Babel: Adventures in Translation

Those of you interested in translation might be interested to hear that there is an exhibition at the Weston Library in Oxford on ‘Babel: Adventures in Translation’, which is running from now until 2nd June. Part of the Creative Multilingualism Programme, this exhibition explores the history of translation from ancient to modern times, examining how translation has shaped our understanding of history and cultural transfer, and also asking what role translation might play in the future.

In connection with the exhibition (which is free to enter, no booking required), we will be running a ‘Library Late’, with lots of translation-based activities, and a new competition which is based on some of the items exhibited. Read on to find out more…

The Exhibition

Babel: Adventures in Translation takes visitors beyond the ancient myth of the Tower of Babel and society’s quest for a universal language to explore the ubiquity and power of translation in the movement of ideas, stories and cultural practices around the world. Through a stunning selection of objects ranging from a 2nd century papyrus book and illuminated manuscripts to animal stories, religious books and a bilingual road sign, Babel explodes the notion that translation is merely about word-for-word rendering into another language, or that it is obsolete in the era of global English and Google Translate.

Treasures from the Bodleian Libraries’ collections, both ancient and modern, illustrate how stories have travelled across time, territory, language and medium. Highlights on show include a 4000-year-old bowl inscribed with a language that still resists deciphering, an unpublished Tolkien notebook revealing how he experimented with Esperanto before creating his fictional Elvish languages, and an experimental 1950s computer programme designed to generate love letters.

Exploring themes of multiculturalism and identity, the exhibition considers issues that are more relevant than ever as Britain approaches Brexit. It also tackles the tricky question of how to translate for the distant future.

The Library Late

To complement the exhibition, we’re holding an evening of multilingual merriment on 8 March with language tasters (from Esperanto to Sign Language), mini-talks, interactive translation activities, live music, and more! Sign up for your free ticket via Eventbrite.

The Competition

To celebrate the launch of the exhibition, we’re holding a competition for school pupils from year 5 to year 13. There will be prizes of £50 — £100 for the winners of each age category and overall task winners. There are three tasks to choose from; you are welcome to enter more than one task but you are only permitted to send in a maximum of one entry per task. The tasks are as follows:

A) Magical Translation

Create a modern version of Cinderella in a language and medium (text, audio or video) of your choice with a typed English prose translation.

B) Fabulous Translation

Create a fable – an animal story with a moral – in a language and medium (text, audio or video) of your choice with a typed English prose translation.

C) Futuristic Translation

Create a warning about a nuclear waste site – in a language and/or medium that will communicate effectively with people in the year 10,000.

Prizes

There are prizes of £100 and £50 to be won. The entries to each task will be judged in four age groups: Years 5-6 (age 9-11), Years 7-9 (age 11-14), Years 10-11 (age 14-16) and Years 12-13 (age 16-18). There will be prizes of £50 for the winners of each age group for each task, and an overall winner for each task will receive an extra £50, bringing their total prize to £100. Certificates will be awarded for Commended and Highly Commended entries.

How to enter

To take part in the competition, upload your entry using the registration forms on the Faculty of Medieval and Modern Languages website (there is a separate registration form for each task):

Magical Translation 

Fabulous Translation

Futuristic Translation

The deadline for entries is noon on 15 May 2019. Winners will be notified (via email) by 30 May 2019. For inspiration about the tasks, please see this page. If you have any questions, please email us at creativeml@mod-langs.ox.ac.uk. Good luck!

We’ll be posting more about the Babel: Adventures in Translation Exhibition later in the spring. We hope you can visit it and immerse yourself in the history of translation, and that you can take part in one of the competitions. Nonetheless, if you’re not able to visit the exhibition in person, we’ll be exploring some of the content digitally in the coming weeks. Watch this space!

