This Spring, Badredinne presented a paper entitled “Writing Queer Desire in Abdallah Taia, Rachid O, and Hisham Tahir’s novels” in the conference, “Queer Justice: Struggles and Strategies” at Ohio University.
In the last two decades, a pioneering wave of openly gay Maghrebian novelists has emerged depicting the struggles of assuming an exclusively “gay identity;” in Arab-Muslim societies. Writers like Abdellah Tai, Rachid O and Hicham Tahir engaged in a literary project aiming at breaking the intolerably irritating silence surrounding homosexuality in the Maghreb. Although homosexuality is palpably present in Arab-Muslim societies of the Maghreb, there is nonetheless an intolerance in regards with their open discussion. Even on a purely discursive level, taboo remains an insurmountable hurdle for many gay individuals. Nevertheless, the characters of Taia, O and Tahir’s novels transgress the aforementioned socio- religious restrictions by suggesting a discourse that seeks to reconcile their queer desires and their spiritual beliefs. In this discussion, I will highlight the difficulty that the narrator-protagonists of the three writers experience in assuming their sexuality in an interstitial space between a cherished yet homophobic Maghreb and a more liberal but hostile French milieu. I will also explore the stakes surrounding the use of French by the Maghrebian writers who instead of using Arabic, opt to use another language that does not denigrate their queer sexuality and construct it in pejorative terms. In this study, I will draw on the theoretical postulations of Judith Butler, Eve Kosofsky Sedgwick, Lise Gauvin and Svetlana Boym who reflected on the transnational queer identity construction and its rapport with space and language.
Badreddine started translating a manuscript of Tunisian poet Moncef Mezgheni to English.
Anastasiya received a full tuition waiver to attend the Uriel Weinreich Yiddish Summer Program and work in the archives of the YIVO Institute in New York City from June 27 until August 5, 2016.
Anastasiya has also presented her work at a number of conferences this Spring.
1-“Born Translated or at Home in the Unhomely: Linguistic Imaginations of Bruno Schulz and Yoko Tawada” at theBinghamton University German Studies Colloquium 2016: Dis-placements, Refuges and Other Cultural Belongings at the panel “Transnational Tawada” organized and moderated by Prof. Gisela Brinker-Gabler. The colloquium took place on April 15-16, 2016.
This paper examines the transnational and polylingual poetics of Schulz, a Polish-Jewish-Modernist (often referred to as the “Polish Kafka”) from eastern Galicia (now the western Ukraine). Schulz dwelt in languages both his and not entirely his own. In his Polish writings we read the lost mama-loshn of Yiddish as well as German and Ukrainian influences. Tawada, a contemporary German-Japanese writer, detached herself from Japan, but not entirely from Japanese, when she moved to Germany. With her oeuvre in both German and Japanese she defamiliarizes what it means to write in a “foreign” language and in one’s “mother tongue.” Through the comparison of strategies each author uses to make multilingualism visible and to trouble conventional notions of home as they explore travel, myth and bodily metamorphosis, I will identify key differences in the authors’ respective linguistic, historical and political contexts for writing. I will example the notion of the uncanny (das Unheimliche) in its broader sense as well as in its psychoanalytic conception and draw on the work of Yasemin Yildiz to consider what it means to be at home in language(s). To echo the work of Rebecca Walkowitz, this paper will ponder what it means for texts to be born translated.
2- “Translating Debora Vogel’s high Modernist collection of Prose Montage Acacias Bloom” at the University of Amherst Massachussets Graduate Student Translation Studies Conference, taking place April 23-24, 2016.
Debora Vogel, a Yiddish high modernist poet, philosopher and critic, lived in the interwar Poland and perished in Lvov ghetto during one of the so-called Nazi actions. Her tragic fate and the fact that she chose Yiddish as a mode for her highly innovative expression were some of the factors that contributed to her remaining largely unknown, especially for the English-speaking audiences. A native speaker of Polish, she was fluent in German and Hebrew, writing her early work in these languages. She chose to learn Yiddish as an adult, and published her two collections of poetry Day Figures (1930) and Mannequins (1934) in her non-native language (a politically and an aesthetically motivated choice), challenging the frameworks of cultural, ethnic and linguistic belonging. In 1935 she published a volume of her prose montage Acacias Bloom in Yiddish, with the same collection appearing in print in Polish translation a year later. An interesting example of self-translation akin to the bilingual operations of writers such as Nabokov and Beckett, the two versions of the book are not identical, with different sequences of chapters and other formal differences. The first post-war edition of this work in Polish appeared in 2005 and it takes into account the two first editions while supplementing them with the unpublished additional montages in Yiddish that were recovered from the archives.
