dos líneas de una entrevista. Gracias a sus intervenciones se generaron interesantísimas conversaciones con otros profesores participantes de las actividades: con Gisèle Sapiro (CNRS, EHESS, París) trabajo desde el año 2011, pero antes de esta estadía nunca había conversado con Peter McDonald ni con María del Pilar Blanco ni con Patricia Novillo-Corvalán. Es impresionante lo que ha sucedido porque si bien trabajamos mucho durante mis semanas en Oxford, sobre el cierre de la experiencia empezaron a aparecer proyectos de continuidad de la conversación: traducciones, publicaciones en la editorial cartonera que dirijo y un largo etcétera que involucra a este grupo de personas que he mencionado.
SL & SW: We’re privileged to have an interview with you here in Oxford. In the summer, you were appointed by the TORCH organisation (The Oxford Research Centre in the Humanities) as a “Global South Visiting Fellow”. What does such an appointment involve, and how is it connected with your literary research?
AG: It is hard to express in words just what experience this TORCH appointment has afforded me. It goes far beyond the already enormous opportunity of sharing the results of my research in one of the most prestigious centres of intellectual output in the world (I have always said that the world map of literary studies has three large poles located in France, the United States and England). For someone who studies the processes of institutionalisation within disciplines, knowing the environment of the University of Oxford is already, in itself, an indescribable experience. That is to say, one has to go through it, there is no other way to accurately sum up the sensations one feels when discovering these incredible libraries, extraordinarily well-furnished workspaces, cherished buildings, recreation areas, the university itself as a whole. Along those lines, I have been pleasantly surprised by the great enthusiasm and interest of academic circles at Oxford. I refer to the way in which the professors – the ones who believed that something would become of my visit – have organized talks, workshops and presentations: such work was carried out with a responsibility, a professionalism and a dedication that truly deserve to be mentioned, in addition to giving me their time to organize every detail. Let us not forget what the French philosopher Jacques Derrida said: he warned us that the only good that comes from entitled greed is time, given its irretrievable nature. The work that Stefano María Evangelista, Ben Bollig and Laura Marcus have done is absolutely impossible to summarize in two lines of an interview. It is thanks to their involvement, that fascinating conversations have taken place with other professors participating in the activities. I have been working with Gisèle Sapiro (CNRS, EHESS, Paris) since 2011, but before this stay I had never properly spoken to Peter McDonald or María del Pilar Blanco nor to Patricia Novillo-Corvalán. What is truly striking is that although we worked continuously during my weeks in Oxford, towards the end of the experience, projects continuing the conversation began to appear, including translations, publications in the cartonera publishing house that I am director of, and much, much more all involving the group of people that I mention above.
SL & SW: Un artículo publicado por el blog de la facultad de Humanidades de la universidad nos dice que: “Las obras de la doctora Gerbaudo abordan la actual y complicada cuestión de la relación entre los estudios literarios y el activismo político”. ¿Cómo describiría esta relación entre la literatura y el activismo? ¿Se considera usted una activista política?
AG: Hay sobre este punto una larga deriva de una conversación y de una enseñanza de Gisèle Sapiro. Los trabajos de Sapiro muestran que no hay un divorcio entre autonomía y política, como se nos suele hacer creer: nadie le pagaba a Sartre ni a Zola por sus asunciones políticas que atravesaban su filosofía y su literatura. Mis trabajos siguen esa línea abierta por Sapiro: ninguna de las dos somos neutrales. Nuestras posiciones políticas se advierten en todos y cada uno de nuestros trabajos y en nuestras acciones públicas, incluidas nuestras investigaciones. Suelo hablar en mis escritos de “políticas de exhumación”. Jacques Derrida ha escrito, en un texto memorable, “One transforms while exhuming”. Exhumar prácticas clandestinas de enseñanza de teorías literarias y de literatura censuradas durante el terrorismo de Estado en Argentina así como exhumar prácticas que dan cuenta de la continuidad de políticas económicas, culturales y simbólicas de la dictadura, aún bajo el orden “democrático”, es parte de mi trabajo de investigación. Si esas intervenciones pueden considerarse una forma de activismo, entonces se podría decir que soy una activista. Creo y sigo, a pesar de todo (es decir, a pesar de que no pueden tanto como uno quisiera), una tradición francesa que apuesta al poder de las palabras. Trabajamos con palabras y en ese trabajo hay una potencia y una peligrosidad notable. No por casualidad durante la dictadura argentina era complejo hacer circular un texto como How to Do Things with Words.