Another open day – Italian

This week, we bring you news of yet another open day we have coming up later in the Spring. You may remember that we posted a few weeks ago about our German open day, which will take place on Saturday 23 February, our Spanish & Portuguese open day, which will take place on Thursday 28 February, and our open day for Russian and other Slavonic Languages, which will take place on Saturday 2 March. You can book for all of those events at this link.

Now some good news for the enthusiastic Italianists out there – our Italian open day will take place on Saturday 9 March at our beautiful Modern Languages Library, the Taylor Institution. As well as offering an overview of the Italian undergraduate course at Oxford, and guidance about how to apply and different options for the year abroad, the day will offer prospective students a chance to attend mini-lectures on ‘Dante’s Ulysses’ and  ‘Reading Italian’. These lectures will be suitable both for people who are studying Italian at A Level or equivalent, and those who are interested in picking up Italian from scratch. They are designed to give you a flavour of two different elements of the degree – the literature and the language. There will also be a separate Q&A for parents and companions. This day is a great chance to talk to current tutors and students about what it’s really like to study Italian at Oxford. If you are interested in attending, please book a place here. Here is the full programme…

Virtual Book Club: Spanish Episode

Good news, bookworms! After an extended hiatus while this year’s cohort of undergraduates settled into the academic year, the Virtual Book Club is back, this time with an episode focussing on Spanish. This episode features a discussion about an extract from El castigo sin venganza (Punishment Without Revenge), a seventeenth-century play by Lope de Vega.

The discussion is led by doctoral researcher Rebecca, with undergraduates Lottie and Hector. They consider how the extract deals with questions of masculinity, honour, and morality, and ask how our reading as a twenty-first-century audience might differ from that of an early modern audience. Sixth formers interested in the Medieval and Modern Languages course at Oxford might be interested to know that the course offers the opportunity to study literature throughout the ages, from the medieval to the present. This episode is designed to offer a glimpse into the early modern period, and how some of the central questions asked by writers at that time continue to resonate in new ways today.

If you would like to receive a copy of the text, which will be provided in both the original Spanish and an English translation, or if you would like future Virtual Book Club updates, please email us at schools.liaison@mod-langs.ox.ac.uk

 

Collaboration and ownership in cross-cultural creativity

This post originally featured on the Creative Multilingualism blog. It was written by Julie Curtis, Professor of Russian Literature at Oxford and Fellow of Wolfson College. Prof. Curtis is also the Director of Outreach for Medieval and Modern Languages. Here, she reflects on the transformation of a Russian ‘New Drama’ play, Oxygen, by Ivan Vyrypaev, into a UK hip hop version, provoking questions about translation, transformation, and creative ownership.

2002-2018: Ivan Vyrypaev’s play Oxygen, and its 16-year journey between a basement theatre studio in Moscow and a basement rehearsal room at the Birmingham Rep Theatre.

When Ivan Vyrypaev’s play Oxygen was first performed in 2002 at Moscow’s edgiest theatre, Teatr.doc, it caused a sensation. On the one hand it depicted an act of extreme violence – a young man battering his wife to death with a shovel in order to start a new relationship with a woman he believes will offer him more ‘oxygen’ – and it also used aggressively obscene language, transgressing against one of the strongest taboos of Soviet-era theatre. On the other hand, the play had a haunting beauty, deriving from the poetic inventiveness of its use of Biblical motifs, specifically the Ten Commandments, and the musical structuring of the language around refrains, patterning and other compositional devices deriving from both classical and contemporary musical traditions, such as rap.

The play became known as the flagship play of the ‘New Drama’ movement which has arisen in the era of President Putin, and which remains one of the few spheres in which challenges are still offered to official state narratives about society, politics, gender and sexuality, national identity and international relations. It was seen at the theatre by a narrow range of Moscow intellectuals, but gained wider impact within Russia when it was turned by Vyrypaev into a film in 2009; and it also attracted attention internationally – it has been staged in many countries of the world, including a brilliant production (featuring world-champion break-dancers from Russia) staged by the RSC at Stratford in 2009.

