# The Handbook of Translation Procedures

Lily Robert-Foley

► To cite this version:

Lily Robert-Foley. The Handbook of Translation Procedures: Supplementary PDF to the monograph, Experimental Translation: The Work of Translation in the Age of Algorithmic Production. Goldsmiths Press, 2024. hal-04519927

HAL Id: hal-04519927

https://hal.science/hal-04519927

Submitted on 12 Apr 2024

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<figure><img src="image_1.png" /></figure>

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# The Handbook of Translation Procedures

Lily Robert-Foley

► To cite this version:

Lily Robert-Foley. The Handbook of Translation Procedures. Goldsmiths Press, 2024. hal-04519927

HAL Id: hal-04519927

https://hal.science/hal-04519927v1

Submitted on 12 Apr 2024

HAL is a multi-disciplinary open access
archive for the deposit and dissemination of sci-
entific research documents, whether they are pub-
lished or not. The documents may come from
teaching and research institutions in France or
abroad, or from public or private research centers.

L'archive ouverte pluridisciplinaire HAL, est
destinée au dépôt et à la diffusion de documents
scientifiques de niveau recherche, publiés ou non,
émanant des établissements d'enseignement et de
recherche français ou étrangers, des laboratoires
publics ou privés.

Public Domain
# Experimental Translation

The Work of Translation in the Age
of Algorithmic Production

Handbook of Translation Procedures

Lily Robert-Foley

<figure><img src="image_1.png" /></figure>

Handbook of Translation Procedures: copyright © Goldsmiths Press 2024;
Text copyright © 2024 Lily Robert-Foley. All rights reserved.

Title page image © Delphine Presles.
# Experimental Translation

The Work of Translation in the Age
of Algorithmic Production

Handbook of Translation Procedures

Lily Robert-Foley

<figure><img src="image_2.png" /></figure>

Handbook of Translation Procedures: copyright © Goldsmiths Press 2024;
Text copyright © 2024 Lily Robert-Foley. All rights reserved.

Title page image © Delphine Presles.
In the pages that follow, readers will find step-by-step guides and creatives results to all the procedures described at the end of each chapter of the monograph *Experimental Translation: The Work of Translation in the Age of Algorithmic Production*.

The procedures are divided, as the chapters in the book, according to the translation procedures of Jean-Paul Vinay and Jean Darbelnet. For those of you not familiar with old-school French translation studies, Vinay and Darbelnet's (or VD, as I like to call them) *Stylistique comparée du français et de l'anglais* outlines seven basic translation procedures (although there are many more in-between) that are meant to serve as a study of comparative stylistics, into the differences between French and English, but also as a practical guide to teachers, translators and scholars.

In many ways, the procedures I have hijacked from VD do the same thing, since they are intended as a way for students, teachers, translators, creative practitioners and scholars to get into the practice of translation and to see it in a different way.

But in many more ways, it does the exact opposite of what VD were trying to do, since VD were trying to detail all the ways in which one should translate, how to translate well and properly, with respect to the *génie* (the “nature” in Juan C. Sager and M.-J. Hamel’s English translation of their work) of the language.

This is because experimental translation is what happens when translation does precisely what it is *not* supposed to do. Experimental translation calls into question translational norms—old norms like fidelity, equivalence and accuracy, and new ones, of the algorithmic age, like productivity, predictability and navigability (Slater).

It calls these norms into question, however, not simply as a form of cheeky resistance (although cheeky resistance is a big part of it!), but as a different way of understanding translation and of doing active, creative-critical, practice-based research, in a way that opens it to a variety of actors: not just researchers, but teachers, students, new language learners, creative writers, translators, or anyone interested in translation or simply curious. These procedures are intended to be a way of fabricating knowledge in the “irreducible strangeness” (Waldrop) between languages, collectively and horizontally, with respect to the wide variety of expressions that knowledge can take, and the many languages that we speak, in and out of the nations where they are supposedly spoken (if the language in question has a nation at all!).

The step-by-step guides should be taken as suggestions. They are how I carried out the procedures in the many settings that you will find below: research seminars, performances, workshops, happenings, classrooms, parties, alone, by email, with a friend... But they are meant to be adopted and adapted in any myriad of ways to suit the players and context of whoever would like to use them. They are also followed by the creative results that emerged from the variety of contexts that I tested them out in. I am always curious to find out what others have done with them, if you would like to look me up and write to me.

I am profoundly grateful to all the players who participated in these experiments, creating nebulous, nascent, interconnected networks of experimental translation, who also participated in the writing of the monograph (book and handbook) in ways so deep and
In the pages that follow, readers will find step-by-step guides and creatives results to all the procedures described at the end of each chapter of the monograph *Experimental Translation: The Work of Translation in the Age of Algorithmic Production*.

The procedures are divided, as the chapters in the book, according to the translation procedures of Jean-Paul Vinay and Jean Darbelnet. For those of you not familiar with old-school French translation studies, Vinay and Darbelnet's (or VD, as I like to call them) *Stylistique comparée du français et de l'anglais* outlines seven basic translation procedures (although there are many more in-between) that are meant to serve as a study of comparative stylistics, into the differences between French and English, but also as a practical guide to teachers, translators and scholars.

In many ways, the procedures I have hijacked from VD do the same thing, since they are intended as a way for students, teachers, translators, creative practitioners and scholars to get into the practice of translation and to see it in a different way.

But in many more ways, it does the exact opposite of what VD were trying to do, since VD were trying to detail all the ways in which one should translate, how to translate well and properly, with respect to the *génie* (the “nature” in Juan C. Sager and M.-J. Hamel’s English translation of their work) of the language.

This is because experimental translation is what happens when translation does precisely what it is *not* supposed to do. Experimental translation calls into question translational norms—old norms like fidelity, equivalence and accuracy, and new ones, of the algorithmic age, like productivity, predictability and navigability (Slater).

It calls these norms into question, however, not simply as a form of cheeky resistance (although cheeky resistance is a big part of it!), but as a different way of understanding translation and of doing active, creative-critical, practice-based research, in a way that opens it to a variety of actors: not just researchers, but teachers, students, new language learners, creative writers, translators, or anyone interested in translation or simply curious. These procedures are intended to be a way of fabricating knowledge in the “irreducible strangeness” (Waldrop) between languages, collectively and horizontally, with respect to the wide variety of expressions that knowledge can take, and the many languages that we speak, in and out of the nations where they are supposedly spoken (if the language in question has a nation at all!).

The step-by-step guides should be taken as suggestions. They are how I carried out the procedures in the many settings that you will find below: research seminars, performances, workshops, happenings, classrooms, parties, alone, by email, with a friend... But they are meant to be adopted and adapted in any myriad of ways to suit the players and context of whoever would like to use them. They are also followed by the creative results that emerged from the variety of contexts that I tested them out in. I am always curious to find out what others have done with them, if you would like to look me up and write to me.

I am profoundly grateful to all the players who participated in these experiments, creating nebulous, nascent, interconnected networks of experimental translation, who also participated in the writing of the monograph (book and handbook) in ways so deep and
far-reaching that I almost hesitate to sign this work as my own. Indeed, many of the procedures are *not* my own but borrowed from many sources, *plagiat par anticipation*. Not all of them could be named, as the experiments began long before the writing of the book, and I did not always keep track (even after starting to write). To those whose names I've missed, my sincerest apologies—you are here anyway. Here are those I can name:

Santiago Artozqui, Jonathan Baillehache, Léa Baranowski, Maélis Bégé, Paolo Bellomo, Christophe Beyler, Camille Bloomfield, Aymeric Bourru, Ludivine Bouton-Kelly, Liu Buyun, Kenza Cavet, Chris Clarke, Sarah Clenet, Nia Davies, Sabryna De Nazaré Rodrigues Ribamar, Fatim Zhora El Hachimi, Hanane El Hadifi, Gaïa Freby, Elia Gagliardi, Rachel Galvin, Irène Gayraud, Michèle Huguenin, Yi Keming, Ulysse Lhuilier, Pablo Martín Ruiz, Virginie Micolon, Agatha Mohring, Najat Ouali, Angeliki Papazoglou, Thomas Powderly, Delphine Presles, Gabriela Rodrigues Anastacio, Heta Rundgren, Joan Simpson, He Siyu, Rajaa Taleb, Nawel Taleb Ben Diab, Eliana Vicari, Sheng Yue, Zey, and Kaoutar Zouarhi.

I am also very grateful to pre-publication readers of *Experimental Translation*: Annie Abrahams, Craig Dworkin, Delphine Grass, Douglas Robinson and Heta Rundgren—all of whom contributed in many other ways to this work too. And to Alexandra Lukes who first set me down the path of thinking of translation in terms of the Avant-Garde (and apologies for forgetting to cite you in the book!). And all the people at Goldsmiths Press who were so kind and patient with me and my tendency to write too much, and who make Goldsmiths such a wonderful place to publish (and buy!) a book.

And also to Michael for giving me the time of my life, Félix for being a never-ending source of inspiration for language play (and other things), and Artús for waiting for just the right moment. To Gragrams for being perpetual lifesavers. And always, Mom.

And finally, to the Outranspo, many of the whom are listed above, but who collectively are the deep structure and the neural net hidden in-between the pages and languages of this book and handbook.
far-reaching that I almost hesitate to sign this work as my own. Indeed, many of the procedures are *not* my own but borrowed from many sources, *plagiat par anticipation*. Not all of them could be named, as the experiments began long before the writing of the book, and I did not always keep track (even after starting to write). To those whose names I've missed, my sincerest apologies—you are here anyway. Here are those I can name:

Santiago Artozqui, Jonathan Baillehache, Léa Baranowski, Maélis Bégé, Paolo Bellomo, Christophe Beyler, Camille Bloomfield, Aymeric Bourru, Ludivine Bouton-Kelly, Liu Buyun, Kenza Cavet, Chris Clarke, Sarah Clenet, Nia Davies, Sabryna De Nazaré Rodrigues Ribamar, Fatim Zhora El Hachimi, Hanane El Hadifi, Gaïa Freby, Elia Gagliardi, Rachel Galvin, Irène Gayraud, Michèle Huguenin, Yi Keming, Ulysse Lhuilier, Pablo Martín Ruiz, Virginie Micolon, Agatha Mohring, Najat Ouali, Angeliki Papazoglou, Thomas Powderly, Delphine Presles, Gabriela Rodrigues Anastacio, Heta Rundgren, Joan Simpson, He Siyu, Rajaa Taleb, Nawel Taleb Ben Diab, Eliana Vicari, Sheng Yue, Zey, and Kaoutar Zouarhi.

I am also very grateful to pre-publication readers of *Experimental Translation*: Annie Abrahams, Craig Dworkin, Delphine Grass, Douglas Robinson and Heta Rundgren—all of whom contributed in many other ways to this work too. And to Alexandra Lukes who first set me down the path of thinking of translation in terms of the Avant-Garde (and apologies for forgetting to cite you in the book!). And all the people at Goldsmiths Press who were so kind and patient with me and my tendency to write too much, and who make Goldsmiths such a wonderful place to publish (and buy!) a book.

And also to Michael for giving me the time of my life, Félix for being a never-ending source of inspiration for language play (and other things), and Artús for waiting for just the right moment. To Gragrams for being perpetual lifesavers. And always, Mom.

And finally, to the Outranspo, many of the whom are listed above, but who collectively are the deep structure and the neural net hidden in-between the pages and languages of this book and handbook.
Table of Procedures

<table><tbody><tr><td>1.</td><td>Emprunt</td><td>1</td></tr><tr><td>1.1</td><td>The Traduit Partouze (or: "translation orgy")</td><td>1</td></tr><tr><td>1.2</td><td>Recouperation</td><td>4</td></tr><tr><td>1.3</td><td>Mess(e)</td><td>9</td></tr><tr><td>2.</td><td>The Calque</td><td>13</td></tr><tr><td>2.1</td><td>Renaming</td><td>13</td></tr><tr><td>2.2</td><td>Choose your own translation (syntactic translation) I</td><td>22</td></tr><tr><td>2.3</td><td>Les mots-gonds (hinge words)</td><td>27</td></tr><tr><td>2.4</td><td>Infinite sense translation (multihommeauxtranslation)</td><td>29</td></tr><tr><td>3.</td><td>Literal Translation</td><td>31</td></tr><tr><td>3.1</td><td>Choose your own translation II</td><td>31</td></tr><tr><td>3.2</td><td>Lutz to speech</td><td>36</td></tr><tr><td>3.3</td><td>Blind faith translation in six steps</td><td>41</td></tr><tr><td>4.</td><td>Transpose</td><td>43</td></tr><tr><td>4.1</td><td>Grammatically extended neotranslation</td><td>43</td></tr><tr><td>4.2</td><td>N-gram translation</td><td>48</td></tr><tr><td>4.3</td><td>Translating (into) acrostics or anagrams</td><td>53</td></tr><tr><td>5.</td><td>Modulated</td><td>54</td></tr><tr><td>5.1</td><td>Translate like Elisa Sampedrín</td><td>54</td></tr><tr><td>5.2</td><td>Alter-ego translation</td><td>62</td></tr><tr><td>5.3</td><td>Geographic modulation</td><td>69</td></tr><tr><td>5.4</td><td>Arcimboldo translation (à la Eliana Vicari)</td><td>73</td></tr><tr><td>5.5</td><td>Interspecies modulation—a work in progress</td><td>78</td></tr><tr><td>6.</td><td>Equivalencias</td><td>81</td></tr><tr><td>6.1</td><td>Algorithmic gladiator</td><td>81</td></tr><tr><td>6.2</td><td>Primary care—Outtranspian Renga therapy</td><td>84</td></tr><tr><td>6.3</td><td>Transcritraduction</td><td>87</td></tr><tr><td>7.</td><td></td><td>103</td></tr></tbody></table>

<figure><img src="image_2.png" /></figure>
Table of Procedures

<table><tbody><tr><td>1.</td><td>Emprunt</td><td>1</td></tr><tr><td>1.1</td><td>The Traduit Partouze (or: "translation orgy")</td><td>1</td></tr><tr><td>1.2</td><td>Recouperation</td><td>4</td></tr><tr><td>1.3</td><td>Mess(e)</td><td>9</td></tr><tr><td>2.</td><td>The Calque</td><td>13</td></tr><tr><td>2.1</td><td>Renaming</td><td>13</td></tr><tr><td>2.2</td><td>Choose your own translation (syntactic translation) I</td><td>22</td></tr><tr><td>2.3</td><td>Les mots-gonds (hinge words)</td><td>27</td></tr><tr><td>2.4</td><td>Infinite sense translation (multihommeauxtranslation)</td><td>29</td></tr><tr><td>3.</td><td>Literal Translation</td><td>31</td></tr><tr><td>3.1</td><td>Choose your own translation II</td><td>31</td></tr><tr><td>3.2</td><td>Lutz to speech</td><td>36</td></tr><tr><td>3.3</td><td>Blind faith translation in six steps</td><td>41</td></tr><tr><td>4.</td><td>Transpose</td><td>43</td></tr><tr><td>4.1</td><td>Grammatically extended neotranslation</td><td>43</td></tr><tr><td>4.2</td><td>N-gram translation</td><td>48</td></tr><tr><td>4.3</td><td>Translating (into) acrostics or anagrams</td><td>53</td></tr><tr><td>5.</td><td>Modulated</td><td>54</td></tr><tr><td>5.1</td><td>Translate like Elisa Sampedrín</td><td>54</td></tr><tr><td>5.2</td><td>Alter-ego translation</td><td>62</td></tr><tr><td>5.3</td><td>Geographic modulation</td><td>69</td></tr><tr><td>5.4</td><td>Arcimboldo translation (à la Eliana Vicari)</td><td>73</td></tr><tr><td>5.5</td><td>Interspecies modulation—a work in progress</td><td>78</td></tr><tr><td>6.</td><td>Equivalencias</td><td>81</td></tr><tr><td>6.1</td><td>Algorithmic gladiator</td><td>81</td></tr><tr><td>6.2</td><td>Primary care—Outtranspian Renga therapy</td><td>84</td></tr><tr><td>6.3</td><td>Transcritraduction</td><td>87</td></tr><tr><td>7.</td><td></td><td>103</td></tr></tbody></table>
Emprunt

1.1 The Traduit Partouze (or: “translation orgy”)

A text is chosen, and a group of players assembled. One player reads out
lines from the original, segment by segment, while the other players carry
out a collective homophonic translation. A scribe records the results, and
rereads periodically throughout and at the end.

Materials

* A text, ideally written in a language foreign to the majority of the speakers who will be attending the *Traduit Partouze*. The text can be of any length, but it is rare to translate more than twenty or so lines of poetry during a *Partouze*.

• A writing device for the secretary.

* An invitation, indicating place and time, circulated liberally.

* Drinks and snacks.

Players

* A host to organize the event and welcome guests. This person may or may not be at the origin of the text to be translated, and may or may not play the role of reader or secretary.

* A reader designated to recite the original text aloud, ideally someone with a working knowledge of the original, who can also provide context for the text being translated.

* A secretary whose job it is to transcribe the results of the *Partouze* as they emerge.

* An indefinite, potentially modulating number of guests to carry out the translation.
# Emprunt

## 1.1 The Traduit Partouze (or: "translation orgy")

A text is chosen, and a group of players assembled. One player reads out lines from the original, segment by segment, while the other players carry out a collective homophonic translation. A scribe records the results, and rereads periodically throughout and at the end.

### Materials

* A text, ideally written in a language foreign to the majority of the speakers who will be attending the *Traduit Partouze*. The text can be of any length, but it is rare to translate more than twenty or so lines of poetry during a *Partouze*.

* A writing device for the secretary.

* An invitation, indicating place and time, circulated liberally.

* Drinks and snacks.

### Players

* A host to organize the event and welcome guests. This person may or may not be at the origin of the text to be translated, and may or may not play the role of reader or secretary.

* A reader designated to recite the original text aloud, ideally someone with a working knowledge of the original, who can also provide context for the text being translated.

* A secretary whose job it is to transcribe the results of the *Partouze* as they emerge.

* An indefinite, potentially modulating number of guests to carry out the translation.
Steps

* The reader reads out the first segment of the text. This can be the first sentence or the first part of the sentence, but ideally no more than a few words at a time, depending on the translators present. This segment should be repeated several times, and guests may request for the reader to continue these repetitions.

* Translators form their mouths around the sounds of the words, seeking words in the sounds of the foreign language. This is called “soundtranslation” by the Outranspo, but has gone by a variety of other names (“homophonic translation,” “traducson,” etc.). It consists of translating only the sound of a text, and not the meaning.

<figure><img src="image_3.png" /></figure>

**Soundtranslation** (span: *sonotraducción*; fr: *sonotraduction*): a translation that transliterates or transcribes the sound or the orthography of the words of the source-text using words in target language that may or may not have a relationship to the meanings carried by the source-text.¹

* Translators speak out solutions as they arise. Some will be abandoned, some adopted, or taken up and modified, amended, extended. The process is collaborative.

* Attention should be paid by all to democratize the contributions as much as possible, so that one person or a small minority is not offering all the solutions, and so that those who wish to speak are given the space and time to do so (sound translation into a foreign language in particular can be quite difficult), and, conversely, those who simply wish to listen can do so as well, without being harassed or disturbed.

* The secretary takes down solutions as they are ratified by the group.

* The secretary reads back the results intermittently as the evening progresses.

* A break may be initiated at a certain point in the *Partouze* or not. A return to the work may occur after this break or not.
Steps

* The reader reads out the first segment of the text. This can be the first sentence or the first part of the sentence, but ideally no more than a few words at a time, depending on the translators present. This segment should be repeated several times, and guests may request for the reader to continue these repetitions.

* Translators form their mouths around the sounds of the words, seeking words in the sounds of the foreign language. This is called “soundtranslation” by the Outranspo, but has gone by a variety of other names (“homophonic translation,” “traducson,” etc.). It consists of translating only the sound of a text, and not the meaning.

<figure><img src="image_3.png" /></figure>

**Soundtranslation** (span: *sonotraducción*; fr: *sonotraduction*): a translation that transliterates or transcribes the sound or the orthography of the words of the source-text using words in target language that may or may not have a relationship to the meanings carried by the source-text.¹

* Translators speak out solutions as they arise. Some will be abandoned, some adopted, or taken up and modified, amended, extended. The process is collaborative.