The present undertaking by the author of this abstract is to translate Acacias Bloom into English, taking into account the history of the book, the skopos (its reception in Europe at the time with its contemporary reception in Europe and projected readership in the English-speaking world), as well as examining translation theories in regards to this specific translation practice. Besides the three mentioned editions of the book, this current translation is informed by the two recent anthologies of Vogel’s work in translation that were published in Germany and Ukraine, both in 2015, and also the writer’s own critical essays reflective of her principles that discuss her usage of geometric idiom (borrowed from the movements in visual arts, such as Cubism and Constructivism), repetition (similar to repetition in Gertrude Stein’s work), and “white words/grey words”(reminiscent of the considerations of Imagists and Vorticists), which all pose challenges for the translation process.
The issues that I have encountered in this translation process and which are present in this 8-page excerpt are determining the optimal syntax (preserving some aspects of syntax from the original that is useful for the rhythm and that creates stylistic devices, such as parallelism), translating repetition (some qualifiers, such as “sticky” are translated a few different ways, depending on the noun and the most fitting synonym for the collocation), paraphrasing whenever necessary. Vogel has a certain vocabulary, for which I want to create a glossary, with set collocations that are present both in her prose work and in her poetry. One example would be “squandered happiness”, which Debora Vogel repeats multiple times. Another challenge is thinking about translation concepts that are put in brackets, such as “life”, when the author tries to distance herself from the idea or points to a clichéd usage of the concept, as well as for other reasons.
We are seeking contributors to a digital project that explores the stories that discarded objects can tell about our history and culture. This non-fiction storytelling project depends on public participation through sharing memories about playing with, collecting, preserving, or making art from what we might broadly label as trash, waste, or unwanted items. We invite you to contribute your own narratives as we seek to understand the ways in which diverse experiences contribute to the mosaic of our individual and collective histories. Together these stories will highlight the power of imagination to (re)create history and serve as testimony to the potential of material objects to shape our cultural landscape.
Your contribution can be as short or as long as you like – a brief recollection of a childhood moment or a lengthier piece of writing — anything you wish to share. We especially welcome contributions that explore the topic from an environmental perspective, gender relations, race or class, as well as contributions that add to the geographic scope of the project.
All submissions are featured on an interactive map that links each story and storyteller to the particular place where the narrative is situated, inviting the on-looker to zoom out and observe social, political, and economic linkages between cultures.
To share your story, please go to the project’s website:
Graduate Student Christopher L. Southward has recently presented a paper at Pompeu Fabra University.
“Nishida Kitarō’s Aesthetics: ‘Absolute-contradictory Self-identity”, European Network of Japanese Philosophy 1st Annual International Conference, Pompeu Fabra University, Barcelona, Spain, December 3-5, 20015 C
The Comparative Literature Department at Binghamton University was very well-represented at the 2016 Annual Meeting of the American Comparative Literature Association. Five of our students attended the convention either as panel organizers or as presenters.
Anastasisya Lyubas-presented a paper entitled “Language Mothers” in Avant-garde Poetics of Bruno Schulz and Debora Vogel” in the panel “Global Avant-Gardes: Visual and Verbal.”
David Spitzer-presented a paper entitled “Figures of Being: the Song of Parmenides as Performance” in the panel “Adaptation as Archeology and Critique.”
Diviani Chaudhuri-presented a paper entitled “The Introverted Courtyard House and the Novel in India: Muslim Women Writing the Zenana and Beyond.” in the panel “The House in Literature: Practices of Consumption, Commemoration, Display and Self-Fashioning.”
Idaliz Roman Perez-presented a paper entitled “Literature and Street Art: A Comparative Study of Gender and Cultural Politics of the Caribbean” in the panel “Embodying Politics in Africa and Latin America.”
Rania Said-co-organized a panel entitled “The City in the Life Narratives of the Global South.”