Dr Noah Birksted-Breen is a theatre director and Russian scholar who has for many years been exploring contemporary Russian drama and staging it at his London-base Sputnik Theatre. When he joined the Creative Multilingualism team, he attended an event organised by Professor Rajinder Dudrah which brought the grime artists RTKAL, Ky’orion and Royalty from Birmingham to perform on the stage of the Taylor Institution. Their verbal ingenuity, the Rastafarian frame of reference they deployed in their performance, and above all the powerful and infectious rhythms of their art provided a lightbulb moment for me and Noah – we looked at each other, and wondered aloud what would happen if we introduced them to Vyrypaev’s work….

A couple of years later, and that thought has translated into reality, with a performance based on extracts from Vyrypaev’s work being rehearsed in the Birmingham Rep by the brilliant UK rap, hiphop and grime artists Lady Sanity and Stanza Divan, directed by Noah. On Thursday I went along to watch the final research and development session, before the performance later that day curated by Rajinder at Birmingham City University. It prompted all sorts of thoughts in my mind about how issues of ownership and collaboration came together to produce this spectacular meeting of minds across two very different cultures:

  • Vyrypaev owns his text, and is very protective about performances of it across the world;
  • But Noah is one of the most admired directors of contemporary Russian drama in Britain, so Vyrypaev willingly licensed the text for Noah’s project in Sasha Dugdale’s translation, trusting to both Noah’s knowledge of Russian culture and his artistic gifts to create something which would be both new and true to the original;
  • Rajinder knows the rap and hiphop scene in Birmingham via our project partners Punch Records also from the city, and together they recruited artists who would bring their talents to bear on very unfamiliar material, originating from an entirely alien society;
  • Once Lady Sanity and Stanza Divan got to know the text, they worked with Noah on how to make it their own, retaining the skeleton of the piece and certain elements of the refrains, playing with the ideas of the male and female characters with the same name – the two Sashas became the two Jordans…
  • Lady Sanity and Stanza Divan have focused less on the violence and the obscenity, but have translated the relationship between the two to fit into the witty ‘clashing’ routines typical of rap/hiphop/grime performances; this allows them to develop a gendered rivalry which is absent from the original, with Stanza Divan using sarcasm (‘Calm down!..’ – to use a phrase typical of some male politicians…) to scorn and disparage the sharp-tongued teasing of Lady Sanity;
  • But they retain the relative social positions of the two Russian protagonists; she more educated, and from a more comfortable, secure background, he instead from a disadvantaged, broken family and dropping out of secondary education;
  • And above all they retain the message of the final section of Vyrypaev’s original, concerning the difficulties faced by the young in today’s world, where so many threats loom;
  • Did their UK hiphop theatre work absorb Vyrypaev into their British world? Or did Vyrypaev lead Birmingham’s hiphop performers into new areas? Above all, they said, they recognised that elements in the text of the original were primarily about the freedom of self-expression, and that chimed in with the same preoccupation in British hip-hop and grime art.
  • The generosity of very many different people’s collaborations brought this work of art into being: but who ‘owns’ the creative result? Is cultural transposition different from translation?

Watch the below film to find out more about the hip hop theatre version of the Russian play Oxygen.

career profile: working in the arts

This week we continue our series on career profiles. We hear from Daniel Milnes, who studied German and Russian at Somerville College and graduated in 2011. Orginally from Leeds, Daniel now works as a Curator for modern and contemporary art at the Hamburger Bahnhof Museum for Contemporary Art in Berlin. Daniel tells us how his languages have fed into his career path…

After graduating from Oxford in 2011 I completed a Master’s degree in Art History at the Albert-Ludwigs-Universität Freiburg with a research period at the European University at Saint Petersburg (2011-2013). This proved to be the first step toward my current career as a curator for contemporary art. After graduation I completed a two-year traineeship in curatorial practice at the Kunstmuseum in Stuttgart where I served as assistant curator on two large-scale exhibition projects as well as curating my own exhibition with the artist Raphael Sbrzesny. This led to my next position as Assistant Curator at Haus der Kunst, Munich, a leading international institution for the display and discussion of contemporary art and culture.