* Attention should be paid by all to democratize the contributions as much as possible, so that one person or a small minority is not offering all the solutions, and so that those who wish to speak are given the space and time to do so (sound translation into a foreign language in particular can be quite difficult), and, conversely, those who simply wish to listen can do so as well, without being harassed or disturbed.

* The secretary takes down solutions as they are ratified by the group.

* The secretary reads back the results intermittently as the evening progresses.

* A break may be initiated at a certain point in the *Partouze* or not. A return to the work may occur after this break or not.
* Most often, the *Partouze* will evolve (or devolve) naturally into a party.

* Following the event (or the hangover, as the case may be), the secretary transcribes the final results and distributes them among the participants, via email or other mode of document sharing.

## Variations

* The *Traduit Partouze* may also be carried out remotely via a collective word pad. Outtranspo calls this the *Piratouze*, named after the online platform Pirate Pad.

* Collective sound translations are also wonderful options for the classroom. In this case, it is advised to use the name “collective sound translation” rather than *traduit partouze* or “translation orgy,” depending on the students. The teacher acts as host.

## Examples

1. *Traduit partouze* as *détournement* of an original text:

The Outtranspo's *Satan Long Bell*, a collective translation of an Yves Duteil song devoted to the beauty and patriotism of the French language: "C'est une langue belle." This experiment might be likened to the mondegreen, or the mishearing or misinterpretation of song lyrics.

Video link: https://www.youtube.com/watch?v=8WPrqJ8QXqA

Video edited by Jonathan Baillehache.

2. *Piratouze* as homage to the prosody of a poem as well as a language learning aid:

"In My Home Country" / "Aînée mienne unique," of Mahmoud Darwish's
*أنا من هناك*

Bilingual collective soundtranslation hosted by Jonathan Baillehache and carried out by the Outtranspo.

https://remue.net/ainee-mienne-unique-traduction-homophonique-d-un-poeme-de-mahmoud-darwich

## Further reading

See the archives for the first *traduit partouze* held in Paris from 2011 to 2015 here:

https://www.tumblr.com/traduitpartouze-blog. Or read about them in my article "The Traduit Partouze Archives."
* Most often, the *Partouze* will evolve (or devolve) naturally into a party.

* Following the event (or the hangover, as the case may be), the secretary transcribes the final results and distributes them among the participants, via email or other mode of document sharing.

## Variations

* The *Traduit Partouze* may also be carried out remotely via a collective word pad. Outtranspo calls this the *Piratouze*, named after the online platform Pirate Pad.

* Collective sound translations are also wonderful options for the classroom. In this case, it is advised to use the name “collective sound translation” rather than *traduit partouze* or “translation orgy,” depending on the students. The teacher acts as host.

## Examples

1. *Traduit partouze* as *détournement* of an original text:

The Outtranspo's *Satan Long Bell*, a collective translation of an Yves Duteil song devoted to the beauty and patriotism of the French language: "C'est une langue belle." This experiment might be likened to the mondegreen, or the mishearing or misinterpretation of song lyrics.

Video link: https://www.youtube.com/watch?v=8WPrqJ8QXqA

Video edited by Jonathan Baillehache.

2. *Piratouze* as homage to the prosody of a poem as well as a language learning aid:

"In My Home Country" / "Aînée mienne unique," of Mahmoud Darwish's
*أنا من هناك*

Bilingual collective soundtranslation hosted by Jonathan Baillehache and carried out by the Outtranspo.

https://remue.net/ainee-mienne-unique-traduction-homophonique-d-un-poeme-de-mahmoud-darwich

## Further reading

See the archives for the first *traduit partouzes* held in Paris from 2011 to 2015 here:

https://www.tumblr.com/traduitpartouze-blog. Or read about them in my article "The Traduit Partouze Archives."
## 1.2 Recouperation

A text for hijacking, ideally in a language different from the one(s) the players will be assembling their poems in. Each player, hovering eyes at a slight remove from the page, allows words to emerge from the letters, chopping, recombining, collapsing the spaces between the words in the original and allowing new ones to appear. As the words appear, players transcribe them onto a new sheet of paper. Share and discuss.

### Materials

* A text for hijacking. The text should be in a language ideally different from the one(s) the players will be assembling their poems in (but this can be foregone in a multilingual context).

* A piece of paper or other writing surface to transcribe each player's results.

### Players

* This procedure can be carried out alone, but it is perhaps more interesting to try it in a group and compare results, monolingual or multilingual.

### Steps

* Hover gaze at a slight remove from the page, and allow words to emerge from the letters, collapsing the spaces between the words in the original and allowing new ones to appear. Alternatively, hunt for them by trying out different recombinations, abandoning the ones that don't work and adopting the ones that do.

* As the words appear, transcribe them onto a separate piece of paper.

* Reread and edit, selecting your favorite words or the ones that best go together.

* Option: rearrange words or add some in to create a poem to your liking.

### Example

* The following texts were recouperated by students in a third-year creative writing in English class at the Université Paul Valéry Montpellier 3. The source text was an extract from an article by Hamideh
## 1.2 Recouperation

A text for hijacking, ideally in a language different from the one(s) the players will be assembling their poems in. Each player, hovering eyes at a slight remove from the page, allows words to emerge from the letters, chopping, recombining, collapsing the spaces between the words in the original and allowing new ones to appear. As the words appear, players transcribe them onto a new sheet of paper. Share and discuss.

### Materials

* A text for hijacking. The text should be in a language ideally different from the one(s) the players will be assembling their poems in (but this can be foregone in a multilingual context).

* A piece of paper or other writing surface to transcribe each player's results.

### Players

* This procedure can be carried out alone, but it is perhaps more interesting to try it in a group and compare results, monolingual or multilingual.

### Steps

* Hover gaze at a slight remove from the page, and allow words to emerge from the letters, collapsing the spaces between the words in the original and allowing new ones to appear. Alternatively, hunt for them by trying out different recombinations, abandoning the ones that don't work and adopting the ones that do.

* As the words appear, transcribe them onto a separate piece of paper.

* Reread and edit, selecting your favorite words or the ones that best go together.

* Option: rearrange words or add some in to create a poem to your liking.

### Example

* The following texts were recouperated by students in a third-year creative writing in English class at the Université Paul Valéry Montpellier 3. The source text was an extract from an article by Hamideh
Mozaffari: “An Analytical Rubric for Assessing Creativity in Creative Writing” translated into the twenty-six languages of DeepL in 2021. Students were invited to pick a language from the stack circulated around the room and try to find words, letters and phrases emerging from the foreign script. The recommended language for the recouperated text was English, but students were invited to deviate from this recommendation to recouperate in another language or to mix languages (or make them up).

1.

Burroway s central discipline
T o Imagin e
L'amour
A visual process
huma ne
in huma ne
direct
indirect
ma de
On a plate
Sara arrive s
Jean commands
personnification concept
fiction

—Recouperated from the French by Thomas Powderly

2.

Ima sobre, Mama, Ima sobre, I sent a text, Mama. Nadie, mama, nadie. No grup,
no juic. Image, television, image, voces, image, distance, image, creative, image,
color, text. Mama Ima sobre and solitaries, tir... ed. Voces, line. Ima no sobre. Dial
and dice. Dice and dial. Mama, dial, mama, Ima die, line, Ima no sobre. Dial.

—Recouperated from the Spanish by Kenza Cavet
Mozaffari: "An Analytical Rubric for Assessing Creativity in Creative Writing" translated into the twenty-six languages of DeepL in 2021. Students were invited to pick a language from the stack circulated around the room and try to find words, letters and phrases emerging from the foreign script. The recommended language for the recouperated text was English, but students were invited to deviate from this recommendation to recouperate in another language or to mix languages (or make them up).

1.

Burroway s central discipline
T o Imagin e
L'amour
A visual process
huma ne
in huma ne
direct
indirect
ma de
On a plate
Sara arrive s
Jean commands
personnification concept
fiction

—Recouperated from the French by Thomas Powderly

2.

Ima sobre, Mama, Ima sobre, I sent a text, Mama. Nadie, mama, nadie. No grup,
no juic. Image, television, image, voces, image, distance, image, creative, image,
color, text. Mama Ima sobre and solitaries, tir... ed. Voces, line. Ima no sobre. Dial
and dice. Dice and dial. Mama, dial, mama, Ima die, line, Ima no sobre. Dial.

—Recouperated from the Spanish by Kenza Cavet
3.

Envole, Fly to write
yapping around
vowel

Mia envies jewell,
apologies
smuggling, borax
emits yapping, evolves, evolves
rolls, años

Ideas, rainbows improve
seven
Oh Titania
Oh Titania in mourning
Va to tower
yapping
Va to sins, Rio
Quotes “Rapaya”
Paradox
Car to aware
Meow, meow, meow

—Recouperated from the Greek by Gaïa Freby

4.

all that
important ā dis dice plina plin
plees disthrs this spleen scnerj scary
merge deport process
numerous ous
ous
us include us
detaliii iiii televizor
3.

Envole, Fly to write
yapping around
vowel

Mia envies jewell,
apologies
smuggling, borax
emits yapping, evolves, evolves
rolls, años

Ideas, rainbows improve
seven
Oh Titania
Oh Titania in mourning
Va to tower
yapping
Va to sins, Rio
Quotes “Rapaya”
Paradox
Car to aware
Meow, meow, meow

—Recouperated from the Greek by Gaïa Freby

4.

all that
important ā dis dice plina plin
plees disthrs this spleen scnerj scary
merge deport process
numerous ous
ous
us include us
detaliii iiii televizor
tell us vizor literal instrument

Morrison myson similitudinii iiii

filozof voce voce where

auditive ofer ă

—Recouperated from the Romanian by Zey

5.

Imagine : n a p i s

p a r a di

s e. o n par

w it

h principal pi zza

t oppi n g s

a s pe p e

r o n

i.

Prine

Peter

Second

Morrison

—Recouperated from the Italian by Elia Gagliardi

6.

The build is so central for discipline. The burrow's highway of creative imagination. Mills of sugar at night suffer the nomads of von Bedeutung, the great Khan.
tell us vizor literal instrument

Morrison myson
similitudinii iiii

filozof voce voce where

auditive ofer
ă

—Recouperated from the Romanian by Zey

5.

Imagine : n a p i s

p a r a di

s e. o n par

w it

h principal pi zza

t oppi n g s

a s pe p e

r o n

i.

Prine

Peter

Second

Morrison

—Recouperated from the Italian by Elia Gagliardi

6.

The build is so central for discipline. The burrow's highway of creative imagination. Mills of sugar at night suffer the nomads of von Bedeutung, the great Khan.
When night comes, his craft rolls as he processes the spleen. This Building is worst and older than death, odder than unused sins. Art is as elementary as flesh and truth. Abstract concepts die at night in churches, die for green sins.

Suffering, death are veil of inner nights. Vizualize weirder toes direct from wise moguls and builders. Ciment signifies a detailed death. And indeed, undoubtedly, it signifies truth. Sigh such death that John's foul war, John's long echo also sings art.

—Recouperated from the German by Ulysse Lhuilier
When night comes, his craft rolls as he processes the spleen. This Building is worst and older than death, odder than unused sins. Art is as elementary as flesh and truth. Abstract concepts die at night in churches, die for green sins.

Suffering, death are veil of inner nights. Vizualize weirder toes direct from wise moguls and builders. Ciment signifies a detailed death. And indeed, undoubtedly, it signifies truth. Sigh such death that John's foul war, John's long echo also sings art.

—Recouperated from the German by Ulysse Lhuilier
## 1.3 Mess(e)

Beginning with a text or a single word, players translate experimentally in turn, each time uttering the word aloud (all kinds of utterances should be encouraged: speaking, whispering, singing, yelling, crying, growling, etc.). Players can prepare these translations before the mess(e) or it can be done spontaneously. To aid groups with little musical aplomb, a workshop guide can repeat the start word continuously as a rhythmic undertone. The other players are likewise encouraged to give a rhythmic/melodic aspect to their translations, as well as to repeat them, and other players' translations, embracing interruption, polyphony and layering. The goal is cacophony.

### Materials

* A voice or voices.

* Certain variations require a giving text, others do not. The giving text may be a single word or phrase.

* A performance space or a recording interface that allows for layering multiple voice tracks.

### Players

* This procedure seeks choral polyphony; it is thus ideal to carry it out in a group setting, although one voice can be used and multiplied to create a similar effect.

### Steps

* Player 1 begins with a word or a short phrase. Repeat it in a rhythmic or sung fashion, creating a beat or grounding pedal tone (think ABBA's "Take a chance take a chance take a take a chance").

* Player 2 translates or translucinates this word or short phrase and repeats it likewise in a rhythmic or sung fashion, layering onto player 1's segment.

* Player 3 translates player 2 and so on and so forth until all the players have layered their voices.

* When the mess(e) returns to player 1, player 1 may stop or continue translating on from the final player, and then player 2 and so on, indefinitely.

* The sound x-x-x can be repeated by Player 1 to stop the mess(e).
## 1.3 Mess(e)

Beginning with a text or a single word, players translate experimentally in turn, each time uttering the word aloud (all kinds of utterances should be encouraged: speaking, whispering, singing, yelling, crying, growling, etc.). Players can prepare these translations before the mess(e) or it can be done spontaneously. To aid groups with little musical aplomb, a workshop guide can repeat the start word continuously as a rhythmic undertone. The other players are likewise encouraged to give a rhythmic/melodic aspect to their translations, as well as to repeat them, and other players' translations, embracing interruption, polyphony and layering. The goal is cacophony.

### Materials

* A voice or voices.

* Certain variations require a giving text, others do not. The giving text may be a single word or phrase.

* A performance space or a recording interface that allows for layering multiple voice tracks.

### Players

* This procedure seeks choral polyphony; it is thus ideal to carry it out in a group setting, although one voice can be used and multiplied to create a similar effect.

### Steps

* Player 1 begins with a word or a short phrase. Repeat it in a rhythmic or sung fashion, creating a beat or grounding pedal tone (think ABBA's "Take a chance take a chance take a take a chance").

* Player 2 translates or translucinates this word or short phrase and repeats it likewise in a rhythmic or sung fashion, layering onto player 1's segment.

* Player 3 translates player 2 and so on and so forth until all the players have layered their voices.

* When the mess(e) returns to player 1, player 1 may stop or continue translating on from the final player, and then player 2 and so on, indefinitely.

* The sound x-x-x can be repeated by Player 1 to stop the mess(e).
## Variations and examples

The mess(e) is a form that has followed me for many years. And so I will give the variations and examples in the form of a timeline that should tell a kind of story, as well as present several ways in which the form of the mess(e) can be used as a creative writing, translation or reading exercise.

1. 2010: *Champs Requis/Required Fields*.

In this version of the mess(e) form *avant la lettre*, I used my visa application form as a giving text. In this variation, a word or a phrase is not translated and repeated, but rather, segments from the given text are broken up, taken apart and translated, chasing each other in a round to give a funhouse stereoscopic choral of the original text. The lines chase each other between English and French across five voices. No recording exists.

2. 2012: Festival Masnaâ, mess(e) lead by members of the Laboratoire du contemporain: https://recitsdansent-blog.tumblr.com/post/49844124669/transcript-de-messe-performance.

This making of a mess(e) was the first to be called by its name, the brainchild of Heta Rundgren. Here, four segments in Arabic, French, Finnish and Spanish were repeated rhythmically by four large groups of people spaced out across a large hall. Four single voices sang over the group chants to translate in gradual modulations.

3. 2014: *Les quarante vies du Centre d'Études Féminines et d'Études de Genre à Paris 8, Vincennes Saint-Denis*.

For this event, the source text used was Hélène Cixous's *Le Rire de la Méduse*, which gave way to an experiment with the mess(e) as a form of performative reading, where phrases or words from the text (*sexe*, *oiseau*, *ille*) were materialized and spoken or sung in their original or in translation. This can be adapted for a classroom or workshop setting as a way of opening onto a dense text, by asking participants to speak, whisper, shout or sing (if they are brave) parts of the text that interest or trouble them.

4. 2014: La Fhêta.

A mess(e) is also a wonderful collective birthday gift on a budget. In 2014, for Heta Rundgren's birthday, a mess(e) was performed in a gallery in the 13th arrondissement of Paris, where bits of *things Heta says*, her particular expressions and inflections, sound bites or names of intellectual notions she invented were repeated in the prosodic fashion of the mess(e).
## Variations and examples

The mess(e) is a form that has followed me for many years. And so I will give the variations and examples in the form of a timeline that should tell a kind of story, as well as present several ways in which the form of the mess(e) can be used as a creative writing, translation or reading exercise.

1. 2010: *Champs Requis/Required Fields*.

In this version of the mess(e) form *avant la lettre*, I used my visa application form as a giving text. In this variation, a word or a phrase is not translated and repeated, but rather, segments from the given text are broken up, taken apart and translated, chasing each other in a round to give a funhouse stereoscopic choral of the original text. The lines chase each other between English and French across five voices. No recording exists.

2. 2012: Festival Masnaâ, mess(e) lead by members of the Laboratoire du contemporain: https://recitsdansent-blog.tumblr.com/post/49844124669/transcript-de-messe-performance.

This making of a mess(e) was the first to be called by its name, the brainchild of Heta Rundgren. Here, four segments in Arabic, French, Finnish and Spanish were repeated rhythmically by four large groups of people spaced out across a large hall. Four single voices sang over the group chants to translate in gradual modulations.

3. 2014: *Les quarante vies du Centre d'Études Féminines et d'Études de Genre à Paris 8, Vincennes Saint-Denis*.

For this event, the source text used was Hélène Cixous's *Le Rire de la Méduse*, which gave way to an experiment with the mess(e) as a form of performative reading, where phrases or words from the text (*sexe*, *oiseau*, *ille*) were materialized and spoken or sung in their original or in translation. This can be adapted for a classroom or workshop setting as a way of opening onto a dense text, by asking participants to speak, whisper, shout or sing (if they are brave) parts of the text that interest or trouble them.

4. 2014: La Fhêta.

A mess(e) is also a wonderful collective birthday gift on a budget. In 2014, for Heta Rundgren's birthday, a mess(e) was performed in a gallery in the 13th arrondissement of Paris, where bits of *things Heta says*, her particular expressions and inflections, sound bites or names of intellectual notions she invented were repeated in the prosodic fashion of the mess(e).
5. 2015: Outransmess(e): https://remue.net/outransmess-e-un-poeme-sonore-et-choral.

The Outransmess(e) is the version that comes closest to the one described in the steps above. It was recorded during a 2015 Outranspo residency at the château des Hommeaux in Anjou. The starting segment, “on/off,” was given by yours truly and translated in mess(e) fashion progressively by the Outranspians present. The recording and production were done by myself and Santiago Artozqui. The recording was put on display and played on loop during the 2022 *Experiential Translation* exhibition in Ledbury, England, curated by Ricarda Vidal and Madeleine Campbell.

6. 2016: “Mass Transit,” a collection of sentences in an invented extraterrestrial language: https://lilyrobertfoley.bandcamp.com/album/mass-transit.

These recordings represent the responses by a fictional extraterrestrial community to questions asked by a researcher in an unpublished novel, *Glyphmachine*. They are an attempt to create a language that would be purely performative, a play on the material of signifiers with no signified. As such, they fall into the category of the Outranspian constraint “neotranslation” (term coined by Pablo Martín Ruiz).

<figure><img src="image_4.png" /></figure>

* **Neotranslation** (span: neotraducción; fr: néotraduction): a translation made towards a made up language, created specifically in order to make that translation.
5. 2015: Outransmess(e): https://remue.net/outransmess-e-un-poeme-sonore-et-choral.

The Outransmess(e) is the version that comes closest to the one described in the steps above. It was recorded during a 2015 Outranspo residency at the château des Hommeaux in Anjou. The starting segment, “on/off,” was given by yours truly and translated in mess(e) fashion progressively by the Outranspians present. The recording and production were done by myself and Santiago Artozqui. The recording was put on display and played on loop during the 2022 *Experiential Translation* exhibition in Ledbury, England, curated by Ricarda Vidal and Madeleine Campbell.

6. 2016: “Mass Transit,” a collection of sentences in an invented extraterrestrial language: https://lilyrobertfoley.bandcamp.com/album/mass-transit.

These recordings represent the responses by a fictional extraterrestrial community to questions asked by a researcher in an unpublished novel, *Glyphmachine*. They are an attempt to create a language that would be purely performative, a play on the material of signifiers with no signified. As such, they fall into the category of the Outranspian constraint “neotranslation” (term coined by Pablo Martín Ruiz).