SL & SW: An article published by the University’s Humanities faculty’s blog tells us: “Dr Gerbaudo’s work tackles the difficult, charged and extremely topical question of the relationship between literary studies and political activism.” How would you describe the relationship between literature and activism? And would you consider yourself a political activist?
AG: A large amount of work by Giséle Sapiro, derived from conversations and her teaching, deals with this subject. Her work demonstrates that neither autonomy nor politics can be divorced from each other, as we are often led to believe: nobody paid Sartre or Zola to include the political suppositions that run through their philosophy and literature. My own work follows the thread drawn by Sapiro: that neither of the two are neutral. Our political stances are apparent in each and every part of our work and in our public activities, including our research. I often talk about the “politics of exhumation” in my writing. Jacques Derrida wrote in one memorable text: “One transforms while exhuming”. Exhuming clandestine teaching practices of literary theories and literature censored during state terrorism in Argentina, as well as exhuming practices that account for the continuity of economic, cultural and symbolic policies of the dictatorship, even under the “democratic” order, constitute part of my research work. If these interventions can be considered a form of activism, then you could say I’m an activist, despite everything. I mean to say we cannot do as much as one would like to. I believe in and follow a French tradition that gambles on the power of words.We work with words and in such a labour, there is remarkable power as well as a marked danger. It’s no coincidence that during the Argentinian dictatorship it was difficult to circulate texts such as How to Do Things with Words.
SL & SW: El artículo dice también que usted es una “traductora activa”. ¿Qué significa ser una traductora de obras argentinas y qué opina de traducirlas de español a inglés? Por otro lado, para usted, ¿qué es lo que más le gusta de la traducción?
AG: La traducción es una herramienta fundamental, en especial en países de preponderancia monolingüe como Argentina: lamentablemente nuestro sistema educativo no afianza la enseñanza de lenguas extranjeras, ni siquiera el portugués que es la lengua que se habla en uno de nuestros países vecinos, Brasil. Por lo tanto traducir es necesario si uno quiere compartir con los estudiantes los textos que ayudan a complejizar ideas, análisis, metodologías, perspectivas de investigación, de reflexión, de pensamiento. En ese sentido, mis traducciones son de textos del francés y del inglés al español. Elijo, en cada ocasión, textos que me permitan introducir categorías teóricas o maneras de leer que problematicen las discusiones recortadas en el campo nacional y, si se quiere, latinoamericano, ya que solemos publicar nuestras traducciones en revistas on line con acceso abierto. El inglés es hoy la lingua franca de la ciencia. ¿Cómo no ponerse contento cuando un texto o una idea se pueden hacer circular por canales que permitan su diseminación por los espacios por los que esta lengua transita?
SL & SW: The article also says that you are an “active translator”. What does it mean to be a translator of Argentinian literature, and what is your opinion on translating them from Spanish to English? On the other hand, what do you enjoy most about translation?
AG:Translation is a fundamental tool, especially in countries like Argentina where monolingualism is dominant. Unfortunately, our education system hasn’t acted to strengthen the teaching of foreign languages, not even with Portuguese – the language spoken in one of our neighbouring countries, Brazil. Therefore, translation is necessary in order for one to share texts with students that help them deal with more complex ideas, analyses, methodologies, research perspectives, reflection, and thought. In that sense, my translations are from French and English into Spanish. At every opportunity, I select texts that allow me to introduce theoretical categories or ways of reading that consider the problems found in discussions cut short in the national sphere, and if you like, the Latin American sphere, too, since we usually publish our translations in online magazines with open access. English is the lingua franca of science today. How can one not be pleased when a text or an idea can circulate by channels allowing their dissemination in spaces where English permits them movement?
Join us next week for the concluding part of this interview…
University-wide open days, Weds 1 and Thurs 2 July, Fri 18 September
You need to book a place for all the open days above in February, March, and May, but you do not need to book for the July and September dates. You can make a booking here.