Photo by M(e)ister Eiskalt, used under Creative Commons (https://creativecommons.org/licenses/by-sa/4.0/) via Wikimedia.org

At Haus der Kunst I served as assistant curator for the project “Postwar: Art between the Pacific and the Atlantic, 1945-1965” which redefined the art historical canon of the postwar period from a multifocal and global perspective, deconstructing the traditional narrative that has until recently been dominated by the work of white male artists from the West. For this project I was responsible for the selection of art from the Soviet Union, liaising with artists, curators, theoreticians, and museum workers in Russia. My contact to the contemporary Russian art world was further strengthened through the development of a solo exhibition with media artist Polina Kanis, who works between Moscow and Amsterdam. In addition, I curated two further exhibition projects which analysed how models of identity have changed since digital forms of mediation have come to dominate daily life.

Since 2018 I am working as Assistant Curator at the Hamburger Bahnhof Museum for Contemporary Art in Berlin, where I am currently organizing the exhibition of the winner of the National Gallery Prize, Agnieszka Polska.

In my day-to-day working life I am constantly travelling and shifting between languages in order to coordinate exhibitions, write academic articles, proofread catalogues, give tours through exhibitions, deliver presentations and speeches, and liaise with artists. This would all be unthinkable without my training in Modern Languages and the sensibility for the nuances of language and culture that it fostered.

More open days – come and try us out

A couple of weeks ago, we posted about our upcoming German open day, a chance for you to learn about the German course at Oxford. This week, we continue the theme by bringing you news of our open days in Spanish and Portuguese (Thursday 28 February at The Queen’s College), and Russian and other Slavonic Languages (Saturday 2 March at Wadham College).

As with the German open day, these events are a fantastic opportunity for you to explore what an Oxford degree in those languages looks like. They offer a mixture of academic tasters so you can get a feel for the content of the degree, information about applying to Oxford, and interactions with tutors and current students, who will be happy to answer any questions you have about languages at Oxford.

Highlights of the Spanish and Portuguese open day include: an introduction to Portuguese in 15 minutes, an introduction to other peninsular languages (Catalan and Galician – for more on Galician, see our post here); a spotlight on Portuguese-speaking Africa; and a Spanish Translation workshop.

Highlights of the open day in Russian and other Slavonic Languages include: a mini lecture on ‘Home from home: Russian writers in interwar Paris’; a mini lecture on ‘Russian Grammar in Time and Space’; and a parallel discussion for parents and teachers.

The open days are open to anyone in Year 12 who is interested in studying those languages at Oxford, including if you are interested in picking up the language from scratch (with the exception of Spanish, which we do not offer from scratch). Sessions will be suitable for learners who have no prior knowledge of the language, as well as those hoping to apply post-A Level. There are a limited number of places for accompanying parents and teachers. The events are free of charge but a place must be booked through the faculty’s website.

The full programmes are below, or available to view at https://www.mod-langs.ox.ac.uk/schools/meet-us

a uniq opportunity

We’ve posted on here before about UNIQ, Oxford University’s flagship outreach programme. The UNIQ programme, which is for Year 12 students at UK state schools/ colleges, is a fantastic opportunity to immerse yourself in the Oxford environment, sample some of our teaching, and try out life as an Oxford student. The big news this year is that UNIQ has expanded and the University is now able to take double the amount of students for this programme than in previous years. So if you’re in your first year of further education and are thinking Oxford might be for you, send in your application to UNIQ by 28 January 2019. Read on to find out more or check out the UNIQ website….

What is UNIQ?

UNIQ is open to students studying in their first year of further education, who are based at UK state schools/colleges. Students make a single application between December and January and can be selected to participate in one of two activities: UNIQ Digital or UNIQ Spring and Summer.