<figure><img src="image_4.png" /></figure>

* **Neotranslation** (span: neotraducción; fr: néotraduction): a translation made towards a made up language, created specifically in order to make that translation.
This language is constructed by extracting rhythmic or melodic segments from the original sentence without taking the original word unit separations into account. The different segments are sung/chanted in repetition and layered in the style of a mess(e). The results represent the purely musical and material responses of the extraterrestrials to the questions.

7. 2017: "Entrelangue" performance by myself and Lena at the conference Poetry in Expanded Translation II on Intersemiotic Translation, organized by Jennifer K Dick.

My goal in this mess(e) was the multilingual renaming of different objects used during a drag performance by Lena (Christophe Beyler). As Lena presented different items, I chanted new names for each (e.g.: "globe de bloodleather," "heedle harm," "popula miniliths," "cacamom," "tabulolololo," "patronade," "nom de pale," etc.), while separating the audience into smaller groups. I tied red yarn around each smaller group as I taught them the chant to rename the objects, and encouraged them to continue chanting as I moved onto the next group. In the end I cut each yarn and let them free-flow. Some people kept chanting and many others did not.

8. The present: Workshops and classrooms.

The form of the mess(e) reappears regularly in workshops and classes that I lead in a free-form way that is also inspired by a 2014 Red Rover reading series event in Chicago organized by Jennifer Karmin and Laura Goldstein, following a form they called the "Rumble." The idea of a Rumble is an anarchic reading where there is no prearranged order or closed list of readers. Any participant is invited to speak a text within a time limit, following organically, intuitively, sometimes awkwardly, one speaker after another. It creates a collective space between apprehension and trust where the group can sort out a rhythm and adjust for the different voices. When I use this form as a workshop or classroom mess(e), I also invite participants to repeat segments they have written, translated or found in giving texts in the rhythmic/melodic style of the mess(e), or to answer and repeat segments spoken by others.
This language is constructed by extracting rhythmic or melodic segments from the original sentence without taking the original word unit separations into account. The different segments are sung/chanted in repetition and layered in the style of a mess(e). The results represent the purely musical and material responses of the extraterrestrials to the questions.

7. 2017: "Entrelangue" performance by myself and Lena at the conference Poetry in Expanded Translation II on Intersemiotic Translation, organized by Jennifer K Dick.

My goal in this mess(e) was the multilingual renaming of different objects used during a drag performance by Lena (Christophe Beyler). As Lena presented different items, I chanted new names for each (e.g.: "globe de bloodleather," "heedle harm," "popula miniliths," "cacamom," "tabulolololo," "patronade," "nom de pale," etc.), while separating the audience into smaller groups. I tied red yarn around each smaller group as I taught them the chant to rename the objects, and encouraged them to continue chanting as I moved onto the next group. In the end I cut each yarn and let them free-flow. Some people kept chanting and many others did not.

8. The present: Workshops and classrooms.

The form of the mess(e) reappears regularly in workshops and classes that I lead in a free-form way that is also inspired by a 2014 Red Rover reading series event in Chicago organized by Jennifer Karmin and Laura Goldstein, following a form they called the "Rumble." The idea of a Rumble is an anarchic reading where there is no prearranged order or closed list of readers. Any participant is invited to speak a text within a time limit, following organically, intuitively, sometimes awkwardly, one speaker after another. It creates a collective space between apprehension and trust where the group can sort out a rhythm and adjust for the different voices. When I use this form as a workshop or classroom mess(e), I also invite participants to repeat segments they have written, translated or found in giving texts in the rhythmic/melodic style of the mess(e), or to answer and repeat segments spoken by others.
## 2.1 Renaming

With a workshop guide sensitive to the delicate politics of naming, players are invited to translate their own names (this works well as an icebreaker with groups who do not know one another), or one another's names (for groups who know one another well), using Outranspian strategies.

### Materials

* Names.

* Something to write and play on.

### Players

* I often use this procedure as an icebreaker in experimental translation workshops, and every year I begin my master's translation seminar with this exercise. But technically, this procedure can be carried out by any number of players.

### Steps

Renaming is powerful and delicate. For this reason, this first variation works best when players do not know one another ahead of time. This variation also works better when players do not yet know each other's names (I also for this reason encourage them to keep their names secret until the end of the exercise), and is a fun and engaging way for players in a workshop or classroom setting to learn each other's names.
## 2.1 Renaming

With a workshop guide sensitive to the delicate politics of naming, players are invited to translate their own names (this works well as an icebreaker with groups who do not know one another), or one another's names (for groups who know one another well), using Outranspian strategies.

### Materials

* Names.

* Something to write and play on.

### Players

* I often use this procedure as an icebreaker in experimental translation workshops, and every year I begin my master's translation seminar with this exercise. But technically, this procedure can be carried out by any number of players.

### Steps

Renaming is powerful and delicate. For this reason, this first variation works best when players do not know one another ahead of time. This variation also works better when players do not yet know each other's names (I also for this reason encourage them to keep their names secret until the end of the exercise), and is a fun and engaging way for players in a workshop or classroom setting to learn each other's names.
* First I present six translations from English into French (but this could be done with any language pair and works in a multilingual classroom) of my own first name, using the Outranspo procedures originally invented by Pablo Martín Ruiz.

1. Potpourri (Antotranslation: translating by the opposite).

2. La lecture au lit (Microtranslation: translating morphemes, characters or radicals, the smaller units of a larger word).

3. Fleur (Endotranslation: translating by a summary of the original text).

4. Une entité fleurie avec de nombreuses variétés qui peut vivre dans un jardin ou sur un étang, dans un pot, dans un vase sur une table ou représentée sur un motif de tissu ou dans une peinture ou même cachée derrière une oreille ou dans un nœud de cheveux.¹ (Ekphrasotranslation: translating with definitions or explanations for each word in the original).

5. Blanche (Limentranslation: translating at the limits of a word's meaning).

6. Lie lit (Soundtranslation: translating the sound and not the sense of a word).

* I use each translation of my own name to show in detail what each Outranspian procedure entails.

* Players are then invited to carry out as many of these procedures as they can, or feel inspired to undertake, with their first and/or last name. This can be quite varied, with some students taking to the exercise immediately and producing six translations of their names. Others will only produce one or two. This is also dependent on language pair (and on the name), as we'll see in the examples given for the second variation. Some names are easier to translate than others (mine is particularly easy).

* Going around the room, players read out their translations, along with the Outranspian procedure concerned.

* In turn, other players try to guess the presenting player's name from the Outranspian procedure (for this you need the languages used to be shared among multiple players).
* First I present six translations from English into French (but this could be done with any language pair and works in a multilingual classroom) of my own first name, using the Outranspo procedures originally invented by Pablo Martín Ruiz.

1. Potpourri (Antotranslation: translating by the opposite).

2. La lecture au lit (Microtranslation: translating morphemes, characters or radicals, the smaller units of a larger word).

3. Fleur (Endotranslation: translating by a summary of the original text).

4. Une entité fleurie avec de nombreuses variétés qui peut vivre dans un jardin ou sur un étang, dans un pot, dans un vase sur une table ou représentée sur un motif de tissu ou dans une peinture ou même cachée derrière une oreille ou dans un nœud de cheveux.¹ (Ekphrasotranslation: translating with definitions or explanations for each word in the original).

5. Blanche (Limentranslation: translating at the limits of a word's meaning).

6. Lie lit (Soundtranslation: translating the sound and not the sense of a word).

* I use each translation of my own name to show in detail what each Outranspian procedure entails.

* Players are then invited to carry out as many of these procedures as they can, or feel inspired to undertake, with their first and/or last name. This can be quite varied, with some students taking to the exercise immediately and producing six translations of their names. Others will only produce one or two. This is also dependent on language pair (and on the name), as we'll see in the examples given for the second variation. Some names are easier to translate than others (mine is particularly easy).

* Going around the room, players read out their translations, along with the Outranspian procedure concerned.

* In turn, other players try to guess the presenting player's name from the Outranspian procedure (for this you need the languages used to be shared among multiple players).
Examples

The following examples are taken from a small experimental translation
workshop that met each week after a first-year master's course translating
French into English in the Université Paul Valéry Montpellier 3's Applied
Languages translator training program in 2021.

1. Liu Buyun

<figure><img src="image_5.png" /></figure>

<figure><img src="image_6.png" /></figure>
Examples

The following examples are taken from a small experimental translation
workshop that met each week after a first-year master's course translating
French into English in the Université Paul Valéry Montpellier 3's Applied
Languages translator training program in 2021.

1. Liu Buyun

<figure><img src="image_5.png" /></figure>

<figure><img src="image_6.png" /></figure>
<figure><img src="image_7.png" /></figure>

My name is made up of three Chinese characters, as you can see above.

These are three very simple Chinese characters. The first one is my last name. Unlike the western way of writing names, in Chinese the surname comes first and the given name comes second. So you can just call me Buyun. This is my name.

These are two characters that are commonly used in Chinese. They are very simple.

步 (bu) means to walk, or we say footsteps.

云 (yun) means white clouds in the sky.

Chinese names all contain the blessing of family to children, for example, my name. When people see my name, they will know that her parents wish her success and success. You can also understand it as walking to the clouds.

There is some interesting knowledge that I found, when I researched how to explain my name in English that might help you understand.

A more accurate way to define Chinese characters is to call them “ideograms” (ideographical writing system), as opposed to “phonetic characters” such as in English and French.

Chinese is a language where, when we see a word, we can find or get the meaning, whereas in English or French, those are the languages that
<figure><img src="image_7.png" /></figure>

My name is made up of three Chinese characters, as you can see above.

These are three very simple Chinese characters. The first one is my last name. Unlike the western way of writing names, in Chinese the surname comes first and the given name comes second. So you can just call me Buyun. This is my name.

These are two characters that are commonly used in Chinese. They are very simple.

步 (bu) means to walk, or we say footsteps.

云 (yun) means white clouds in the sky.

Chinese names all contain the blessing of family to children, for example, my name. When people see my name, they will know that her parents wish her success and success. You can also understand it as walking to the clouds.

There is some interesting knowledge that I found, when I researched how to explain my name in English that might help you understand.

A more accurate way to define Chinese characters is to call them “ideograms” (ideographical writing system), as opposed to “phonetic characters” such as in English and French.

Chinese is a language where, when we see a word, we can find or get the meaning, whereas in English or French, those are the languages that
when we look at a word, we try to pronounce the word. So pictographs are
only one of the expressions of meaning and there are 6 different expres-
sions: 象形、指事、会意、形声、转注、假借。

2. 何思宇 (He Siyu)

思 (sī)

<figure><img src="image_8.png" /></figure>

• Microtranslation:

The upper part “田” is derived from the character “田”

“冂” consists of two parts: “O” means the head, “×” is the symbol of where the forehead is.

“冂” means fontanel (gap between the bones of an infant’s skull)

The lower part “心” means the heart.

“田” + “心” = “思,” which means what you think and how you feel.

• Ekphrasotranslation:

1. Think, consider: to have an opinion or an idea

2. Long for: to desire greatly

3. Lament: a crying out in grief

4. Thought: the act or product of thinking

5. Plot: the cause-and-effect sequence of main events in a story

• Soundtranslation

Sound of a snake.

宇 (yǔ)

<figure><img src="image_9.png" /></figure>
when we look at a word, we try to pronounce the word. So pictographs are
only one of the expressions of meaning and there are 6 different expres-
sions: 象形、指事、会意、形声、转注、假借。

2. 何思宇 (He Siyu)

思 (sī)

<figure><img src="image_8.png" /></figure>

• Microtranslation:

The upper part “田” is derived from the character “田”

“冂” consists of two parts: “O” means the head, “×” is the symbol of where the forehead is.

“冂” means fontanel (gap between the bones of an infant’s skull)

The lower part “心” means the heart.

“田” + “心” = “思,” which means what you think and how you feel.

• Ekphrasotranslation:

1. Think, consider: to have an opinion or an idea

2. Long for: to desire greatly

3. Lament: a crying out in grief

4. Thought: the act or product of thinking

5. Plot: the cause-and-effect sequence of main events in a story

• Soundtranslation

Sound of a snake.

宇 (yǔ)

<figure><img src="image_9.png" /></figure>
### Microtranslation:

The upper part: “r→,” a radical as well as a non-common Chinese character, means the house or the coverage

The lower part: “于,” a preposition which means in/at/for/to/from/ than/by...

### Ekphrasotranslation:

1. Eaves: the edge of the roof

2. Dwelling: where someone lives

3. Universe: all of space and time and their contents, including planets, stars, galaxies and all their matters

4. Territory: an area of land under the jurisdiction of a state

5. Appearance: the way someone or something looks

### 思宇 (sīyǔ)

Endotranslation: knowledgeable with inclusiveness and openness

Ekphrasotranslation: a mind as vast as the universe

### 何思宇 (last name + first name):

Soundtranslation: sounds like “reçu”

### 3. 生悦 (Sheng Yue)

#### The meaning of my family name (生)

• Antotranslation (antonym): death/cooked.

• Ekphrasotranslation (description): the ability to breathe, grow, reproduce, etc. which people, animals and plants have before they die.

#### The meaning of my given name (悦)

• Antotranslation (antonym): grief/sorrow.

• Ekphrasotranslation (description): feeling or giving pleasure, the state of being content.
### Microtranslation:

The upper part: “上→下,” a radical as well as a non-common Chinese character, means the house or the coverage

The lower part: “于,” a preposition which means in/at/for/to/from/ than/by...

### Ekphrasotranslation:

1. Eaves: the edge of the roof

2. Dwelling: where someone lives

3. Universe: all of space and time and their contents, including planets, stars, galaxies and all their matters

4. Territory: an area of land under the jurisdiction of a state

5. Appearance: the way someone or something looks

### 思宇 (sīyǔ)

Endotranslation: knowledgeable with inclusiveness and openness

Ekphrasotranslation: a mind as vast as the universe

### 何思宇 (last name + first name):

Soundtranslation: sounds like “reçu”

### 3. 生悦 (Sheng Yue)

#### The meaning of my family name (生)

• Antotranslation (antonym): death/cooked.

• Ekphrasotranslation (description): the ability to breathe, grow, reproduce, etc. which people, animals and plants have before they die.

#### The meaning of my given name (悦)

• Antotranslation (antonym): grief/sorrow.

• Ekphrasotranslation (description): feeling or giving pleasure, the state of being content.
## 4. 科铭 (Yi Keming)

<table><thead><tr><th></th><th>科</th><th>铭</th></tr></thead><tbody><tr><td>Ekphraso</td><td>Science, a way to know the world</td><td>Memorize, learn something carefully so that you can remember it exactly</td></tr><tr><td>Micro</td><td>禾——grain 斗——fight</td><td>The left part is a radical which means metal/gold 名——name</td></tr><tr><td>Anto</td><td>superstition</td><td>forget</td></tr><tr><td>Sono</td><td colspan="2">My whole name is 易科铭 (Yi Keming); if we add a word 星 (xing, which means star) at the end, we will get 一颗明星 (yi ke ming xing) meaning “a bright star,” however, it is just a homophone, making it easier for Chinese-speaking people to remember my name.</td></tr></tbody></table>

### Variation

* In this version, students work together to translate the Outranspian derivations of their names either back into the starting language, or into a third language.

* *This should be done in a safe space with players who know and trust each other, since, as mentioned above, naming and renaming can be very powerful intimate and political acts.*

### Examples

* Working together, Liu Buyun, He Siyu, Sheng Yue and Yi Keming carried out translations into Chinese for three fellow players with French names.

### 1. Maélis:

a) Retranslation of Maélis's microsoundtranslation of her own name into three syllables in French: *ma* (possessive adjective), *et* (coordinating conjunction), *lys* (flower, used as a royal pattern, symbol of royalty and majestic allure).²

* 马 (Ma: horse; a common surname, although not the same tone),
## 4. 科铭 (Yi Keming)

<table><thead><tr><th></th><th>科</th><th>铭</th></tr></thead><tbody><tr><td>Ekphraso</td><td>Science, a way to know the world</td><td>Memorize, learn something carefully so that you can remember it exactly</td></tr><tr><td>Micro</td><td>禾——grain 斗——fight</td><td>The left part is a radical which means metal/gold 名——name</td></tr><tr><td>Anto</td><td>superstition</td><td>forget</td></tr><tr><td>Sono</td><td colspan="2">My whole name is 易科铭 (Yi Keming); if we add a word 星 (xing, which means star) at the end, we will get 一颗明星 (yi ke ming xing) meaning “a bright star,” however, it is just a homophone, making it easier for Chinese-speaking people to remember my name.</td></tr></tbody></table>

### Variation

* In this version, students work together to translate the Outranspian derivations of their names either back into the starting language, or into a third language.

* *This should be done in a safe space with players who know and trust each other, since, as mentioned above, naming and renaming can be very powerful intimate and political acts.*

### Examples

* Working together, Liu Buyun, He Siyu, Sheng Yue and Yi Keming carried out translations into Chinese for three fellow players with French names.

### 1. Maélis:

a) Retranslation of Maélis's microsoundtranslation of her own name into three syllables in French: ma (possessive adjective), et (coordinating conjunction), lys (flower, used as a royal pattern, symbol of royalty and majestic allure).²

* 马 (Ma: horse; a common surname, although not the same tone),
* 与 (Yu: and or with; proximity) or, 羽 (Yu: badminton birdie, feather), 瑜 (Yu: jade; a famous Chinese general wears this name and so the character also can mean intelligence) or, 媛 (Ai: your beloved daughter; shows respect, shows that she is loved by all).

* 莉 (Li: Lily flower, signifying purity).

b) Retranslation of Maélis's limentranslation of her name, which means "prince" in Breton.

* 王 (Wang: prince)

## 2. Léa:

Retranslation into three syllables of Léa's microsoundtranslation of her own name into two French syllables.

* 李 (Li: very popular name in Chinese)

* 尔 (Er: someone who is gentle and erudite)

* 雅 (Ya: elegance, beauty, usually used for girls)

## 3. Virginie:

Microtranslation of Virginie's name into three French syllables, the second of which is a translation of Virginie's limentranslation of her own name into French, meaning *jeune fille pure* (young, pure girl, virginal).

* 韦 (Wei: popular name in Chinese) or, 维 (Wei: unique. Rarely used, and is pronounced using a different tone from the first Wei).

* 贞 (Zhen: purity) or 蓁 (Zhen: peach flower, used as a metaphor for a beautiful, kind woman. From a poem about a girl waiting to be married, it can also be used to describe someone waiting in anticipation).

* 逸 (Yi: Happiness and peace, outstanding) or, 一 (Yi: number one, first, unique. Different character but same tone as the first Yi).

## Extension

This exercise can be expanded to ritual form, by adapting Starhawk's "Group Bonding Exercise" from *Dreaming the Dark*:

(This works best in units of four to eight people.) Sit comfortably in a circle. Ground, and center, and breathe together. If you like, do Tree of Life [...]
* 与 (Yu: and or with; proximity) or, 羽 (Yu: badminton birdie, feather), 瑜 (Yu: jade; a famous Chinese general wears this name and so the character also can mean intelligence) or, 媛 (Ai: your beloved daughter; shows respect, shows that she is loved by all).

* 莉 (Li: Lily flower, signifying purity).

b) Retranslation of Maélis's limentranslation of her name, which means "prince" in Breton.

* 王 (Wang: prince)

## 2. Léa:

Retranslation into three syllables of Léa's microsoundtranslation of her own name into two French syllables.

* 李 (Li: very popular name in Chinese)

* 尔 (Er: someone who is gentle and erudite)

* 雅 (Ya: elegance, beauty, usually used for girls)

## 3. Virginie:

Microtranslation of Virginie's name into three French syllables, the second of which is a translation of Virginie's limentranslation of her own name into French, meaning *jeune fille pure* (young, pure girl, virginal).

* 韦 (Wei: popular name in Chinese) or, 维 (Wei: unique. Rarely used, and is pronounced using a different tone from the first Wei).

* 贞 (Zhen: purity) or 蓁 (Zhen: peach flower, used as a metaphor for a beautiful, kind woman. From a poem about a girl waiting to be married, it can also be used to describe someone waiting in anticipation).

* 逸 (Yi: Happiness and peace, outstanding) or, 一 (Yi: number one, first, unique. Different character but same tone as the first Yi).

## Extension

This exercise can be expanded to ritual form, by adapting Starhawk's "Group Bonding Exercise" from *Dreaming the Dark*:

> (This works best in units of four to eight people.) Sit comfortably in a circle. Ground, and center, and breathe together. If you like, do Tree of Life [...]
Go around the circle clockwise. Each person says her or his name, and the group repeats it.