But you might be wondering what can I expect from an open day? How can I make the most out of my day? Which kind of open day is right for me?
Summer Open Days
Last year, we gave a detailed overview of the university-wide open days in the summer, which you can read here. Most of this advice will also pertain to the 2020 open days in July and September (although note that the dates are different from last year!). This is the right open day for you if you want to explore a few different colleges in one day, or if you’re not sure which subject you’re interested in, as most colleges and departments will be open on these dates. There’s a real buzz around these events but we highly recommend planning your day in advance as the city gets very busy!
Alex, who is currently in his second year of a degree in French and History, has this piece of advice for students coming to the summer open days: ” One piece of advice I have for prospective joint schools applicants would be to research which colleges do not offer your preferred combination before you attend a university-wide open day. That way, you’ll be able to prioritise visiting just the colleges which offer your degree, saving time on the open day and hugely simplifying the daunting college selection process!”
Language-specific open days
However, the Modern Languages-specific open days in the spring are a little different…
First, they include more academic content than a wider open day: because the smaller open days are so focussed in their scope, they can spend more time exploring a subject in depth. So, for example, on the German open day you can have an introduction to German film, linguistics, or different types of literature. On the Spanish and Portuguese open day, you can explore women’s writing in both languages, as well as begin to explore other peninsular languages like Catalan and Galician. The Italian open day will introduce you to one of Italian literature’s biggest names, Dante, and on the Slavonic languages open day you can learn about Czech pop stars!
While the bigger open days will provide a wealth of information about the courses we offer, as well as offer a fantastic opportunity to meet our students and tutors, the sheer scale of these bigger events limits the time and space we have to get stuck in academically. That’s why, if you already know you’re interested in a particualr language, we would encourage you to come along to a language-specific event if you can, as it will really give you a flavour of what it’s actually like to study at Oxford.
Second, the pace of the smaller open days is a little slower. While on the big summer open days you might find yourself rushing around the city, trying to fit in visits to three or four colleges and a couple of departments, the smaller open days are more measured and you will be escorted from one venue to the next. This gives you the time to have in-depth conversations with current undergraduates and tutors and to take in your surroundings.
Nadia, a current student, says: “I went on a Modern Languages Open Day. I found it very useful in giving me useful information on the course structure for both single and joint honours and helpful towards giving advice for the Oxbridge process for the admissions testing and courage to take my subject beyond the classroom. It was useful to also have taster sessions, which I found really enjoyable. It is an encouraging experience, so I would tell students on edge on whether to apply to go to these days as it will give you a gist whether the course and the place is the ‘best place’ for you.”
The general Modern Languages open day
If you’re interested in more than one language, or in studying a language in combination with another subject, you might consider coming to our general Modern Languages open day in May. The advantage of this event is that it offers both a wide overview of Modern Languages at Oxford in the morning, witha chance to ask questions about admissions, and plenty of time to speak to tutors from each language in the afternoon. You can therefore be exposed to more than one language but avoid the time pressures that can sometimes affect the summer open days.
So, if you would like to know more about several languages but you’re not able to attend more than one language-specific open day, this event will be a good opportunity for you to explore different options. There is also a separate Q&A especially for parents.
Fred, who is in his first year studying French and Linguistics, says: “I attended the Modern Languages open day in the May before I applied. I found it useful to understand how the individual subjects that interested me fit into the faculty as a whole, and how the faculty fit into the wider university. As someone applying for a more obscure subject (linguistics), the open day was a good opportunity to find out about the specifics of the course (how the teaching works, what module choices are available in second year) and meet the tutors in a more intimate environment.”
We hope that has given you a sense of which kind of open day might be best for you. Our top tips for any open day are:
plan your day in advance, particularly your route to and around Oxford. The city is not very car-friendly and open days can be congested so you will want to research transport options well in advance.
research the degrees ahead of time. The University outlines its courses online. Come to an open day with a list of questions to make best use of your time spent with the tutors.
talk to our current students. They have been in your shoes in the last couple of years and they remember what it’s like to be making a big decision about your future. Their advice will be friendly, honest and a fair reflection of what it’s really like to study at Oxford.