UNIQ Spring and Summer gives you a taste of the Oxford undergraduate student experience. You will live in an Oxford college for a week, attend lectures and seminars in your chosen subject area, and receive expert advice on the Oxford application and interview process. The timetable also allows plenty of time for social activities; in the evenings you are free to tour the city, sample some of the University’s sports and cultural facilities, and let your hair down at the farewell party.

UNIQ Digital provides comprehensive information and guidance on the university admissions process, and aims to give you a realistic view of Oxford student life through videos, activities and quizzes. The platform offers a range of forums where you can discuss both academic and social topics. These forums are monitored by student ambassadors, who are always on hand to answer questions and offer support.

What does this look like for Modern Languages?

The in-person Modern Languages UNIQ courses have been slightly restructured during the UNIQ expansion. This year, we will be offering courses in French, German, and Spanish, with each of those courses also incorporating an introduction to a language from scratch (Italian, Portuguese, Russian, or German*). What this means is that you will apply for a course in French, German, or Spanish but you will effectively cover two languages during the summer school. The first two days of the course will be spent focussing on the language you study at A Level (or equivalent), including sessions to hone your language skills and knowledge of grammar, as well as lectures and seminars introducing you to an exciting array of topics in literature, culture, or linguistics, from the medieval period to the present day. During the final two days, meanwhile, you will be given the opportunity to study an unfamiliar language from scratch, learning some beginners’ grammar and new phrases, and exploring a new culture through its literature, film, or linguistics. The dates for the Modern Languages UNIQ courses are 14 – 18 July and 21 – 25 July.

* Participants will be allocated to a ‘new’ language by us. Those already studying German at school will not be allocated to German as a new language.

How do I apply?

To be eligible for UNIQ you must be studying in your first year of further education at a UK state school or college and you must reside in the UK. For Modern Languages UNIQ courses, we would expect you to be studying the language for which you apply to A2 Level. Although we would generally expect you to have high GCSE grades, we are aware that, sometimes, circumstances arise which mean you do not perform to the best of your ability at GCSE. If this is the case, you should fill in the extenuating circumstances section of the application form. This doesn’t guarantee you a place on UNIQ, but when we look at the applications we will take this into account.

You should apply online through the UNIQ website. You will need:

  • At least six GCSE/National 5 (or equivalent) qualifications, with a preference for 8-9/A-A* grades
  • A short statement detailing interest in your chosen course
  • School Information (Current UK state school/college and a past school)
  • Your current A-level/Scottish Higher (or equivalent) courses
  • Contact details of a current teaching referee
  • Contact details of a parent/guardian referee

You will receive an email on the 25 February containing the result of your application.

Good Luck!

calling all germanists: come and meet us…

Happy New Year from Adventures on the Bookshelf! To kick off the blog in 2019, we’re diving in at the deep end and bringing you news of our German open day. If you’re thinking about applying to study German as an undergraduate at Oxford, this is an excellent opportunity to meet some of the tutors, try out a couple of academic taster sessions which will give you a flavour of what it’s like to study German, and take a look around Oxford. See below for the full details and programme. If you would like to attend, please book a place via our website.

What? The 2019 German Open Day, designed to showcase the Oxford German course and answer any questions you might have.

Who? If you study German at school and would like to continue it at university, this is your chance to see what degree-level German is like, and how we go about teaching it. But equally, even if you do not already study German but think it could be something you’d like to pick up at university, this event is a chance for you to ask any questions about studying German from scratch, and see whether it’s for you. In short, all budding Germanists are welcome, regardless of whether you have already studied German in the past.

Where? The event will start and finish at the Taylor Institution on St Giles, and the middle portion of the day will be spent at Worcester College.

When? Saturday 23 February 2019, 10:30am – 3pm

How? Book a place by registering on our website and signing up for the event.

Here’s the programme…

Keep your eyes peeled for our other open days coming up later in the term.