The name can be spoken or sung. The group may speak it once or three times, and may sing it back to the person.

Now everyone closes their eyes. Again, go around the circle. Each person says his/her name, and the group repeats it. (Starhawk 108)

In Starhawk's bonding exercise, players are invited here to visualize each person as they say their name, picture their energy and then speak out loud the quality or image they feel or see as they go around the circle again.

To adapt this to the renaming translation procedure, players are invited instead to translate the name, using one of the Outranspian procedures (soundtranslation, for example), or choosing among them if they are familiar enough with the Outranspian procedures ahead of time. Alternatively, the renaming can be done ahead of time in a workshop setting and the new names spoken aloud at this point in the bonding exercise. Or, a pause may be set for writing.

## Variation

A variation on hommeauxtranslation that is available only to Chinese speakers are poems that play off all the tonal variations of one phonetic unit. Virginie told us about a love poem she wrote in Chinese where she soundtranslated the name of her object of affection into all corresponding tonal variations using the same base sound. Keming then told us about a famous Chinese poem that does something similar: “施氏食獅史” (“Lion-Eating Poet in the Stone Den”).³ You can read a breakdown of the poem as well as the Outranspo's translation in procedure 5.1.
Go around the circle clockwise. Each person says her or his name, and the group repeats it.

The name can be spoken or sung. The group may speak it once or three times, and may sing it back to the person.

Now everyone closes their eyes. Again, go around the circle. Each person says his/her name, and the group repeats it. (Starhawk 108)

In Starhawk's bonding exercise, players are invited here to visualize each person as they say their name, picture their energy and then speak out loud the quality or image they feel or see as they go around the circle again.

To adapt this to the renaming translation procedure, players are invited instead to translate the name, using one of the Outranspian procedures (soundtranslation, for example), or choosing among them if they are familiar enough with the Outranspian procedures ahead of time. Alternatively, the renaming can be done ahead of time in a workshop setting and the new names spoken aloud at this point in the bonding exercise. Or, a pause may be set for writing.

## Variation

A variation on hommeauxtranslation that is available only to Chinese speakers are poems that play off all the tonal variations of one phonetic unit. Virginie told us about a love poem she wrote in Chinese where she soundtranslated the name of her object of affection into all corresponding tonal variations using the same base sound. Keming then told us about a famous Chinese poem that does something similar: “施氏食獅史” (“Lion-Eating Poet in the Stone Den”).³ You can read a breakdown of the poem as well as the Outranspo's translation in procedure 5.1.
## 2.2 Choose your own translation (syntactic translation) I

Using a collection of all the translations in a bilingual dictionary (such as wordreference.com) for each single word in a departure text, players are invited to trace their way back through the text by choosing one translation for each word—and not the one that corresponds to the original meaning—sticking to the order of the words in the departure text.

* The following is an experiment that I carried out using a sentence from P. T. Greach and Max Black's translation of Gottlob Frege because it is the same text Craig Dworkin uses in his *DEF*, which adopts the Oulipian strategy of replacing each word in a sentence with its dictionary definition, and then replacing each word in the definitions with the definitions of those words, and so on and so forth. Dwokin's experiment is representative of a strong penchant in experimental translation for dictionary play, along with Jackson Mac Low's French sonnets and Tim Atkins's Word Search #1.

### Materials

* A short source text.

* Wordreference.com.

### Players

* This can be done alone, or the word lists presented to players without any prior knowledge of the source text.

### Steps

* Select one word from each list of translations, without changing the order of the words. This can be repeated as many times as is necessary or possible. Adjust for gender as needed.

### Examples

* List of wordreference.com translations for each of the words contained in P. T. Greach and Max Black's translation of Gottlob Frege's sentence:

**Original:** On the introduction of a name for something simple, a definition is not possible; there is nothing for it but to lead the reader or hearer, by means of hints, to understand the words as is intended.
## 2.2 Choose your own translation (syntactic translation) I

Using a collection of all the translations in a bilingual dictionary (such as wordreference.com) for each single word in a departure text, players are invited to trace their way back through the text by choosing one translation for each word—and not the one that corresponds to the original meaning—sticking to the order of the words in the departure text.

* The following is an experiment that I carried out using a sentence from P. T. Greach and Max Black's translation of Gottlob Frege because it is the same text Craig Dworkin uses in his *DEF*, which adopts the Oulipian strategy of replacing each word in a sentence with its dictionary definition, and then replacing each word in the definitions with the definitions of those words, and so on and so forth. Dwokin's experiment is representative of a strong penchant in experimental translation for dictionary play, along with Jackson Mac Low's French sonnets and Tim Atkins's Word Search #1.

### Materials

* A short source text.

* Wordreference.com.

### Players

* This can be done alone, or the word lists presented to players without any prior knowledge of the source text.

### Steps

* Select one word from each list of translations, without changing the order of the words. This can be repeated as many times as is necessary or possible. Adjust for gender as needed.

### Examples

* List of wordreference.com translations for each of the words contained in P. T. Greach and Max Black's translation of Gottlob Frege's sentence:

**Original:** On the introduction of a name for something simple, a definition is not possible; there is nothing for it but to lead the reader or hearer, by means of hints, to understand the words as is intended.
1. allumé, sur, dessus, au bord de, dans, selon, suivant, pour, à, en, le

2. le, la, les, l'

3. introduction, lancement, présentation, initiation, insertion, recommandation

4. de, en, à, moins, d'entre, parmi, au sujet de, à propos de

5. un, une, les, certain, la, R, par, le

6. nom, prénom, patronyme, appeler, nommer, baptiser, mentionner, évoquer, citer, réputation, célébrité, personnalité, vedette, notoriété, renommée, connu, réputé, de marque, désigner, qualifier, dire, accuser, incriminer

7. pour, servir à, pour ma part, au goût de, pendant, depuis, à la place de, en faveur de, à cause de, en raison de, car, parce que, afin de, à destination de, de, malgré, à, que, sur

8. quelque chose, quelqu'un

9. facile, élémentaire, enfantin, simplet, simple

10. un, une, les, certain, la, R, par, le

11. définition, netteté, résolution, description, définition

12. est, a, se tient, fait, coûte, soit, se sent*

13. ne... pas, ou pas*
* these two to be taken as one

14. possible, probable, crédible, éventuel, envisageable, faisable, réalisable
1. allumé, sur, dessus, au bord de, dans, selon, suivant, pour, à, en, le

2. le, la, les, l'

3. introduction, lancement, présentation, initiation, insertion, recommandation

4. de, en, à, moins, d'entre, parmi, au sujet de, à propos de

5. un, une, les, certain, la, R, par, le

6. nom, prénom, patronyme, appeler, nommer, baptiser, mentionner, évoquer, citer, réputation, célébrité, personnalité, vedette, notoriété, renommée, connu, réputé, de marque, désigner, qualifier, dire, accuser, incriminer

7. pour, servir à, pour ma part, au goût de, pendant, depuis, à la place de, en faveur de, à cause de, en raison de, car, parce que, afin de, à destination de, de, malgré, à, que, sur

8. quelque chose, quelqu'un

9. facile, élémentaire, enfantin, simplet, simple

10. un, une, les, certain, la, R, par, le

11. définition, netteté, résolution, description, définition

12. est, a, se tient, fait, coûte, soit, se sent*

13. ne... pas, ou pas*
* these two to be taken as one

14. possible, probable, crédible, éventuel, envisageable, faisable, réalisable
15. là, là-bas, il, là-dessus, sur ce point, voici, voilà,

16. est, a, se tient, fait, coûte, soit, se sent

17. rien, zéro, vide, néant, nul, moins que rien,

18. pour, servir à, pour ma part, au goût de, pendant, depuis, à la place de, en faveur de, à cause de, en raison de, car, parce que, afin de, à destination de, de, malgré, à, que, sur

19. il, elle, le, la, l', lui, ça, ce, branché, chat, loup, ils, elles, le meilleur, le truc, un truc

20. mais, sauf, hormis, à part, excepté, ne... que, seulement, que, mais vraiment

21. à, vers, en, sur, de, contre, pour, fermer, avec, envers, jusqu'à, quant à, en ce qui concerne, concernant, pour ce qui est de, dans, moins

22. conduire, guider, diriger, mener, causer, provoquer, amener, vivre, principal, premier, première, en tête, en l'air, plomb, mine, interligne, avance, piste, indice, introduction, exemple, direction, main, tour, première carte, fil, câble, laisse, client potentiel, vente potentielle, passer devant, attaquer, influencer, démarrer par, viser, faire avancer, devancer, démarrer

23. le, la, les, l'

24. lecteur, lectrice, liseuse, relecteur, livre de lecture, maître de conférences

25. ou, ou bien, ou encore, soit... soit, ni... ni, ou alors

26. auditeur, auditrice
15. là, là-bas, il, là-dessus, sur ce point, voici, voilà,

16. est, a, se tient, fait, coûte, soit, se sent

17. rien, zéro, vide, néant, nul, moins que rien,

18. pour, servir à, pour ma part, au goût de, pendant, depuis, à la place de, en faveur de, à cause de, en raison de, car, parce que, afin de, à destination de, de, malgré, à, que, sur

19. il, elle, le, la, l', lui, ça, ce, branché, chat, loup, ils, elles, le meilleur, le truc, un truc

20. mais, sauf, hormis, à part, excepté, ne... que, seulement, que, mais vraiment

21. à, vers, en, sur, de, contre, pour, fermer, avec, envers, jusqu'à, quant à, en ce qui concerne, concernant, pour ce qui est de, dans, moins

22. conduire, guider, diriger, mener, causer, provoquer, amener, vivre, principal, premier, première, en tête, en l'air, plomb, mine, interligne, avance, piste, indice, introduction, exemple, direction, main, tour, première carte, fil, câble, laisse, client potentiel, vente potentielle, passer devant, attaquer, influencer, démarrer par, viser, faire avancer, devancer, démarrer

23. le, la, les, l'

24. lecteur, lectrice, liseuse, relecteur, livre de lecture, maître de conférences

25. ou, ou bien, ou encore, soit... soit, ni... ni, ou alors

26. auditeur, auditrice
27. de, par, près de, à coté de, devant, d'ici à, en, pendant, selon, après, fois, à, quart, sous, avec

28. signifier, vouloir dire, penser, penser vraiment, être sincère, parler de, avare, radin, méchant, piètre, simple, bas, mauvais, malveillant, usé, éliminé, super, sacré, d'enfer, du tonnerre, moyen, moyenne, moyens, vouloir, impliquer, être

29. de, en, à, moins, d'entre, parmi, au sujet de, à propos de

30. indices, pistes, astuces, trucs, laisser entendre, faire allusion à, indications, soupçons, pointes

31. à, vers, en, sur, de, contre, pour, fermer, avec, envers, jusqu'à, quant à, en ce qui concerne, concernant, pour ce qui est de, dans, moins

32. comprendre, entendre dire que, croire, ratifier

33. le, la, les, l'

34. mots, paroles, formuler, bruits, nouvelles, ordres, mot de passe, évangile

35. aussi, comme, ce que, alors que, à mesure que, au fur et à mesure que, puisque, comme, bien que, en, en tant que

36. est, a, se tient, fait, coûte, soit, se sent

37. prévu, désigné, voulu, délibéré, promis, promise

Resulting translation and retrotranslation into English:

Au bord du lancement, parmi certaines, accusées de quelque chose élémentaire, une définition ne se sent pas envisageable. Voici est rien, à la place du chat pour
27. de, par, près de, à coté de, devant, d'ici à, en, pendant, selon, après, fois, à, quart, sous, avec

28. signifier, vouloir dire, penser, penser vraiment, être sincère, parler de, avare, radin, méchant, piètre, simple, bas, mauvais, malveillant, usé, éliminé, super, sacré, d'enfer, du tonnerre, moyen, moyenne, moyens, vouloir, impliquer, être

29. de, en, à, moins, d'entre, parmi, au sujet de, à propos de

30. indices, pistes, astuces, trucs, laisser entendre, faire allusion à, indications, soupçons, pointes

31. à, vers, en, sur, de, contre, pour, fermer, avec, envers, jusqu'à, quant à, en ce qui concerne, concernant, pour ce qui est de, dans, moins

32. comprendre, entendre dire que, croire, ratifier

33. le, la, les, l'

34. mots, paroles, formuler, bruits, nouvelles, ordres, mot de passe, évangile

35. aussi, comme, ce que, alors que, à mesure que, au fur et à mesure que, puisque, comme, bien que, en, en tant que

36. est, a, se tient, fait, coûte, soit, se sent

37. prévu, désigné, voulu, délibéré, promis, promise

Resulting translation and retrotranslation into English:

Au bord du lancement, parmi certaines, accusées de quelque chose élémentaire, une définition ne se sent pas envisageable. Voici est rien, à la place du chat pour
ce qui est attaquer la lectrice, ou encore, l'auditrice à côté du tonnerre parmi les soupçons, à croire les paroles en tant qu'est prévu.

English translation: On the edge of the launch, among those accused of something elementary, a definition does not feel conceivable. Here is nothing, in the place of the cat for what attacks the reader, or even the listener next to the thunder amidst suspicions, which could be taken as words insofar as foreseen.
ce qui est attaquer la lectrice, ou encore, l'auditrice à côté du tonnerre parmi les soupçons, à croire les paroles en tant qu'est prévu.

English translation: On the edge of the launch, among those accused of something elementary, a definition does not feel conceivable. Here is nothing, in the place of the cat for what attacks the reader, or even the listener next to the thunder amidst suspicions, which could be taken as words insofar as foreseen.
## 2.3 Les mots-gonds (hinge words)

A mot-gond is a bilingual or trilingual (etc.) homophone that can be used to connect language strings in different languages. This procedure was dreamed up by Chris Clarke, based on another constraint invented by Santiago Artozqui.

### Materials

* A list of *mots-gonds*, or not.

* Writing material.

### Players

* At least two, working in relay. At the Outranspo residency in 2018, this was done in a circle, with each person responsible for starting off and then continuing a text in turn. But this can also be done remotely/ asynchronously.

### Steps

* Player one begins a line and ends it with a *mot-gond*.

* Player two begins the next line with the final word of the previous line, but in a different language from the starting line.

* Repeat. This can be done between two languages, between three, or several...

### Examples

The following is a small sampling of *mots-gonds* inventoried by Santiago Artozqui and Chris Clarke. You will find words all along the spectrum between cognates and false friends. For a more exhaustive list, I encourage readers to find their own in their own pair languages!

Choir

Rage

Vole

Lame

Correct
## 2.3 Les mots-gonds (hinge words)

A mot-gond is a bilingual or trilingual (etc.) homophone that can be used to connect language strings in different languages. This procedure was dreamed up by Chris Clarke, based on another constraint invented by Santiago Artozqui.

### Materials

* A list of *mots-gonds*, or not.

* Writing material.

### Players

* At least two, working in relay. At the Outranspo residency in 2018, this was done in a circle, with each person responsible for starting off and then continuing a text in turn. But this can also be done remotely/ asynchronously.

### Steps

* Player one begins a line and ends it with a *mot-gond*.

* Player two begins the next line with the final word of the previous line, but in a different language from the starting line.

* Repeat. This can be done between two languages, between three, or several...

### Examples

The following is a small sampling of *mots-gonds* inventoried by Santiago Artozqui and Chris Clarke. You will find words all along the spectrum between cognates and false friends. For a more exhaustive list, I encourage readers to find their own in their own pair languages!

Choir

Rage

Vole

Lame

Correct
Opinion

Court

Front

Mine

Fin

Bat

Combat

Secret

Cage

Fit

Clan

Pure

Vibrations

Plate

Age

Pain

And here is an example of what Chris Clarke and Santiago Artozqui have done with them:

## Les Gonds de Gudrun

Choir, ô Gudrun, emmitouflée de rage !

Rage as she drives off... an intrusive vole

Vole au-devant d'une sinistre lame.

Lame though he is, she will firmly correct:

Correct et laid, telle est son opinion,

Opinion not praised by those of the court

Court en idées, et un peu bas du front.

Front, down the vanguard, she sidesteps a mine

Mine de rien, un rival veut sa fin...

Fin of shark, eye of hawk, ear of the bat?
Opinion

Court

Front

Mine

Fin

Bat

Combat

Secret

Cage

Fit

Clan

Pure

Vibrations

Plate

Age

Pain

And here is an example of what Chris Clarke and Santiago Artozqui have done with them:

## Les Gonds de Gudrun

Choir, ô Gudrun, emmitouflée de rage !

Rage as she drives off... an intrusive vole

Vole au-devant d'une sinistre lame.

Lame though he is, she will firmly correct:

Correct et laid, telle est son opinion,

Opinion not praised by those of the court

Court en idées, et un peu bas du front.

Front, down the vanguard, she sidesteps a mine

Mine de rien, un rival veut sa fin...

Fin of shark, eye of hawk, ear of the bat?
## 2.4 Infinite sense translation (multihommeauxtranslation)

*Find as many hommeauxtranslations (interlingual homophones), or simply translations, in as many languages as you can for one single word. Make a poem out of their translations.*

### Materials

* A single word.

### Players

* Any configuration.

### Steps

* Find as many hommeauxtranslations for one single word in as many languages as possible.

### Examples

* This procedure was inspired by Juliana Spahr's introduction to Myung Mi Kim's *Dura*:

There is dura as the dense, tough, outermost membranous envelope of the brain and spinal cord, literally “hard mother” as it is from the Arabic, al-’umm al-jalīda or al-jāfiya “the hard mother” and durare, to last, endure, in Italian, and durer, to last, to run, to go on, in French and durar, to last, in Spanish and dura, the feminine hard, stale, tough, stiff in Spanish and Dura as an ancient city in Syria and dura, as the Romanised transcription of the phrase listen up in Korean and Dura as the group of people who live on the hills of Dura Danda, Turlungkot, Kunchha Am Danda of Lamjung District and some adjacent villages of Tanahun District in Nepal and Dura as the language of the Dura and duras as a variety of sorghum of southern Asia and northern Africa and...⁴

* The following recording was produced during a session of the Atelier d'écriture multilingue that I lead in 2022 at the Maison pour Tous Marie Curie, a community center by my house in Montpellier. Fatim Zhora El Hachimi, Hanane El Hadifi, Michèle Huguenin, Najat Ouali, Rajaa Taleb, Nawel Taleb Ben Diab and I created the poem collaboratively beginning
## 2.4 Infinite sense translation (multihommeauxtranslation)

*Find as many hommeauxtranslations (interlingual homophones), or simply translations, in as many languages as you can for one single word. Make a poem out of their translations.*

### Materials

* A single word.

### Players

* Any configuration.

### Steps

* Find as many hommeauxtranslations for one single word in as many languages as possible.

### Examples

* This procedure was inspired by Juliana Spahr's introduction to Myung Mi Kim's *Dura*:

There is dura as the dense, tough, outermost membranous envelope of the brain and spinal cord, literally “hard mother” as it is from the Arabic, al-‘umm al-jalīda or al-jāfiya “the hard mother” and durare, to last, endure, in Italian, and durer, to last, to run, to go on, in French and durar, to last, in Spanish and dura, the feminine hard, stale, tough, stiff in Spanish and Dura as an ancient city in Syria and dura, as the Romanised transcription of the phrase listen up in Korean and Dura as the group of people who live on the hills of Dura Danda, Turlungkot, Kunchha Am Danda of Lamjung District and some adjacent villages of Tanahun District in Nepal and Dura as the language of the Dura and duras as a variety of sorghum of southern Asia and northern Africa and...⁴

* The following recording was produced during a session of the Atelier d'écriture multilingue that I lead in 2022 at the Maison pour Tous Marie Curie, a community center by my house in Montpellier. Fatim Zhora El Hachimi, Hanane El Hadifi, Michèle Huguenin, Najat Ouali, Rajaa Taleb, Nawel Taleb Ben Diab and I created the poem collaboratively beginning
with the word *Manou* in Berber, and translating it into as many synonyms and associations as we could in Arabic, French, English and Italian. The poem in five voices was performed at the Maison pour Tous on June 9, 2022 during the conference *What's the Matter in Translation?/ Traduction et matérialité*.

https://experientialtranslation.net/2023/10/19/traduire-lamour/
with the word *Manou* in Berber, and translating it into as many synonyms and associations as we could in Arabic, French, English and Italian. The poem in five voices was performed at the Maison pour Tous on June 9, 2022 during the conference *What's the Matter in Translation?/ Traduction et matérialité*.

https://experientialtranslation.net/2023/10/19/traduire-lamour/
Literal Translation

3.1 Choose your own translation II

*This is a variation on Choose your own translation I, which can be found at*
*the end of the previous section on Calque, but instead of using synonyms from*
*WordReference.com, it uses the selections from the DeepL dropdown menu.*

Materials

* A source text in a language other than the language spoken by the players.