Don’t be afraid to ask questions. The tutors are very happy to talk to you about the degree, the way they teach, and how to apply. If something is worrying you or you’re not sure, we would much rather you ask for clarification or advice. As always, we’re happy to answer any questions about the degree(s) we offer and the admissions process if you email schools.liaison@mod-langs.ox.ac.uk
Hope to see some of you at one of our open days very soon!
This post originally appeared on the Creative Multilingualism blog, an AHRC-funded research project that explores the role of creativity in language learning.
What role will Artificial Intelligence play in the
world of languages – will it be an opportunity or a threat for language
learners? What impact might AI have on endangered languages? Will
machine translation ever replace the need for language learning?
In September 2019, Creative Multilingualism worked
in partnership with the University of Pittsburgh and JNCL (Joint
National Committee for Languages) to hold a workshop on the topic of Artificial Intelligence in the World of Languages.
The event brought together academics, teachers and
leaders in tech and AI to discuss the impact of improvements in machine
translation and language learning technology on future language
learners, teachers and speakers of endangered languages.
Watch the below film to hear from the workshop’s participants on three key questions:
Is AI a threat or an opportunity for language learning?
Could Google Translate replace the need for language learning?
Why should we learn languages?
What do you think? Are the machines going to replace us?
Readers of the blog may remember that Round 1 of the ever-popular Oxford German Network’s Olympiad opened in September, this year on the theme of ‘Natur und Technik‘. We are now pleased to announce that Round 2 has now launched, with a further set of competitions for students in Year 10 upwards. The deadline is 24 April 2020. Read on to find out more about Round 2, and remember – Round 1 remains open until 13 March 2020.
Task 1 – for students in Years 10-13
Ludwig van Beethoven. Prize: £100
Task:
Ludwig van Beethoven (1770–1827) is reckoned to be the most widely
performed composer in the world. Contribute to his 250th anniversary!
Write a blog post (max. 350 words) or create a video (max. 4 minutes) on one of the following topics, or invent your own:
Der taube Komponist
Beethoven und die Französische Revolution
Rock mit Beethoven
Alternatively write a review of a real or fictional Beethoven concert (max. 350 words).
In
1943 five students and a professor at the University of Munich were
arrested, interrogated, tried, and executed. They were members of The
White Rose (Die Weiße Rose), a group that secretly wrote and distributed
leaflets calling on the Germans to resist Hitler. The White Rose Project
is a research and outreach initiative at the University of Oxford
telling the story of the White Rose (Weiße Rose) resistance group in the
UK. It currently works in collaboration with the Munich-based Weiße Rose Stiftung,
whose mission is to uphold the resistance group’s memory and ‘to
contribute to civic courage and individual responsibility and to promote
democratic consciousness’.
The White Rose Project Writing Competition. Prize:£100. The winning essay will also be featured on the White Rose Project website.
Find out about the White Rose resistance group (die Weiße Rose) and write an essay in German (max. 350 words): „Was können wir heute noch von der Weißen Rose lernen?“
For undergraduates (second year and above) and postgraduates of German studying at a British or Irish university. Prize: £100. The winning translation will also be featured on the White Rose Project website.
Writing Resistance – ‘Flugblattentwurf von Christoph Probst’ (1943)
(Please download the draft of the leaflet here.)
Each submission should consist of two parts:
Produce
a translation into English of the draft leaflet written by Christoph
Probst in January 1943. Had it been completed and printed, it would have
been the seventh leaflet produced by the White Rose group.
Write a commentary on the text (max. 400 words), in English or German,
referring both to the leaflet itself (its style and historical references) and your approach to translating it.
The
competition will be judged by members of The White Rose Project. The
judges’ decision is final and no correspondence will be entered into.
Task 4: Camden House Book Proposal Competition open to postgraduates and early-career researchers at a UK or Irish university Prize: £250 and consideration for publication with Camden House.
Task:
Submit a book proposal for a book that would fit the profile established by Camden House in German studies. In association with Camden House.
If you have any questions about the Olympiad, please contact the coordinator at olympiad@mod-langs.ox.ac.uk. We hope to see lots of entries to both rounds of the German Olympiad. And to all the Germanists out there – viel Glück!
A blog for students and teachers of Years 11 to 13, and anyone else with an interest in Modern Foreign Languages and Cultures, written by the staff and students of Oxford University. Updated every Wednesday!
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