A Prague Christmas

This post was written by Dr James Partridge, Teaching Fellow in Czech (with Slovak) at Oxford. Here, James tells us about Christmas in the Czech Republic.

My first Christmas in the Czech Republic was back in 1993, when I was still an undergraduate, 3 months into my year abroad in Brno. Christmas customs, though, are usually measured in decades and centuries, so 25 years later my Czech students at Oxford on their years abroad will still see most of the same things I did.

Much of the run up to Christmas (Vánoce) will be familiar to anyone from the UK: packed shops, panic buying, mildly disappointing Christmas markets. Early in December, though, the first Czech Christmas ritual begins: the baking of cukroví – Christmas biscuits. There are many different kinds of cukroví, and most are usually quick and easy to make, but they are made in large quantities. Most families take great pride in baking their own cukroví and have their own favourite recipes, often handed down through the generations. Vanilkové rohličky (vanilla rolls) are made from a simple dough of butter, flour, sugar, egg yolk, a little vanilla sugar, perhaps some ground nuts, pressed into moulds and baked quickly. Medvědí tlapičky (‘bears’ paws’) are made from a similar dough, but flavoured with cocoa. Colourfully decorated gingerbreads are also very popular, and some cukroví such as kokosové kuličky (coconut balls) aren’t baked at all. However you make them, the idea is to make as many as possible so that there will always be a selection available for family and guests for the whole Christmas period, if they last that long.

Christmas day itself (Štědrý den, literally ‘Generous / Bountiful day’) is on December 24th. In the past, Štědrý den was a day of fast and people would eat nothing (or very little) until the evening. In the middle ages, the custom was not to eat meat during the day, but something plain like barley groats with mushrooms. Those who honoured this custom faithfully were rewarded by seeing a vision of a zlaté prasátko (golden pig) in the early evening. Traditionally, the pig is a symbol of abundance and prosperity, and gold represented the passing of the winter solstice, however people nowadays usually just tell their children that you see the golden pig because you are so hungry by sunset that you start hallucinating.

Once you’ve seen the golden pig it’s time to sit down to Christmas dinner and eat until you can eat no more, and the centrepiece of the meal should always be carp. The Czech tradition of eating carp is a very old one, probably dating back a thousand years or more to the early Christian period, when monasteries would construct special fish-ponds for raising carp to eat. The cultivation of carp really took off in southern Bohemia after the early 15th century on the estates of the powerful Rožmberk family, and especially thanks to the work of their celebrated Master of Fisheries Jakub Krčín (1535-1604), who oversaw the building of a network of lakes that still supply carp to this day.

Buying carp before Christmas is a task that many westerners find… disturbing. A week or two before Štědrý den, large blue plastic vats overflowing with water begin to appear outside supermarkets, on street corners and in other places in villages, towns and cities across the country, and these vats are filled with carp, brought up from the lakes of Southern Bohemia. These are big fish: 5-8 kg is a pretty standard size. Long queues form, regardless of freezing winds and snow, and people simply choose their carp from the small shoal swimming around in front of them. Up until quite recently, many families would take their live carp home with them and put it in the bathtub for a few days as a sort of ‘pet’, albeit one whose remaining days were very short in number. Nowadays, the fishmongers who run the carp stalls usually just hoik the animal out of the water, whack it on the head with a hammer and then either wrap it up and give it to the customer (hopefully not still flapping), or behead and gut it on the spot. Once they get going, it doesn’t take long before the pavement is running red with fish blood.

The fish itself is prepared by being filleted, breaded and fried until golden brown, and it is always served with remarkable quantities of potato salad. This may sound easy, but filleting a big carp is serious manual labour, and nothing can go to waste: fish giblet soup is one of the highlights of the whole meal.