• DeepL.

* A spreadsheet program.

Players

* A word accountant to choose the source text and prepare the spreadsheets for the other players.

* Although this can be done alone, it is much more amusing when the word accountant carries it out with a group, ideally composed of between five and thirty people who have no knowledge of the source text or of how the spreadsheets were made.

Steps

Part I: Preparation (for the word accountant)

* Choose a short text. In the example given below, I used four lines from *Eugene Onegin* (verse 22) (this choice was inspired by Warren Weaver's
# Literal Translation

## 3.1 Choose your own translation II

*This is a variation on Choose your own translation I, which can be found at the end of the previous section on Calque, but instead of using synonyms from WordReference.com, it uses the selections from the DeepL dropdown menu.*

### Materials

* A source text in a language other than the language spoken by the players.

* DeepL.

* A spreadsheet program.

### Players

* A word accountant to choose the source text and prepare the spreadsheets for the other players.

* Although this can be done alone, it is much more amusing when the word accountant carries it out with a group, ideally composed of between five and thirty people who have no knowledge of the source text or of how the spreadsheets were made.

### Steps

#### Part I: Preparation (for the word accountant)

* Choose a short text. In the example given below, I used four lines from *Eugene Onegin* (verse 22) (this choice was inspired by Warren Weaver's
quote “Pushkin need not shudder” when referring to the inaptitude of
machine translation for literary texts):

Кого ж любить? Кому же верить?
Кто не изменит нам один?
Кто все дела, все речи мерит
Услужливо на наш аршин?

Whom to love, whom to believe in,
On whom alone shall we depend?
Who will fit their speech and action,
To our measure, in the end?
(translation by A. S. Klein, 2009)

* Plug the short text into DeepL.

* Clicking on each of the words individually in DeepL, copy all the options from the dropdown menus individually into the columns in DeepL, but selecting none of them (as this will alter the syntax). Here is a screenshot of just the first line from the *Eugene Onegin* passage into English:
quote “Pushkin need not shudder” when referring to the inaptitude of
machine translation for literary texts):

Кого ж любить? Кому же верить?
Кто не изменит нам один?
Кто все дела, все речи мерит
Услужливо на наш аршин?

Whom to love, whom to believe in,
On whom alone shall we depend?
Who will fit their speech and action,
To our measure, in the end?
(translation by A. S. Klein, 2009)

* Plug the short text into DeepL.

* Clicking on each of the words individually in DeepL, copy all the options from the dropdown menus individually into the columns in DeepL, but selecting none of them (as this will alter the syntax). Here is a screenshot of just the first line from the *Eugene Onegin* passage into English:
<figure><img src="image_10.png" /></figure>

## Part II: Play

* Distribute the spreadsheets to all the players.

* Without telling them what the source text is or how the spreadsheets were generated, tell them to create sentences (or lines of poetry) using ONLY ONE word from each column, and without changing the order.

* Punctuation may be free-form or you can ask them to respect the punctuation of the original.
<figure><img src="image_10.png" /></figure>

## Part II: Play

* Distribute the spreadsheets to all the players.

* Without telling them what the source text is or how the spreadsheets were generated, tell them to create sentences (or lines of poetry) using ONLY ONE word from each column, and without changing the order.

* Punctuation may be free-form or you can ask them to respect the punctuation of the original.
Examples

The following examples were created by students from my first year master's course in the History and Methodology of translation in the Université Paul Valéry Montpellier 3's Applied Languages translation training program.

1.

Qui dois-je choisir ? Envers qui devons-nous avoir confiance entièrement ?

Qui ne nous trahit, va trahir, pas seulement lui-même.

Elle mesure, pèse, chaque geste, ce qu'accomplissent toutes les paroles, les discours et témoignages.

Selon notre seule grandeur, qui représente notre propre mensonge.

I wonder, will we love trust? Which man shall be trusted, really?

Who cannot stay fool? The only one on his own.

The man does all works, all speeches

With the help of your arms.

—Sabryna De Nazaré Rodrigues Ribamar

2.

Qui faut-il choisir ? Qui pouvons-nous, qui peut-on ? Faire confiance, nous confier, entièrement.

Qui ne nous trahirait se risque. Trahirons-nous ? Pas seuls, sans aide.

Celui qui évalue est capable. Tous les gestes, et toutes les actions. Toutes les paroles et les discours et mots.

Dans la mesure, une mesure, manière qui nous est la nature propre.

Who is there to trust? Whom shall they believe? Lie.

Who is the only stick, fool? One of us, again.

The man doeth the things. Dealings, lies, tongues.

In the way, an arrow, help! In the hand, ear, arms!

—Joan Simpson

3.

But who should choose, which person shall we believe, be trusted and who doesn't always deceive us in this life. He who doeth all the deeds acts, every conversation our serviceable ears by which we stare
Examples

The following examples were created by students from my first year master's course in the History and Methodology of translation in the Université Paul Valéry Montpellier 3's Applied Languages translation training program.

1.

Qui dois-je choisir ? Envers qui devons-nous avoir confiance entièrement ?

Qui ne nous trahit, va trahir, pas seulement lui-même.

Elle mesure, pèse, chaque geste, ce qu'accomplissent toutes les paroles, les discours et témoignages.

Selon notre seule grandeur, qui représente notre propre mensonge.

I wonder, will we love trust? Which man shall be trusted, really?

Who cannot stay fool? The only one on his own.

The man does all works, all speeches

With the help of your arms.

—Sabryna De Nazaré Rodrigues Ribamar

2.

Qui faut-il choisir ? Qui pouvons-nous, qui peut-on ? Faire confiance, nous confier, entièrement.

Qui ne nous trahirait se risque. Trahirons-nous ? Pas seuls, sans aide.

Celui qui évalue est capable. Tous les gestes, et toutes les actions. Toutes les paroles et les discours et mots.

Dans la mesure, une mesure, manière qui nous est la nature propre.

Who is there to trust? Whom shall they believe? Lie.

Who is the only stick, fool? One of us, again.

The man doeth the things. Dealings, lies, tongues.

In the way, an arrow, help! In the hand, ear, arms!

—Joan Simpson

3.

But who should choose, which person shall we believe, be trusted and who doesn't always deceive us in this life. He who doeth all the deeds acts, every conversation our serviceable ears by which we stare
Mais qui devrait choisir, quelle personne devrions nous croire, lui accorder notre confiance et qui ne nous déçois jamais dans cette vie. Celui qui com-met toutes les actions agit, chaque conversation que nos oreilles serviables par lesquels nous contemplons.

—Aymeric Bourru

4.

Who to trust? On whom can we rely?
Who will never betray us in this world?
Who weighs all his deeds, as well as words,
Without the help of our ears?

—He Siyu

## Variations

A wonderful variation on this is to follow the example set by Camille Bloomfield's "Deep Dante" and use the dropdown menus on DeepL to create a translation collaged from the proliferative potentials given for each segment. This allows players the possibility of varying and playing with syntax as well.

For those interested in militant strategies to work against the imperial homogenizing effect of machine translation, or to prolong the lifespan of artisanal human-authored translation work, I invite all readers, next time they use DeepL, to carry out a short translation choosing the last word from each dropdown menu.

Alternatively, you can simply visit DeepL—or ChatGPT—regularly and ask it to translate nonsense poetry.
Mais qui devrait choisir, quelle personne devrions nous croire, lui accorder
notre confiance et qui ne nous déçois jamais dans cette vie. Celui qui com-
met toutes les actions agit, chaque conversation que nos oreilles serviables par
lesquels nous contemplons.

—Aymeric Bourru

4.

Who to trust? On whom can we rely?
Who will never betray us in this world?
Who weighs all his deeds, as well as words,
Without the help of our ears?

—He Siyu

## Variations

A wonderful variation on this is to follow the example set by Camille
Bloomfield's "Deep Dante" and use the dropdown menus on DeepL to
create a translation collaged from the proliferative potentials given for
each segment. This allows players the possibility of varying and playing
with syntax as well.

For those interested in militant strategies to work against the imperial
homogenizing effect of machine translation, or to prolong the lifespan of
artisanal human-authored translation work, I invite all readers, next time
they use DeepL, to carry out a short translation choosing the last word
from each dropdown menu.

Alternatively, you can simply visit DeepL—or ChatGPT—regularly
and ask it to translate nonsense poetry.
## 3.2 Lutz to speech

A guide prepares the procedure by selecting a source text and running it through several languages on a machine translator. After printing the results, the guide cuts up each individual word from the machine translations and arranges them into separate envelopes to distribute to the players. Players then rearrange the words in the envelopes to make new poems that they can backtranslate using the photo option on a translation app, or by speaking it aloud into the voice recognition translator function.

The following is a script for a set of procedures I carried out at a seminar for the research group TRACT (Traduction et Communication Transculturelle) at the Université Paris 3 Sorbonne Nouvelle on February 24, 2022. The theme for the seminar that year was devoted to the machine translation of literature.

### Materials

* Lines 30–34 of Theo Lutz’s *Stochastische Texte*. A full English translation of the original publication by Helen MacCormac can be found here: https://www.stuttgarter-schule.de/lutz_schule_en.htm.

EIN BILD IST FREI ODER EIN FREMDER IST TIEF.
EIN GAST IST TIEF UND KEIN TURM IST FERN.
EIN GAST IST LEISE. JEDES BILD IST FERN.
EIN TISCH IST OFFEN. JEDER KNECHT IST FREI.

* The above lines translated into the 26 languages of DeepL, and printed in 24-point font, with large spaces between each word.

*The translation can be done with any machine translator; I chose DeepL for practical reasons as 26 languages seemed more reasonable than the 109 on Google Translate at the time of the seminar.*

* Scissors.

* Envelopes corresponding to the number of languages.

* Pen.

* At least one smartphone with the Google Translate app.
## 3.2 Lutz to speech

A guide prepares the procedure by selecting a source text and running it through several languages on a machine translator. After printing the results, the guide cuts up each individual word from the machine translations and arranges them into separate envelopes to distribute to the players. Players then rearrange the words in the envelopes to make new poems that they can back-translate using the photo option on a translation app, or by speaking it aloud into the voice recognition translator function.

The following is a script for a set of procedures I carried out at a seminar for the research group TRACT (Traduction et Communication Transculturelle) at the Université Paris 3 Sorbonne Nouvelle on February 24, 2022. The theme for the seminar that year was devoted to the machine translation of literature.

### Materials

* Lines 30–34 of Theo Lutz’s *Stochastische Texte*. A full English translation of the original publication by Helen MacCormac can be found here: https://www.stuttgarter-schule.de/lutz_schule_en.htm.

EIN BILD IST FREI ODER EIN FREMDER IST TIEF.
EIN GAST IST TIEF UND KEIN TURM IST FERN.
EIN GAST IST LEISE. JEDES BILD IST FERN.
EIN TISCH IST OFFEN. JEDER KNECHT IST FREI.

* The above lines translated into the 26 languages of DeepL, and printed in 24-point font, with large spaces between each word.

*The translation can be done with any machine translator; I chose DeepL for practical reasons as 26 languages seemed more reasonable than the 109 on Google Translate at the time of the seminar.*

* Scissors.

* Envelopes corresponding to the number of languages.

* Pen.

* At least one smartphone with the Google Translate app.
## Players

* Workshop leader to distribute the envelopes, record the voice recognition translations if necessary and read the Google translations out at the end or guide player sharing.

*Each person is invited to play with one or more envelope, although I recommend no more than five or six languages per smartphone with app installed.*

## Steps

### Part I (preparation):

* The words from each translation are cut up and placed into envelopes along with slips of paper containing the following instructions:

Make a poem out of the words in the envelope.

No, it doesn't matter if you understand them.

If you can't use them all that's okay.

Don't add any words or repeat any words that are not already repeated.

* The envelopes are sealed and labeled with the name of the language of the cut-up translation inside.

### Part II (play):

* Workshop leader calls out the names of languages on the envelopes, instructing players to choose languages whose alphabets they can decipher, although it does not matter if they can speak the language(s) they choose or not.

* Upon opening the envelopes, players can be instructed to break the rules, or not.

* Players arrange the words in the envelope however they wish.

* They can then use their own smartphones or the workshop leader can circulate with theirs, or designate other Google translators.
## Players

* Workshop leader to distribute the envelopes, record the voice recognition translations if necessary and read the Google translations out at the end or guide player sharing.

*Each person is invited to play with one or more envelope, although I recommend no more than five or six languages per smartphone with app installed.*

## Steps

### Part I (preparation):

* The words from each translation are cut up and placed into envelopes along with slips of paper containing the following instructions:

Make a poem out of the words in the envelope.

No, it doesn't matter if you understand them.

If you can't use them all that's okay.

Don't add any words or repeat any words that are not already repeated.

* The envelopes are sealed and labeled with the name of the language of the cut-up translation inside.

### Part II (play):

* Workshop leader calls out the names of languages on the envelopes, instructing players to choose languages whose alphabets they can decipher, although it does not matter if they can speak the language(s) they choose or not.

* Upon opening the envelopes, players can be instructed to break the rules, or not.

* Players arrange the words in the envelope however they wish.

* They can then use their own smartphones or the workshop leader can circulate with theirs, or designate other Google translators.
* Players read their cut-up translation into the voice recognition software on the Google Translate app. It does not matter whether they speak the language or not, but they should be able to read the alphabet.

* Photos can be taken of the original cutups.

* Screenshots can be taken of the results from the app.

* In addition or alternatively, the translations can be carried out using the Google Lens translation feature that translates using photo recognition of text. Make this even more fun by waving a hand in front of the translation to disturb the results (thanks to Nia Davies for that idea).

Examples

* Hungarian

<figure><img src="image_11.png" /></figure>

<figure><img src="image_12.png" /></figure>
* Players read their cut-up translation into the voice recognition software on the Google Translate app. It does not matter whether they speak the language or not, but they should be able to read the alphabet.

* Photos can be taken of the original cutups.

* Screenshots can be taken of the results from the app.

* In addition or alternatively, the translations can be carried out using the Google Lens translation feature that translates using photo recognition of text. Make this even more fun by waving a hand in front of the translation to disturb the results (thanks to Nia Davies for that idea).

Examples

* Hungarian

<figure><img src="image_11.png" /></figure>

<figure><img src="image_12.png" /></figure>
• Czech

<figure><img src="image_13.png" /></figure>
• Czech

<figure><img src="image_13.png" /></figure>
* Spanish

<figure><img src="image_14.png" /></figure>

<figure><img src="image_15.png" /></figure>
* Spanish

<figure><img src="image_14.png" /></figure>

<figure><img src="image_15.png" /></figure>
### 3.3 Blind faith translation in six steps

This procedure is inspired by Mahwash Shoaib's translations from Urdu into English of poems from Kishwar Naheed's Sokhta Samani-e-Dil/ Composition of a Scorched Heart published in Chain 10 in 2003.

Shoaib's translation is carried out across six steps, which in their original state provide an excellent procedure for translation experimentation, alone or in a workshop or classroom setting.

#### Materials

* Source text.

* Dictionaries, corpora, CAT (computer-assisted translation), MT (machine translation) tools or other translational resources.

#### Players

* Can be done alone or in groups, or individually with one single text and the results shared, for example, in a classroom setting.

#### Steps

* A "blind faith" translation is carried out by the translator.

A "blind faith" translation uses no external resources apart from the translator's internal knowledge and ingenuity. The purpose of a blind faith translation in a teaching context is to reconnect students with their translation intuition, and help them develop their translational voice and creative instincts. For example, I deduct many "points" for omissions in the case of blind faith translations but no points for words not known, and even give extra points for a valiant guess or a clever "workaround" (creative solution to not knowing a word). It also has the added benefit of showing them that compulsively returning to dictionaries or online resources can actually waste time, and to help them remember when and how to trust their gut.

* A rewriting of the blind faith translation with the aid of dictionaries, the internet, machine translation or other translator tools.

* A word-for-word calqued translation of the original. Shoaib refers to this as a "transliteration."
### 3.3 Blind faith translation in six steps

This procedure is inspired by Mahwash Shoaib's translations from Urdu into English of poems from Kishwar Naheed's Sokhta Samani-e-Dil/ Composition of a Scorched Heart published in Chain 10 in 2003.

Shoaib's translation is carried out across six steps, which in their original state provide an excellent procedure for translation experimentation, alone or in a workshop or classroom setting.

**Materials**

* Source text.

* Dictionaries, corpora, CAT (computer-assisted translation), MT (machine translation) tools or other translational resources.

**Players**

* Can be done alone or in groups, or individually with one single text and the results shared, for example, in a classroom setting.

**Steps**

* A "blind faith" translation is carried out by the translator.

A "blind faith" translation uses no external resources apart from the translator's internal knowledge and ingenuity. The purpose of a blind faith translation in a teaching context is to reconnect students with their translation intuition, and help them develop their translational voice and creative instincts. For example, I deduct many "points" for omissions in the case of blind faith translations but no points for words not known, and even give extra points for a valiant guess or a clever "workaround" (creative solution to not knowing a word). It also has the added benefit of showing them that compulsively returning to dictionaries or online resources can actually waste time, and to help them remember when and how to trust their gut.

* A rewriting of the blind faith translation with the aid of dictionaries, the internet, machine translation or other translator tools.

* A word-for-word calqued translation of the original. Shoaib refers to this as a "transliteration."
* Final translation that synthesizes elements from the first three translations.

* A retranslation back into the departure language of the original.

* Commentary or discussion comparing each of the translations of the first five steps.

## Variation

In one of the courses I teach in the Applied Languages translation master's program at Université Paul Valéry Montpellier 3, I traditionally have students carry out a blind faith translation and compare it to DeepL or ChatGPT in order to create a third amalgam translation along with a commentary. In a final step, I ask them to turn this into a creative translation as a final project (also with commentary).
* Final translation that synthesizes elements from the first three translations.

* A retranslation back into the departure language of the original.

* Commentary or discussion comparing each of the translations of the first five steps.

## Variation

In one of the courses I teach in the Applied Languages translation master's program at Université Paul Valéry Montpellier 3, I traditionally have students carry out a blind faith translation and compare it to DeepL or ChatGPT in order to create a third amalgam translation along with a commentary. In a final step, I ask them to turn this into a creative translation as a final project (also with commentary).
## 4.1 Grammatically extended neotranslation

This procedure for neotranslation is based on a collective and a posteriori approach to language invention. With a guide who has selected a line of text, players invent their own distortions based on rules inspired by linguistic systems other than that of the original, or by making them up. Using a board or projection, the players apply the rules along with the guide to form their own collective a posteriori invented language. This terminology (and any terminology that uses a prefix with the word "translation" that you see here) of "grammatically extended neotranslation" comes from the Outranspo's "Classification of Translation Constraints and Procedures," conceived orginally by Pablo Martín Ruiz.

### Materials

* A text for translation.

* Usefully, a white board or a computer and projector upon which to display generated results as they emerge. I used a framapad in the example below, which was ideal because it enabled users to carry out their own distortions directly, and to aid collectively in the recording and transformation processes (each color indicates a different scribe).

### Players

* A scribe to apply the different shifts suggested by the other players.

* A moderator (who may or may not be the same person as the scribe) to direct the collective play of invention.
## 4.1 Grammatically extended neotranslation

This procedure for neotranslation is based on a collective and a posteriori approach to language invention. With a guide who has selected a line of text, players invent their own distortions based on rules inspired by linguistic systems other than that of the original, or by making them up. Using a board or projection, the players apply the rules along with the guide to form their own collective a posteriori invented language. This terminology (and any terminology that uses a prefix with the word "translation" that you see here) of "grammatically extended neotranslation" comes from the Outranspo's "Classification of Translation Constraints and Procedures," conceived originally by Pablo Martín Ruiz.

### Materials

* A text for translation.

* Usefully, a white board or a computer and projector upon which to display generated results as they emerge. I used a framapad in the example below, which was ideal because it enabled users to carry out their own distortions directly, and to aid collectively in the recording and transformation processes (each color indicates a different scribe).

### Players

* A scribe to apply the different shifts suggested by the other players.

* A moderator (who may or may not be the same person as the scribe) to direct the collective play of invention.
* Anywhere from five to twenty-five participants, all or most of whom have some knowledge of at least two languages; ideally the languages differ from one another.

## Steps

* The moderator presents the text to the public, providing context and interpretation if they wish.

* Carry out a gloss (a literal, word-for-for translation) of the original into a second language.

* Working in pairs, players choose a grammatical rule or structure from another language to apply to the gloss.

* The moderator works around the room, calling on participants while the scribe applies the rules in collaboration and discussion with the other players, and always maintaining contact with the original departure text and language.

## Variation

* This procedure can also be carried out homolinguistically, working from the original text without translating into a second language first and applying the foreign-language grammar structures directly to the departure language. In this case, players would skip the second step, which indicates to carry out a gloss of the original into a second language.

* This procedure can also be carried out in isolation, but this would more closely resemble classic language invention. A useful guide for getting started with a posteriori language invention can be found in Peterson (2015).

## Example

* This example is a translation into a grammatically extended French of the passage from the script of Nicole Van Harskamp's film *PDGN* cited at the beginning of the fourth chapter of *Experimental Translation* (Transpose). It was carried out during a workshop at the Friction des Langues journées d'études at Université Paris 3 Sorbonne-Nouvelle on April 29, 2022, organized by Amanda Murphy and Guido Furci.

**List of distortions and applications to an original sentence spoken by the character Chingshi in the film PDGN.**
* Anywhere from five to twenty-five participants, all or most of whom have some knowledge of at least two languages; ideally the languages differ from one another.

## Steps

* The moderator presents the text to the public, providing context and interpretation if they wish.

* Carry out a gloss (a literal, word-for-for translation) of the original into a second language.

* Working in pairs, players choose a grammatical rule or structure from another language to apply to the gloss.

* The moderator works around the room, calling on participants while the scribe applies the rules in collaboration and discussion with the other players, and always maintaining contact with the original departure text and language.

## Variation

* This procedure can also be carried out homolinguistically, working from the original text without translating into a second language first and applying the foreign-language grammar structures directly to the departure language. In this case, players would skip the second step, which indicates to carry out a gloss of the original into a second language.

* This procedure can also be carried out in isolation, but this would more closely resemble classic language invention. A useful guide for getting started with a posteriori language invention can be found in Peterson (2015).

## Example

* This example is a translation into a grammatically extended French of the passage from the script of Nicole Van Harskamp's film *PDGN* cited at the beginning of the fourth chapter of *Experimental Translation* (Transpose). It was carried out during a workshop at the Friction des Langues journées d'études at Université Paris 3 Sorbonne-Nouvelle on April 29, 2022, organized by Amanda Murphy and Guido Furci.

**List of distortions and applications to an original sentence spoken by the character Chingshi in the film PDGN.**
*For distortions inspired by other languages, those languages are listed in parentheses after the distortion*

French gloss : J'ai entendu qu'au nord, on apprend une langue inventée où tout est nouveau.

1. le verbe est toujours en 5ème position, ce qui interdit toute phrase à moins de 5 unités à moins de marquer des pauses, blancs...

*The verb is always in the fifth position, which prohibits any phrase with fewer than five units unless marked with pauses or gaps...*

Je qu'au nord **ai entendu**, on une langue inventée **apprend** où tout nouveau – *est*

2. le futur s'exprime toujours par le verbe avoir + à au présent (inspiré du barese)

*The future is always expressed by the verb to have (avoir) + à in the present (Barese)*

Je qu'au nord **ai à entendre**, on une langue inventée **a à apprendre** où tout nouveau – *a à être*

3. inversion de l'ordre des adjectifs par rapport aux substantifs (par exemple : ma préférée couleur) (anglais)

*Inversion of the order of adjectives and substantives (for example: my préférée couleur instead of couleur préférée) (English)*

Je qu'au nord ai à entendre, on une **inventée langue** a à apprendre où tout nouveau – *a à être*

4. les "e" en début de mot sont toujours muets

*E's at the beginning of words are silent (signified by an apostrophe')*

Je qu'au nord ai à 'ntendre, on une inventée langue a à apprendre où tout nouveau – *a à 'tre*

5. les propos rapportés sont indiqués par le suffixe -pli accolé au premier verbe de la phrase de l'information rapportée (fictional suffix distantly inspired by the structures of quechua)
For distortions inspired by other languages, those languages are listed in parentheses after the distortion

French gloss : J'ai entendu qu'au nord, on apprend une langue inventée où tout est nouveau.

1. le verbe est toujours en 5ème position, ce qui interdit toute phrase à moins de 5 unités à moins de marquer des pauses, blancs...

The verb is always in the fifth position, which prohibits any phrase with fewer than five units unless marked with pauses or gaps...

Je qu'au nord **ai entendu**, on une langue inventée **apprend** où tout nouveau – *est*

2. le futur s'exprime toujours par le verbe avoir + à au présent (inspiré du barese)

*The future is always expressed by the verb to have (avoir) + à in the present (Barese)*

Je qu'au nord **ai à entendre**, on une langue inventée **a à apprendre** où tout nouveau – *a à être*

3. inversion de l'ordre des adjectifs par rapport aux substantifs (par exemple : ma préférée couleur) (anglais)

*Inversion of the order of adjectives and substantives (for example: my préférée couleur instead of couleur préférée) (English)*

Je qu'au nord ai à entendre, on une **inventée langue** a à apprendre où tout nouveau – *a à être*

4. les "e" en début de mot sont toujours muets

*E's at the beginning of words are silent (signified by an apostrophe')*

Je qu'au nord ai à 'ntendre, on une inventée langue a à apprendre où tout nouveau – *a à 'tre*

5. les propos rapportés sont indiqués par le suffixe -pli accolé au premier verbe de la phrase de l'information rapportée (fictional suffix distantly inspired by the structures of quechua)
*Reported speech is indicated by the suffix -pli attached to the first verb of the sentence in which the information is reported.*

*En le nord, apprend-pli une inventée langue où tout nouveau – a à 'tre*

6. confusion s'exprime toujours par le verbe avoir au présent

*Confusion is always expressed by the verb avoir (to have) in the present.*

En le nord, apprend-pli une inventée langue où tout nouveau – a à 'tre

7. inversion (par rapport au français) des genres des noms

*Inversion (with regard to French) of the genders of nouns.*

En la nord, apprend-pli **un inventé** langue où toute **nouvelle** – a à 'tre

8. inversion des syntagmes tous les deux syntagmes sauf pour le verbe

*Inversion of syntagms every other syntagm except for the verb.*

apprend-pli **en la nord** un inventé langue – a à 'tre **où toute nouvelle**

9. pas de distinction féminin/masculin dans les adjectifs

*No feminine or masculine distinction for adjectives*

apprend-pli en la nord un invent§ langue – a à 'tre où toute nouv§

10. contraction des couples adjectif-substantif en soustrayant la dernière syllabe du premier terme du couple, et la première du second (lune diaphane -> luphane) (cette proposition vient du chinois)

*Contraction of adjective-substantive pairs by subtracting the last syllable from the first term in the pair, and the first syllable from the second term (lune diaphane -> luphane) (Chinese)*

apprend-pli en la nord un **invengue** – a à 'tre où **touv**§

11. en cas d'emploi du féminin il se positionne toujours comme premier mot de la phrase, indépendamment de sa fonction grammaticale – ou le sujet de la phrase est toujours féminin
*Reported speech is indicated by the suffix -pli attached to the first verb of the sentence in which the information is reported.*

*En le nord, apprend-pli une inventée langue où tout nouveau – a à 'tre*

6. confusion s'exprime toujours par le verbe avoir au présent
*Confusion is always expressed by the verb avoir (to have) in the present.*

En le nord, apprend-pli une inventée langue où tout nouveau – a à 'tre

7. inversion (par rapport au français) des genres des noms
*Inversion (with regard to French) of the genders of nouns.*

En la nord, apprend-pli **un inventé** langue où toute **nouvelle** – a à 'tre

8. inversion des syntagmes tous les deux syntagmes sauf pour le verbe
*Inversion of syntagms every other syntagm except for the verb.*

apprend-pli **en la nord** un inventé langue – a à 'tre **où toute nouvelle**

9. pas de distinction féminin/masculin dans les adjectifs
*No feminine or masculine distinction for adjectives*

apprend-pli en la nord un invent§ langue – a à 'tre où toute nouv§

10. contraction des couples adjectif-substantif en soustrayant la dernière syllabe du premier terme du couple, et la première du second (lune diaphane -> luphane) (cette proposition vient du chinois)

*Contraction of adjective-substantive pairs by subtracting the last syllable from the first term in the pair, and the first syllable from the second term (lune diaphane -> luphane) (Chinese)*

apprend-pli en la nord un **invengue** – a à 'tre où **touv**§

11. en cas d'emploi du féminin il se positionne toujours comme premier mot de la phrase, indépendamment de sa fonction grammaticale – ou le sujet de la phrase est toujours féminin
Feminine words, when used, are always placed as the first word in a sentence, regardless of their grammatical subject – or the subject of a sentence is always feminine.

apprend-pli en la nord un invengue – a à ‘tre où touv§

12. pas d'article du tout pour les noms (ni défini, ni indéfini, ni partitif, ni démonstratif ni possessif etc.) cf latin et langues slaves (mais ces langues ont des démonstratifs et possessifs)

No articles for any nouns (neither definite, indefinite, partitive, demonstrative, possessive or otherwise) (Latin and Slavic languages, although these languages do have demonstratives and possessives)

apprend-pli en nord invengue – a à 'tre où touv§

13. On remplace toutes les 4 voyelles nasales par une seule (à peu près 'an') : explique un lapin devient "an lapan" etc (cf beaucoup de mes élèves débutants du monde entier, je suis prof de FLE)

Replace all four nasal vowels by one (more or less 'an'): explique un lapin becomes "an lapin" etc. (cf many of my beginner students from all over the world, I'm a teacher of French as a foreign language)

apprand-pli **an** nord **anvangue** – a à 'tre où touv§

14. Postposition à la fin de la phrase des informations concernant le lieu;
Substitution de l'information de lieu sur la base de sa direction (en
le nord = en le dessus) (inspiré du napolitain) – pour le cas de “cen-
trale” = entre dessus et en bas (faux calque de “entre chien et loup”)

Postposition at the end of a sentence of information relating to place.
Substitution of place-related information with information on directional-
ity: en le nord (in the north) = en le dessus (in the above) (Neapolitan).

« Centrale » *becomes* « entre dessus et en bas » (between above and below).

This is a faulty calque of the French « entre chien et loup » meaning “twi-light” (between twi and light)

apprand-pli **an dessus** anvangue – a à 'tre où touv§
Feminine words, when used, are always placed as the first word in a sentence, regardless of their grammatical subject – or the subject of a sentence is always feminine.

apprend-pli en la nord un invengue – a à ‘tre où touv§

12. pas d'article du tout pour les noms (ni défini, ni indéfini, ni partitif, ni démonstratif ni possessif etc.) cf latin et langues slaves (mais ces langues ont des démonstratifs et possessifs)

No articles for any nouns (neither definite, indefinite, partitive, demonstrative, possessive or otherwise) (Latin and Slavic languages, although these languages do have demonstratives and possessives)

apprend-pli en nord invengue – a à 'tre où touv§

13. On remplace toutes les 4 voyelles nasales par une seule (à peu près 'an') : explique un lapin devient "an lapan" etc (cf beaucoup de mes élèves débutants du monde entier, je suis prof de FLE)

Replace all four nasal vowels by one (more or less 'an'): explique un lapin becomes "an lapin" etc. (cf many of my beginner students from all over the world, I'm a teacher of French as a foreign language)

apprand-pli **an** nord **anvangue** – a à 'tre où touv§

14. Postposition à la fin de la phrase des informations concernant le lieu;
Substitution de l'information de lieu sur la base de sa direction (en
le nord = en le dessus) (inspiré du napolitain) – pour le cas de “cen-
trale” = entre dessus et en bas (faux calque de “entre chien et loup”)

Postposition at the end of a sentence of information relating to place.
Substitution of place-related information with information on directional-
ity: en le nord (in the north) = en le dessus (in the above) (Neapolitan).

« Centrale » *becomes* « entre dessus et en bas » (between above and below).

This is a faulty calque of the French « entre chien et loup » meaning “twi-light” (between twi and light)

apprand-pli **an dessus** anvangue – a à 'tre où touv§
## 4.2 N-gram translation

This procedure is based on one of the early models for word vectors called N-grams, whereby the tokens in a word window are placed on the x and y axes of a grid and assigned a number that corresponds to the number of times each word appears next to another one in the cells where the x and y axes meet, respectively for each word pairing. Using a word window for the same set of words in at least two languages, players find combinations of words for which the numerical values ascribed to word proximity found in the cells add up to equal sums.

### Materials

* A phrase and its translation.

* Word-processing program, spreadsheet program, pen and paper or other interface upon which a grid can be made. (This can also probably be done much faster using software if you have the resources to do so.)

### Steps

* Copy out each word of the phrase in the departure language along both the y and x axes of a grid.

* Copy out each word of the phrase in the arrival language along both the y and x axes of a grid.

* Choose a word window, that is, the number of words that you will consider together in order to measure their frequency of co-occurrence. This number is what will determine the N in your N-gram translation. For example 1-gram measures the frequency with which one word appears next to another; 2-gram measures the frequency within which a word appears within the two words surrounding another, and so on.

* For each cell along the intersections, copy down how many times those words appear in proximity to another according to the number of elements in the word window you have chosen.
## 4.2 N-gram translation

This procedure is based on one of the early models for word vectors called N-grams, whereby the tokens in a word window are placed on the x and y axes of a grid and assigned a number that corresponds to the number of times each word appears next to another one in the cells where the x and y axes meet, respectively for each word pairing. Using a word window for the same set of words in at least two languages, players find combinations of words for which the numerical values ascribed to word proximity found in the cells add up to equal sums.

### Materials

* A phrase and its translation.

* Word-processing program, spreadsheet program, pen and paper or other interface upon which a grid can be made. (This can also probably be done much faster using software if you have the resources to do so.)

### Steps

* Copy out each word of the phrase in the departure language along both the y and x axes of a grid.

* Copy out each word of the phrase in the arrival language along both the y and x axes of a grid.

* Choose a word window, that is, the number of words that you will consider together in order to measure their frequency of co-occurrence. This number is what will determine the N in your N-gram translation. For example 1-gram measures the frequency with which one word appears next to another; 2-gram measures the frequency within which a word appears within the two words surrounding another, and so on.

* For each cell along the intersections, copy down how many times those words appear in proximity to another according to the number of elements in the word window you have chosen.
* Once you have calculated all the frequencies of co-occurrences for each combination according to your word window, write a line of words whose value is 0. Write another line whose value is 1, and then 2 and so on.

* Carry out this same step in the second language.

* Each line with a given value in the departure language can then be read as equivalent to a line with that same given value in the arrival language.

### Example

Below you will find phrases calculated from a matrix that I prepared using a line from Theo Lutz's *Stochastische Texte* in English and French translations.
* Once you have calculated all the frequencies of co-occurrences for each combination according to your word window, write a line of words whose value is 0. Write another line whose value is 1, and then 2 and so on.

* Carry out this same step in the second language.

* Each line with a given value in the departure language can then be read as equivalent to a line with that same given value in the arrival language.

### Example

Below you will find phrases calculated from a matrix that I prepared using a line from Theo Lutz's *Stochastische Texte* in English and French translations.
The Matrices:

<table><thead><tr><th></th><th>A</th><th>Picture</th><th>Is</th><th>Free</th><th>or</th><th>stranger</th><th>deep</th><th>guest</th><th>And</th><th>No</th><th>Tower</th><th>Far</th><th>Quiet/ Silent</th><th>Every</th><th>Table</th><th>Open</th><th>servent</th></tr></thead><tbody><tr><td>A</td><td>0</td><td>1</td><td>0</td><td>0</td><td>1</td><td>1</td><td>0</td><td>2</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td></tr><tr><td>picture</td><td>1</td><td>0</td><td>2</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td></tr><tr><td>Is</td><td>0</td><td>2</td><td>0</td><td>2</td><td>0</td><td>1</td><td>2</td><td>2</td><td>0</td><td>0</td><td>1</td><td>2</td><td>1</td><td>0</td><td>1</td><td>1</td><td>1</td></tr><tr><td>Free</td><td>0</td><td>0</td><td>2</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td></tr><tr><td>Or</td><td>1</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td></tr><tr><td>Stranger</td><td>1</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td></tr><tr><td>Deep</td><td>0</td><td>0</td><td>2</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td></tr><tr><td>Guest</td><td>2</td><td>0</td><td>2</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td></tr><tr><td>And</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td></tr><tr><td>No</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td></tr><tr><td>Tower</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td></tr><tr><td>Far</td><td>0</td><td>0</td><td>2</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td></tr><tr><td>Quiet/ Silent</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td></tr><tr><td>Every</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td><td>1</td><td>1</td></tr><tr><td>Table</td><td>1</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td></tr><tr><td>Open</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td></tr><tr><td>servant</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td></tr></tbody></table>
The Matrices:

<table><thead><tr><th></th><th>A</th><th>Picture</th><th>Is</th><th>Free</th><th>or</th><th>stranger</th><th>deep</th><th>guest</th><th>And</th><th>No</th><th>Tower</th><th>Far</th><th>Quiet/ Silent</th><th>Every</th><th>Table</th><th>Open</th><th>servent</th></tr></thead><tbody><tr><td>A</td><td>0</td><td>1</td><td>0</td><td>0</td><td>1</td><td>1</td><td>0</td><td>2</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td></tr><tr><td>picture</td><td>1</td><td>0</td><td>2</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td></tr><tr><td>Is</td><td>0</td><td>2</td><td>0</td><td>2</td><td>0</td><td>1</td><td>2</td><td>2</td><td>0</td><td>0</td><td>1</td><td>2</td><td>1</td><td>0</td><td>1</td><td>1</td><td>1</td></tr><tr><td>Free</td><td>0</td><td>0</td><td>2</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td></tr><tr><td>Or</td><td>1</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td></tr><tr><td>Stranger</td><td>1</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td></tr><tr><td>Deep</td><td>0</td><td>0</td><td>2</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td></tr><tr><td>Guest</td><td>2</td><td>0</td><td>2</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td></tr><tr><td>And</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td></tr><tr><td>No</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td></tr><tr><td>Tower</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td></tr><tr><td>Far</td><td>0</td><td>0</td><td>2</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td></tr><tr><td>Quiet/ Silent</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td></tr><tr><td>Every</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td><td>1</td><td>1</td></tr><tr><td>Table</td><td>1</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td></tr><tr><td>Open</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td></tr><tr><td>servant</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td></tr></tbody></table>
<table><thead><tr><th></th><th>Un.e</th><th>Image</th><th>est</th><th>Libre</th><th>Ou</th><th>Etranger.e</th><th>Profond.e</th><th>Et</th><th>Hôte</th><th>Aucune (n)</th><th>Tour</th><th>Loin</th><th>Silencieux euse</th><th>Chaque</th><th>Lointain.e</th><th>Table</th><th>Ouvert.e</th><th>Serviteuruse</th></tr></thead><tbody><tr><td>Un.e</td><td>0</td><td>1</td><td>0</td><td>0</td><td>1</td><td>1</td><td>0</td><td>0</td><td>2</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td></tr><tr><td>image</td><td>1</td><td>0</td><td>2</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>1</td><td>1</td><td>0</td><td>0</td><td>0</td></tr><tr><td>est</td><td>0</td><td>2</td><td>0</td><td>2</td><td>0</td><td>1</td><td>2</td><td>0</td><td>2</td><td>0</td><td>1</td><td>1</td><td>0</td><td>0</td><td>1</td><td>1</td><td>1</td><td>1</td></tr><tr><td>libre</td><td>0</td><td>0</td><td>2</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td></tr><tr><td>ou</td><td>1</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td></tr><tr><td>Etranger.e</td><td>1</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td></tr><tr><td>Profond.e</td><td>0</td><td>0</td><td>2</td><td>0</td><td>0</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td></tr><tr><td>Et</td><td>2</td><td>0</td><td>2</td><td>0</td><td>0</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td></tr><tr><td>Hôte</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td></tr><tr><td>Aucune (n')</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td></tr><tr><td>Tour</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>1</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td></tr><tr><td>Loin</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td></tr><tr><td>Silencieux euse</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>0</td></tr><tr><td>chaque</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>1</td><td>1</td></tr><tr><td>Lointain.e</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td></tr><tr><td>Table</td><td>1</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td></tr><tr><td>Ouvert.e</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>1</td><td>1</td><td>0</td><td>0</td><td>0</td></tr><tr><td>Serviteuruse</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td></tr></tbody></table>
<table><thead><tr><th></th><th>Un.e</th><th>Image</th><th>est</th><th>Libre</th><th>Ou</th><th>Etranger.e</th><th>Profond.e</th><th>Et</th><th>Hôte</th><th>Aucune (n)</th><th>Tour</th><th>Loin</th><th>Silencieux euse</th><th>Chaque</th><th>Lointain.e</th><th>Table</th><th>Ouvert.e</th><th>Serviteuruse</th></tr></thead><tbody><tr><td>Un.e</td><td>0</td><td>1</td><td>0</td><td>0</td><td>1</td><td>1</td><td>0</td><td>0</td><td>2</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td></tr><tr><td>image</td><td>1</td><td>0</td><td>2</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>1</td><td>1</td><td>0</td><td>0</td><td>0</td></tr><tr><td>est</td><td>0</td><td>2</td><td>0</td><td>2</td><td>0</td><td>1</td><td>2</td><td>0</td><td>2</td><td>0</td><td>1</td><td>1</td><td>0</td><td>0</td><td>1</td><td>1</td><td>1</td><td>1</td></tr><tr><td>libre</td><td>0</td><td>0</td><td>2</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td></tr><tr><td>ou</td><td>1</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td></tr><tr><td>Etranger.e</td><td>1</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td></tr><tr><td>Profond.e</td><td>0</td><td>0</td><td>2</td><td>0</td><td>0</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td></tr><tr><td>Et</td><td>2</td><td>0</td><td>2</td><td>0</td><td>0</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td></tr><tr><td>Hôte</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td></tr><tr><td>Aucune (n')</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td></tr><tr><td>Tour</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>1</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td></tr><tr><td>Loin</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td></tr><tr><td>Silencieux euse</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>0</td></tr><tr><td>chaque</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>1</td><td>1</td></tr><tr><td>Lointain.e</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td></tr><tr><td>Table</td><td>1</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td></tr><tr><td>Ouvert.e</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>1</td><td>1</td><td>0</td><td>0</td><td>0</td></tr><tr><td>Serviteuruse</td><td>0</td><td>0</td><td>1</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td><td>0</td></tr></tbody></table>
The Equations

0. Une tour est un tour = A deep stranger or every tower

1. A stranger = et aucun

2. Un hôte = a guest

3. Every picture is far = Une image est profonde

4. Open every tower and picture a deep quiet stranger is free

(1)

(1)

(2)

= **Chaque silence** est **une étrangère** lointaine **et aucun tour** n'est libre.