Olomouc at Christmastime. Image by Labenord on Pixabay

The other essential component to any Czech Christmas is watching pohádky, which are filmed versions of classic fairy tales. This is a tradition that really took off in the early years of the communist period, and one of the first pohádky is still one of the most loved: Císařův pekař a pekařův císař (The Emperor’s Baker and the Baker’s Emperor, 1951), written by and starring Jan Werich – an actor and writer of great importance in Czech theatre and film history. I should also mention Pyšná princezna (The Proud Princess, 1952), Princezna se zlatou hvězdou (The Princess with the Golden Star, 1959), the extraordinary, expressionist (and genuinely scary) Tři zlaté vlasy Děda Vševěda (The Three Golden Hairs of Grandpa Knowall, 1963), not forgetting the delightful and hugely popular Tři oříšky pro Popelku (Three Hazelnuts for Cinderella, 1973). And no Christmas would be complete without the Russian fairy tale Mrazík (Old Father Frost, 1967). I first saw it in the cinema during that first Christmas in Brno in 1993 and the atmosphere was like a late-night showing of The Rocky Horror Show here in England: the audience knew every word of the story of Ivanko and the lovely Nastěnka, and sang along to the soundtrack of the film.

These classic pohádky are an integral part of the Czech Christmas ritual. The TV papers are eagerly scanned to see when Tři oříšky or Pyšná princezna are showing, and on that basis lunch, supper, or visits to and from friends and family are carefully arranged. More surprisingly still for the uninitiated foreigner, the same films are watched religiously every year and enjoyed just as much as they were in previous years. Pohádky, in short, are as much a part of Christmas as cukroví and carp.

Adventures on the Bookshelf will be taking a break now for Christmas but we’ll be back on 9th January. Have a great festive period and Merry Christmas – or, as they say in Czech, ‘Veselé Vánoce!’

Launching the 2019 French & Spanish Competitions!

This year, instead of our usual French Film competition, we will be running a Flash Fiction Competition in both French and Spanish. If you are in Years 7-13, you are invited to send us a very short story to be in with a chance of winning up to £100. Read on to find out more…

What is Flash Fiction?

We’re looking for a complete story, written in French or Spanish, using NO MORE THAN 100 WORDS.

How short can it be?

Well, candidates for the World’s Shortest Story include a six-word story in English by Ernest Hemingway:

‘For sale: baby shoes, never worn.’

Or a seven-word story in Spanish by Augusto Monterroso, called El dinosaurio:

‘Cuando despertó, el dinosaurio todavía estaba allí.’

You don’t have to be as brief as that, but anything from six to a hundred words will do. Just not a single word more.

What are the judges looking for?

We’ll be looking for imagination and creativity, as well as your ability to write in French or Spanish. Your use of French or Spanish will be considered in the context of your age and year group: in other words, we will not expect younger pupils to compete against older pupils linguistically.

What do I win?

There are two categories: Years 7-11 and Years 12-13. A first prize of £100 will be awarded to the winning entry in each category, with runner-up prizes of £25. The winning entries will be published on our website.

How do I enter?

The deadline for submissions is noon on Sunday 31st March 2019.

If you would like to submit a story in French please do so via our online sumission portal here.

If you would like to submit a story in Spanish please do so here.

You may only submit one story per language but you are welcome to submit one story in French AND one story in Spanish if you would like to. Your submission should be uploaded as a Word document or pdf.

The online page will ask you to fill in some details, which are used for the purpose of administering our outreach activity. To understand how your data is used for this purpose, please read the Privacy Policy.
You will then be sent an automated email (check your spam folder if you can’t find this), which will include a link to validate your email address. Please click this link, which will take you to the Modern Languages Faculty website (you will be given an option to sign up to the newsletter. You do not have to sign up to the newsletter in order to enter the competition, although you are welcome to do so). Once you have clicked the confirmation link in the email, your entry has been submitted.

If you have any questions, please email us at schools.liaison@mod-langs.ox.ac.uk

Good luck! Bonne chance! ¡ Mucha suerte!

 

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!