(1)

(1)

(1)

(1)
The Equations

0. Une tour est un tour = A deep stranger or every tower

1. A stranger = et aucun

2. Un hôte = a guest

3. Every picture is far = Une image est profonde

4. Open every tower and picture a deep quiet stranger is free

(1)

(1)

(2)

= **Chaque silence est une étrangère** lointaine **et aucun tour** n'est libre.

(1)

(1)

(1)

(1)
## 4.3 Translating (into) acrostics or anagrams

Using an already existing one or inventing their own, players are invited to translate or create bilingually a set of two mirroring anagrams, acrostics or mesostics. The difficulty varies greatly according to language pairs!

### Materials

* A source text or

* An acrostic (or mesostic) or anagram for translation or co-simultaneous heterolingual construction.

### Examples

Co-simultaneous heterolingual construction of an anagram:

* from Noel's "I can't breathe/no puedo respirar" (Transversal 21)

I CAN'T BREATHE

NO PUEDO RESPIRAR

anagrams to troll white supremacy

anagramas para trolear a la supremacía blanca

ETHNIC ABATER

PERDIERON APUROS

A BETTER CHAIN

PUDRIERON ÁSPERO

CHAIN ABETTER

DESEARON POPURRÍ

BERNIE ATTACH

REPUSIERON DOPAR

HIBERNATE ACT

PROPUSIERON ARDE

I BE THAT CAREN

ESPIARON PERDURÓ

THEN BACTERIA

ESPINUDO PERORAR

Etc.

From a source text not originally written in an acrostic or an anagram:

* De la Torre's "T20: Translation of the poem smuggled inside another poem as an acrostic"; "T23: Anagrammatic translation permutating all of the letters in the original Spanish into English-language words"; "T24: Anagrammatic translation permutating all of the letters in an English version of the original into Spanish-language words, and its corresponding translation into English" (72-73).
## 4.3 Translating (into) acrostics or anagrams

Using an already existing one or inventing their own, players are invited to translate or create bilingually a set of two mirroring anagrams, acrostics or mesostics. The difficulty varies greatly according to language pairs!

### Materials

* A source text or

* An acrostic (or mesostic) or anagram for translation or co-simultaneous heterolingual construction.

### Examples

Co-simultaneous heterolingual construction of an anagram:

* from Noel's "I can't breathe/no puedo respirar" (Transversal 21)

I CAN'T BREATHE

NO PUEDO RESPIRAR

anagrams to troll white supremacy

anagramas para trolear a la supremacía blanca

ETHNIC ABATER

PERDIERON APUROS

A BETTER CHAIN

PUDRIERON ÁSPERO

CHAIN ABETTER

DESEARON POPURRÍ

BERNIE ATTACH

REPUSIERON DOPAR

HIBERNATE ACT

PROPUSIERON ARDE

I BE THAT CAREN

ESPIARON PERDURÓ

THEN BACTERIA

ESPINUDO PERORAR

Etc.

From a source text not originally written in an acrostic or an anagram:

* De la Torre's "T20: Translation of the poem smuggled inside another poem as an acrostic"; "T23: Anagrammatic translation permutating all of the letters in the original Spanish into English-language words"; "T24: Anagrammatic translation permutating all of the letters in an English version of the original into Spanish-language words, and its corresponding translation into English" (72-73).
## 5.1 Translate like Elisa Sampedrín

Relying on Outranspian constraints such as soundtranslation, limentranslation, hommeauxtranslation, ekphrasotranslation, etc., as well as gut instinct and the free-form imagination of translucinación, players translate a text written in a language they don't speak. Ideally this is carried out with a text that has an existing "faithful" translation by a translator with real knowledge of the language of the original.

### Materials

* A text written in a language not spoken by the translators. The text should be one that has already been well translated by someone else.

* Translating from a language one does not speak can be problematic depending on the positionality of the players involved. One might want to avoid Poundian essentializing over the mystical exoticism of the structures of languages and alphabet one knows nothing about. One might also want to avoid post-colonialist mechanisms of appropriation that erase the sense and significance of the original. One possible way to get out of this is to do what Elisa Sampedrín does in Erín Moure’s O Resplandor and translate texts that have already been well translated, and dialogue with those translations.

### Players

* One, or several if carried out in a workshop or classroom context.
## 5.1 Translate like Elisa Sampedrín

Relying on Outranspian constraints such as soundtranslation, limentranslation, hommeauxtranslation, ekphrasotranslation, etc., as well as gut instinct and the free-form imagination of translucinación, players translate a text written in a language they don't speak. Ideally this is carried out with a text that has an existing "faithful" translation by a translator with real knowledge of the language of the original.

### Materials

* A text written in a language not spoken by the translators. The text should be one that has already been well translated by someone else.

* Translating from a language one does not speak can be problematic depending on the positionality of the players involved. One might want to avoid Poundian essentializing over the mystical exoticism of the structures of languages and alphabet one knows nothing about. One might also want to avoid post-colonialist mechanisms of appropriation that erase the sense and significance of the original. One possible way to get out of this is to do what Elisa Sampedrín does in Erín Moure’s O Resplandor and translate texts that have already been well translated, and dialogue with those translations.

### Players

* One, or several if carried out in a workshop or classroom context.
## Steps

* Consider the text rather than read it. Worm one's way in through the form, using techniques of experimental translation such as soundtranslation (or its equivalent on the alphabet level), calque, paleotranslation or limentranslation, translating by way of known or imagined root words or through associations and imagined bilingual homophones. Liberate sense from form and form from matter, as in a *traduit partouze*, but intimately.

## Examples

### 1.

a) Original by Aurelia Lassaque written in Occitan, extracted from her book *Pour que chantent les salamandres*, p. 40.

**Sant-Joan**
**La Nuèch**

La bèla bala sola suls camins
per las estèlas e per la salvatgina.
Sas mans penjadas al cèl,
daissa lo vent la vesitar.

Son rire se mescla al cant d'aucèls de nuèch allucinats.

b) Translations carried out by Nia Davies, who does not speak Occitan and was not informed of the source text or language.

**Siwan**
**The Kidney**

The pretty protein does its work
the stars are out for salvaging
Those hands gestate quick as risk,
an organ cannot speak

Some rivers are middleweight; a kidney moves a little weight.
## Steps

* Consider the text rather than read it. Worm one's way in through the form, using techniques of experimental translation such as soundtranslation (or its equivalent on the alphabet level), calque, paleotranslation or limentranslation, translating by way of known or imagined root words or through associations and imagined bilingual homophones. Liberate sense from form and form from matter, as in a *traduit partouze*, but intimately.

## Examples

### 1.

a) Original by Aurelia Lassaque written in Occitan, extracted from her book *Pour que chantent les salamandres*, p. 40.

**Sant-Joan**

**La Nuèch**

> La bèla bala sola suls camins
> per las estèlas e per la salvatgina.
> Sas mans penjadas al cèl,
> daissa lo vent la vesitar.

> Son rire se mescla al cant d'aucèls de nuèch allucinats.

b) Translations carried out by Nia Davies, who does not speak Occitan and was not informed of the source text or language.

**Siwan**

**The Kidney**

> The pretty protein does its work
> the stars are out for salvaging
> Those hands gestate quick as risk,
> an organ cannot speak

> Some rivers are middleweight; a kidney moves a little weight.
### The notch

Don't think of the kidney's tubes snipped away

Skip happy into the coming poiesis

Cells regenerate so re-ripple up

Through cell life & love

River through the roads of the body

A hundred or so more years

### Treasure of Saint Siwan

Visiting the mouth of the organ chest

A gift of the hands out to see

Daubing, poietic chitterlings

Breathing out and in to see

Cellular trips through the springs, our siblingness

Because the notch shines

### c) Transplanted source text (also by Nia Davies).

Are there any long-term risks of living with *suls camins*? It is important to be aware that, although risks across the board are generally very low, every individual is different and it is possible for other uncommon complications to occur. For example, although rare, on-going fatigue and persistent pain have been reported by small numbers of the thousands of living donors. However, most *La bèla bala sola* lead a normal, healthy life after they have donated and are able to do all the activities that they were doing before. What are the side effects of *e par la salvatgina* with one *Nuèch*? Some *La Nuèch* have indicated that there is a slightly higher chance of a small increase in *al cèl* or the amount of protein in your urine as a result of *Sas mans*. However, these are checked at annual followup and, if found, can be *daissa lo vent*. The overall risk of developing significant kidney disease in your remaining kidney after donation is *le vesitar*, occurring in less than one in 200 (0.5%) donors, and it is much less in kidney donors than
### The notch

Don't think of the kidney's tubes snipped away

Skip happy into the coming poiesis

Cells regenerate so re-ripple up

Through cell life & love

River through the roads of the body

A hundred or so more years

### Treasure of Saint Siwan

Visiting the mouth of the organ chest

A gift of the hands out to see

Daubing, poietic chitterlings

Breathing out and in to see

Cellular trips through the springs, our siblingness

Because the notch shines

### c) Transplanted source text (also by Nia Davies).

Are there any long-term risks of living with *suls camins*? It is important to be aware that, although risks across the board are generally very low, every individual is different and it is possible for other uncommon complications to occur. For example, although rare, on-going fatigue and persistent pain have been reported by small numbers of the thousands of living donors. However, most *La bèla bala sola* lead a normal, healthy life after they have donated and are able to do all the activities that they were doing before. What are the side effects of *e par la salvatgina* with one *Nuèch*? Some *La Nuèch* have indicated that there is a slightly higher chance of a small increase in *al cèl* or the amount of protein in your urine as a result of *Sas mans*. However, these are checked at annual followup and, if found, can be *daissa lo vent*. The overall risk of developing significant kidney disease in your remaining kidney after donation is *le vesitar*, occurring in less than one in 200 (0.5%) donors, and it is much less in kidney donors than
it is in the general (unscreened) population (because **de nuèch** donors are, of course, prescreened to ensure they are healthy). Whilst most **penjadas** have uncomplicated pregnancies after donation, there is a slightly increased risk of gestational hypertension or pre-eclampsia. Can **Son rire** **shorten your life?** Compared **per las estelas**, most kidney donors have equivalent (or better) survival, excellent quality of life, and no increase in end-stage kidney disease (ESKD). Some studies have indicated a slightly increased incidence of ESKD post donation among **ses mescla**; in particular black donors, younger donors, donors genetically related to their recipients, donors related to **al cant d'aucèls** of their kidney failure, and overweight donors. However, the risk is still lower than that of the general (unscreened) **allucinats**.

d) The original bilingual version of the original Occitan poem in French, also written by Aurélia Lassaque (41).

### Saint-Jean
### La Nuit

La belle danse seule sur les chemins
pour les étoiles et pour la sauvagine.
Ses mains suspendues au ciel,
elle laisse le vent la visiter.

Son rire se mêle au chant d'oiseaux de nuit hallucinés.

e) My literal translation into English from the French and Occitan.

The beauty dances alone on the path
for stars and wilderness.
Her hands hanging in the sky,
she welcomes the wind.

Her laughter mixes with the night bird's hallucinated song.
it is in the general (unscreened) population (because **de nuèch** donors are, of course, prescreened to ensure they are healthy). Whilst most **pen-jadas** have uncomplicated pregnancies after donation, there is a slightly increased risk of gestational hypertension or pre-eclampsia. Can **Son rire** **shorten your life?** Compared **per las estelas**, most kidney donors have equivalent (or better) survival, excellent quality of life, and no increase in end-stage kidney disease (ESKD). Some studies have indicated a slightly increased incidence of ESKD post donation among **ses mescla**; in particular black donors, younger donors, donors genetically related to their recipients, donors related to **al cant d'aucèls** of their kidney failure, and overweight donors. However, the risk is still lower than that of the general (unscreened) **allucinats**.

d) The original bilingual version of the original Occitan poem in French, also written by Aurélia Lassaque (41).

### Saint-Jean
### La Nuit

La belle danse seule sur les chemins
pour les étoiles et pour la sauvagine.
Ses mains suspendues au ciel,
elle laisse le vent la visiter.

Son rire se mêle au chant d'oiseaux de nuit hallucinés.

e) My literal translation into English from the French and Occitan.

The beauty dances alone on the path
for stars and wilderness.
Her hands hanging in the sky,
she welcomes the wind.

Her laughter mixes with the night bird's hallucinated song.
2.

a) Extract from original poem by Yevgeny Yevtushenko.

## Поздние Слезы

Животные—ото другие народы

и не ио слезливон, как люди, породы

Но плачут собаки не спьяну-тверезы

Их старость пыдавливает им слезы

b) Translation by Adam Israel, who neither speaks Russian nor reads Cyrillic.

## Dolorous Chemistry

Unbottled and aflight, awaiting

The word the had constructed, all but open.

Oh sweet compounds and fair mixtures,

I incline assiduously before your power.

The extract above is taken from Alan Semerdjian's contribution to the *Chain 10* volume on *Translucinación* entitled "The Efficacy of Mistranslation," in which he recounts his experience teaching creative writing in English through the translation of languages students had varying degrees of access to. Semerdjian quotes Israel's reflection on his translation process from Cyrillic without knowing the alphabet:

> Translating an unknown language caused me to approach the writing of the poem as an unlocking of meaning already trapped among the words. The experience of working from another poet's words allowed me to disassociate from the act of setting up the poem and focus on the relationships of words together. Fresh and interesting phrases and images sprang forth from the inspiration of Cyrillic characters rather than English thoughts. A wholly new approach for myself, a too American poet. (Israel, quoted in Semerdjian 192)
2.

a) Extract from original poem by Yevgeny Yevtushenko.

## Поздние Слезы

Животные—ото другие народы

и не ио слезливон, как люди, породы

Но плачут собаки не спьяну-тверезы

Их старость пыдавливает им слезы

b) Translation by Adam Israel, who neither speaks Russian nor reads Cyrillic.

## Dolorous Chemistry

Unbottled and aflight, awaiting

The word the had constructed, all but open.

Oh sweet compounds and fair mixtures,

I incline assiduously before your power.

The extract above is taken from Alan Semerdjian's contribution to the *Chain 10* volume on *Translucinación* entitled "The Efficacy of Mistranslation," in which he recounts his experience teaching creative writing in English through the translation of languages students had varying degrees of access to. Semerdjian quotes Israel's reflection on his translation process from Cyrillic without knowing the alphabet:

> Translating an unknown language caused me to approach the writing of the poem as an unlocking of meaning already trapped among the words. The experience of working from another poet's words allowed me to disassociate from the act of setting up the poem and focus on the relationships of words together. Fresh and interesting phrases and images sprang forth from the inspiration of Cyrillic characters rather than English thoughts. A wholly new approach for myself, a too American poet. (Israel, quoted in Semerdjian 192)
c) Faithful translation by Alec Vagapov.¹

OLD AGE TEARS

Though animals do have some human features
they differ from humans, the snivelling creatures.
A dog doesn't whine with its head full of bees, -
old age is what squeezes out its tears.

3.

a) Original poem in Mandarin Chinese by 1930's Chinese linguist Yuen Ren Chao.

<figure><img src="image_16.png" /></figure>
c) Faithful translation by Alec Vagapov.¹

OLD AGE TEARS

Though animals do have some human features
they differ from humans, the snivelling creatures.
A dog doesn't whine with its head full of bees, -
old age is what squeezes out its tears.

3.

a) Original poem in Mandarin Chinese by 1930's Chinese linguist Yuen Ren Chao.

<figure><img src="image_16.png" /></figure>
b) Pinyin transliteration and literal translation, reproduced from the YellowBridge website² (translator unknown).

<table><thead><tr><th></th><th>繁體 Trad ↔ 简体 Simp</th><th>Pinyin</th><th>English</th></tr></thead><tbody><tr><td></td><td>施氏食狮史</td><td>shī shì shí shī shǐ</td><td>Story of Shi Eating the Lions</td></tr><tr><td>1</td><td>石室诗士施氏,</td><td>shí shì shī shì shì shì</td><td>A poet named Shi lived in a stone room,</td></tr><tr><td>2</td><td>嗜狮, 誓食十狮.</td><td>shì shí, shì shí shí shí shē.</td><td>fond of lions, he swore that he would eat ten lions.</td></tr><tr><td>3</td><td>氏时时适市视狮。</td><td>shì shí shí shì shì shì shē.</td><td>He constantly went to the market to look for ten lions.</td></tr><tr><td>4</td><td>十时, 适十狮适市。</td><td>shí shí, shì shí shí shì shì shē.</td><td>At ten o'clock, ten lions came to the market</td></tr><tr><td>5</td><td>是时, 适施氏适是市。</td><td>shì shí, shì shí shì shì shì shì shē.</td><td>and Shi went to the market.</td></tr><tr><td>6</td><td>氏视是十狮, 恃矢势,</td><td>shì shì shì shí shí, shì shí shì shì</td><td>Looking at the ten lions, he relied on his arrows</td></tr><tr><td>7</td><td>使是十狮逝世。</td><td>shǐ shì shí shí shì shì</td><td>to cause the ten lions to pass away.</td></tr><tr><td>8</td><td>氏拾是十狮尸, 适石室。</td><td>shì shí shì shí shí shē, shì shí shì shē.</td><td>Shi picked up the corpses of the ten lions and took them to his stone room.</td></tr><tr><td>9</td><td>石室湿, 氏使侍拭石室。</td><td>shí shì, shí, shì shì shì shí shì shì</td><td>The stone room was damp. Shi ordered a servant to wipe the stone room.</td></tr><tr><td>10</td><td>石室拭, 氏始试食十狮尸。</td><td>shí shì shì, shì shí shì shí shí shē shē.</td><td>As the stone den was being wiped, Shi began to try to eat the meat of the ten lions.</td></tr><tr><td>11</td><td>食时, 始识十狮尸,</td><td>shí shí, shí shì shì shí shí shē shē,</td><td>At the time of the meal, he began to realize that the ten lion corpses</td></tr><tr><td>12</td><td>实十石狮尸.</td><td>shí shí shí shí shē shē.</td><td>were in fact were ten stone lions.</td></tr><tr><td>13</td><td>试释是事.</td><td>shì shì shì shì</td><td>Try to explain this matter.</td></tr></tbody></table>
b) Pinyin transliteration and literal translation, reproduced from the YellowBridge website² (translator unknown).

<table><thead><tr><th></th><th>繁體 Trad ↔ 简体 Simp</th><th>Pinyin</th><th>English</th></tr></thead><tbody><tr><td></td><td>施氏食狮史</td><td>shī shì shí shī shǐ</td><td>Story of Shi Eating the Lions</td></tr><tr><td>1</td><td>石室诗士施氏,</td><td>shí shì shī shì shī shì</td><td>A poet named Shi lived in a stone room,</td></tr><tr><td>2</td><td>嗜狮, 誓食十狮.</td><td>shì shí, shì shí shí shí shē.</td><td>fond of lions, he swore that he would eat ten lions.</td></tr><tr><td>3</td><td>氏时时适市视狮。</td><td>shì shí shí shì shì shì shē.</td><td>He constantly went to the market to look for ten lions.</td></tr><tr><td>4</td><td>十时, 适十狮适市。</td><td>shí shí, shì shí shí shì shì shē.</td><td>At ten o'clock, ten lions came to the market</td></tr><tr><td>5</td><td>是时, 适施氏适是市。</td><td>shì shí, shì shí shì shì shì shē.</td><td>and Shi went to the market.</td></tr><tr><td>6</td><td>氏视是十狮, 恃矢势,</td><td>shì shì shì shí shí, shì shí shì shì</td><td>Looking at the ten lions, he relied on his arrows</td></tr><tr><td>7</td><td>使是十狮逝世。</td><td>shǐ shì shí shí shì shì</td><td>to cause the ten lions to pass away.</td></tr><tr><td>8</td><td>氏拾是十狮尸, 适石室。</td><td>shì shí shì shí shí shē, shì shí shì shē.</td><td>Shi picked up the corpses of the ten lions and took them to his stone room.</td></tr><tr><td>9</td><td>石室湿, 氏使侍拭石室。</td><td>shí shì, shí, shì shì shì shí shì shì</td><td>The stone room was damp. Shi ordered a servant to wipe the stone room.</td></tr><tr><td>10</td><td>石室拭, 氏始试食十狮尸。</td><td>shí shì shì, shì shí shì shí shí shē shē.</td><td>As the stone den was being wiped, Shi began to try to eat the meat of the ten lions.</td></tr><tr><td>11</td><td>食时, 始识十狮尸,</td><td>shí shí, shí shì shì shí shí shē shē,</td><td>At the time of the meal, he began to realize that the ten lion corpses</td></tr><tr><td>12</td><td>实十石狮尸.</td><td>shí shí shí shí shē shē.</td><td>were in fact were ten stone lions.</td></tr><tr><td>13</td><td>试释是事.</td><td>shì shì shì shì</td><td>Try to explain this matter.</td></tr></tbody></table>
c) Translation by Outranspo.

606 Soucis

Si six scies scient Sissi

Soucis ? si si, ici

She sees sexy sheep chewing... cheese

Su Cid ? vi sin insistir

Issi... sei sci liscissimi

Sí sí sì sì si, sí ! sì sí !

No no no no no no

\ / \

\ - \

sh sh sh, sh sh sh sh sh sh

chip chip, chip tuits chips tuits tuits chip

she (••) she (••) she (••) she (••) she (••) (Portraits de 10 lionnes par Delphine Presles)

Si sì c'est sì ?

(in the style of Amy Winehouse)

(YMCA style)

(sound of cicadas)

(birdsong)
c) Translation by Outranspo.

606 Soucis

Si six scies scient Sissi

Soucis ? si si, ici

She sees sexy sheep chewing... cheese

Su Cid ? vi sin insistir

Issi... sei sci liscissimi

Sí sí sì sì si, sí ! sì sí !

No no no no no no

\ / \

\ - \

sh sh sh, sh sh sh sh sh sh

chip chip, chip tuits chips tuits tuits chip

she (••) she (••) she (••) she (••) she (••) (Portraits de 10 lionnes par Delphine Presles)

Si sì c'est sì ?

(in the style of Amy Winehouse)

(YMCA style)

(sound of cicadas)

(birdsong)
## 5.2 Alter-ego translation

Translate the figure of an author in a text into the figure of a translator. Tangentially, translate writing into translating. This can also be carried out between translator figures. For added fun, try translating text type.

### Materials

* A text for translation that either treats the subject of writing or the figure of the author, or of a fellow translator.

### Steps

* This can be a simple transduction, swapping words out for another (such as *écriture* for translation and *autrice* for translator).

* Alternatively, this procedure can modulate for an entire person, as when Doctor Who dies and is reborn as a new doctor, maintaining their story and their grief, but changing external appearances, tastes and outward personality.

### Examples

In this example, students in my first year master's course in professional translation were not asked explicitly to modulate person, author or character, but to modulate text type. Interestingly, in a number of cases, the modulation of text type—which includes the modulation of locutionary context and address—provoked a modulation of person as in Moure's modulations between the figure of the author and the figure of the translator in her translation and echolation of Chus Pato's Secesión: Secession/Insecession.

Prompt given to the students: Translate changing the text type (e.g.: biography, interview, social media or dating profile, short story, obituary... please do think about page layout, format and interface).
## 5.2 Alter-ego translation

Translate the figure of an author in a text into the figure of a translator. Tangentially, translate writing into translating. This can also be carried out between translator figures. For added fun, try translating text type.

### Materials

* A text for translation that either treats the subject of writing or the figure of the author, or of a fellow translator.

### Steps

* This can be a simple transduction, swapping words out for another (such as *écriture* for translation and *autrice* for translator).

* Alternatively, this procedure can modulate for an entire person, as when Doctor Who dies and is reborn as a new doctor, maintaining their story and their grief, but changing external appearances, tastes and outward personality.

### Examples

In this example, students in my first year master's course in professional translation were not asked explicitly to modulate person, author or character, but to modulate text type. Interestingly, in a number of cases, the modulation of text type—which includes the modulation of locutionary context and address—provoked a modulation of person as in Moure's modulations between the figure of the author and the figure of the translator in her translation and echolation of Chus Pato's Secesión: Secession/Insecession.

Prompt given to the students: Translate changing the text type (e.g.: biography, interview, social media or dating profile, short story, obituary... please do think about page layout, format and interface).
a) Original.

[Name]
38 ans
| Paris (75011) France

## EXPÉRIENCES

### Traductrice indépendante

### Domaines techniques et médicaux Depuis janvier 2011 Freelance Paris France

Traductrice exerçant en libéral, je vous propose un service de traduction professionnel, adapté à vos besoins. Je traduis vos manuels techniques mais également vos documents à usage commercial ou interne, afin de garantir à votre entreprise une documentation homogène.

### Traductrice, réviseuse, chef de projets

### EXATRAD Avril 2005 à décembre 2010 CDI Paris France

Traduction et révision (essentiellement de l'anglais vers le français) dans le domaine des techniques, des équipements médicaux, de l'informatique, du marketing et de la communication d'entreprise.

Gestion de projets multilingues du devis à la livraison, en passant par l'assignation aux traducteurs compétents et le suivi du projet (lien clients-traducteurs).

Élaboration de glossaires.

Contrôle qualité (guide de style, relecture, révision et suivi des retours clients).

### Traductrice et chef de projets junior

### Cillero & de Motta Traducción Juillet 2003 à février 2004 Stage Zaragoza Espagne

Gestion de projets, glossaires, guides de style.

Traduction et relecture (espagnol vers français) : rapports médicaux, sites Web touristiques, menus gastronomiques, articles de presse, fiches de sécurité, fiches de maintenance, catalogues publicitaires, développement durable.

## FORMATIONS

### DESS Techniques de la traduction et traduction spécialisée (anglais/espagnol)

### Université Toulouse II

Octobre 2004 à octobre 2005

Formation sur les métiers de la traduction, s'appuyant sur des ateliers pratiques de traduction et de terminologie et sur des cours sur la gestion du fond documentaire, des outils informatiques et de l'entreprise.

### Maîtrise LEA (Langues étrangères appliquées) anglais/espagnol

### Escuela Universitaria de Estudios Empresariales (Zaragoza, Espagne)

Septembre 2002 à septembre 2003

École de commerce rattachée à l'université de Saragosse.
a) Original.

[Name]
38 ans
| Paris (75011) France

## EXPÉRIENCES

### Traductrice indépendante

### Domaines techniques et médicaux Depuis janvier 2011 Freelance Paris France

Traductrice exerçant en libéral, je vous propose un service de traduction professionnel, adapté à vos besoins. Je traduis vos manuels techniques mais également vos documents à usage commercial ou interne, afin de garantir à votre entreprise une documentation homogène.

### Traductrice, réviseuse, chef de projets

### EXATRAD Avril 2005 à décembre 2010 CDI Paris France

Traduction et révision (essentiellement de l'anglais vers le français) dans le domaine des techniques, des équipements médicaux, de l'informatique, du marketing et de la communication d'entreprise.

Gestion de projets multilingues du devis à la livraison, en passant par l'assignation aux traducteurs compétents et le suivi du projet (lien clients-traducteurs).

Élaboration de glossaires.

Contrôle qualité (guide de style, relecture, révision et suivi des retours clients).

### Traductrice et chef de projets junior

### Cillero & de Motta Traducción Juillet 2003 à février 2004 Stage Zaragoza Espagne

Gestion de projets, glossaires, guides de style.

Traduction et relecture (espagnol vers français) : rapports médicaux, sites Web touristiques, menus gastronomiques, articles de presse, fiches de sécurité, fiches de maintenance, catalogues publicitaires, développement durable.

## FORMATIONS

### DESS Techniques de la traduction et traduction spécialisée (anglais/espagnol)

### Université Toulouse II

Octobre 2004 à octobre 2005

Formation sur les métiers de la traduction, s'appuyant sur des ateliers pratiques de traduction et de terminologie et sur des cours sur la gestion du fond documentaire, des outils informatiques et de l'entreprise.

### Maîtrise LEA (Langues étrangères appliquées) anglais/espagnol

### Escuela Universitaria de Estudios Empresariales (Zaragoza, Espagne)

Septembre 2002 à septembre 2003

École de commerce rattachée à l'université de Saragosse.
b) Modulation by Gabriela Rodrigues Anastacio.

<figure><img src="image_17.png" /></figure>
b) Modulation by Gabriela Rodrigues Anastacio.

<figure><img src="image_17.png" /></figure>
<figure><img src="image_18.png" /></figure>

10/04/2005

<figure><img src="image_19.png" /></figure>

## Started Working at EXATRAD

Posted on 10 April - Translator

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01/10/2004

I'm about to start my Master's degree in translation techniques and specialized translation in the University of Toulouse!! It will be one year (until October 2005), and the focus will be on practical translation, terminology workshops and courses on the management of databases, IT, and more! I'm excited!!

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05/02/2004

My internship in Zaragoza has come to an end! These last few months working as a translator and Junior project manager allowed me to learn so much about the profession! I got to translate medical reports, tourist websites (my favorite), restaurant menus, news articles, guidelines of all kinds, articles on sustainable development, among others, and I got to do some management of projects, glossaries, and style guides!

I'm ready for the next step. Perhaps a post-graduate degree or a Master's so that I can deepen my knowledge? Who knows...?

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08/07/2003

I'm about to start my very first internship in Cillero & de Motta Traducción, in Zaragoza, SPAIN!! How amazing? This will give me an amazing opportunity to keep improving my Spanish, and also to get started on the translation world! They told me I will be doing some translation but mainly proofreading texts from Spanish to French, so I think I'll be okay!

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20/09/2002

I'm now doing a Master's degree in LEA (Applied Foreign Languages), studying English and Spanish! And guess where: in Spain!! This university seems amazing, Escuela Universitaria de Estudios Empresariales, in Zaragoza. I hope this year is as good as I'm expecting! There's even a business school attached to the University of Zaragoza!

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02/09/1983

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## Born on September 2, 1983

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Hometown — Paris, France.

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10/04/2005

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Started Working at EXATRAD

Posted on 10 April - Translator

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01/10/2004

I'm about to start my Master's degree in translation techniques and specialized translation in the University of Toulouse!! It will be one year (until October 2005), and the focus will be on practical translation, terminology workshops and courses on the management of databases, IT, and more! I'm excited!!

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05/02/2004

My internship in Zaragoza has come to an end! These last few months working as a translator and Junior project manager allowed me to learn so much about the profession! I got to translate medical reports, tourist websites (my favorite), restaurant menus, news articles, guidelines of all kinds, articles on sustainable development, among others, and I got to do some management of projects, glossaries, and style guides!

I'm ready for the next step. Perhaps a post-graduate degree or a Master's so that I can deepen my knowledge? Who knows...?

<figure><img src="image_28.png" /></figure>

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08/07/2003

I'm about to start my very first internship in Cillero & de Motta Traducción, in Zaragoza, SPAIN!! How amazing? This will give me an amazing opportunity to keep improving my Spanish, and also to get started on the translation world! They told me I will be doing some translation but mainly proofreading texts from Spanish to French, so I think I'll be okay!

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20/09/2002

I'm now doing a Master's degree in LEA (Applied Foreign Languages), studying English and Spanish! And guess where: in Spain!! This university seems amazing, Escuela Universitaria de Estudios Empresariales, in Zaragoza. I hope this year is as good as I'm expecting! There's even a business school attached to the University of Zaragoza!

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02/09/1983

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Born on September 2, 1983

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Hometown — Paris, France.

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c) Modulation by Kaoutar Zouarhi.

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26TH OCTOBER, 2021—KAOUTAR ZOUARHI

**Random good reads on
translation**

INTERVIEW WITH A TRANSLATOR

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c) Modulation by Kaoutar Zouarhi.

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Lost in Translation

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26TH OCTOBER, 2021—KAOUTAR ZOUARHI

**Random good reads on
translation**

INTERVIEW WITH A TRANSLATOR

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Nadia is a French-Spanish freelance translator specialising in French literature. Her recent translations include *Les fleurs du Mal* by Charles Baudelaires, *Le Bateau ivre* by Arthur Rimbaud and *Le dernier jour d'un condamné* by Victor Hugo.

**Why did you decide to become a translator?**

Ever since I was a child, I've loved languages. I was lucky to grow up in a bilingual household and to speak French and Spanish all the time. I used to read and write poetry in those two languages. After my high school graduation, it was obvious to me that I would study languages, and I decided to study them in Spain. In 2003, I graduated with a BA in applied languages with a major in English and a minor in Spanish from the University of Madrid.

**How did you get your first job?**

During my BA I had to do an internship. It went so well that they offered me a 6-month contract! That was a welcome opportunity for me because it was in Madrid and I wanted to spend more time over there. I worked as a junior project manager supervising so many translations, mainly from Spanish into French. It was the best first learning experience I could have ever dreamed of. I translated so many kinds of documents, like press articles and advertising catalogues. I also learned good localisation strategies while translating tourist websites.

**Was it easier to work in different areas of translation? Did you like it?**

I really enjoyed it, but my passion for French literature and poetry was calling to me. I had always dreamed of translating famous French authors' books into Spanish one day, since it's my mum's native language. Then I realised that I couldn't get a job like that unless I had some kind of translation qualification. Therefore, in 2004, I decided to resume my studies with an MA in Literary and Translation Studies.
Nadia is a French-Spanish freelance translator specialising in French literature. Her recent translations include *Les fleurs du Mal* by Charles Baudelaires, *Le Bateau ivre* by Arthur Rimbaud and *Le dernier jour d'un condamné* by Victor Hugo.

**Why did you decide to become a translator?**

Ever since I was a child, I've loved languages. I was lucky to grow up in a bilingual household and to speak French and Spanish all the time. I used to read and write poetry in those two languages. After my high school graduation, it was obvious to me that I would study languages, and I decided to study them in Spain. In 2003, I graduated with a BA in applied languages with a major in English and a minor in Spanish from the University of Madrid.

**How did you get your first job?**

During my BA I had to do an internship. It went so well that they offered me a 6-month contract! That was a welcome opportunity for me because it was in Madrid and I wanted to spend more time over there. I worked as a junior project manager supervising so many translations, mainly from Spanish into French. It was the best first learning experience I could have ever dreamed of. I translated so many kinds of documents, like press articles and advertising catalogues. I also learned good localisation strategies while translating tourist websites.

**Was it easier to work in different areas of translation? Did you like it?**

I really enjoyed it, but my passion for French literature and poetry was calling to me. I had always dreamed of translating famous French authors' books into Spanish one day, since it's my mum's native language. Then I realised that I couldn't get a job like that unless I had some kind of translation qualification. Therefore, in 2004, I decided to resume my studies with an MA in Literary and Translation Studies.
## What did you do after your MA in Translation?

I was a fresh graduate, and the most evident next step for me was scoring my first literature translation job and working on establishing a good client base. But before I did that, I had to do what all newbie translators do: apply for all the jobs I came across! I must admit I was very lucky because I got a 5-year contract in a translation agency in Paris affiliated to a famous publishing house. I had the great joy of translating over 11 books from French into Spanish. I also did some multilingual project management, and did some follow-up work to develop relationships between clients and translators.

## It sounds pretty interesting! So how did you choose to become a freelance translator? What are the benefits of being a freelance translator compared to an in-house translator?

Initially, working in-house is probably a good way to get started. It gives you a lot of experience, you see how everything works from the inside and you obviously get a regular income. In 2011, I had my first child, and it was a turning point in my life. So to have more freedom, I founded my own business, I had my own clients, set my own deadlines and rates, and was my own boss. I've been providing professional translations for my clients for the past 10 years.

Kaoutar Zouarhi, Editor of *Lost in Translation*

## RELATED POSTS

<figure><img src="image_47.png" /><figcaption>The Translation Process: Beyond the language conversion
October 19, 2021</figcaption></figure>

<figure><img src="image_48.png" /><figcaption>Future of Europe: launch of the multilingual digital platform.
October 12, 2021</figcaption></figure>

<figure><img src="image_49.png" /><figcaption>10 Best Translation Quotes Every Translator Should Know
October 5, 2021</figcaption></figure>
## What did you do after your MA in Translation?

I was a fresh graduate, and the most evident next step for me was scoring my first literature translation job and working on establishing a good client base. But before I did that, I had to do what all newbie translators do: apply for all the jobs I came across! I must admit I was very lucky because I got a 5-year contract in a translation agency in Paris affiliated to a famous publishing house. I had the great joy of translating over 11 books from French into Spanish. I also did some multilingual project management, and did some follow-up work to develop relationships between clients and translators.

## It sounds pretty interesting! So how did you choose to become a freelance translator? What are the benefits of being a freelance translator compared to an in-house translator?

Initially, working in-house is probably a good way to get started. It gives you a lot of experience, you see how everything works from the inside and you obviously get a regular income. In 2011, I had my first child, and it was a turning point in my life. So to have more freedom, I founded my own business, I had my own clients, set my own deadlines and rates, and was my own boss. I've been providing professional translations for my clients for the past 10 years.

Kaoutar Zouarhi, Editor of *Lost in Translation*

## RELATED POSTS

<figure><img src="image_47.png" /><figcaption>The Translation Process: Beyond the language conversion
October 19, 2021</figcaption></figure>

<figure><img src="image_48.png" /><figcaption>Future of Europe: launch of the multilingual digital platform.
October 12, 2021</figcaption></figure>

<figure><img src="image_49.png" /><figcaption>10 Best Translation Quotes Every Translator Should Know
October 5, 2021</figcaption></figure>
## 5.3 Geographic modulation

The following are two translations both carried out by Angeliki Papazoglou, a student from my 2019 master's translation class whose native language is Greek, who, beginning with a tourist text on Montpellier, created a fictive city called Darkon City. She then proceeded to locate some of her other experimental translations for the class in this same universe, thus highlighting an important tenet of the class: the reflection on context and world as a primordial guideline for translation strategy. Darkon city is also an example of "antotranslation" (Outranspo's version of VD's contraire negativé), translating sunlight to darkness, comedy to tragedy, cats to reptiles. There are also a number of other Outranspian constraints woven into Papazoglou's translations: see if you can find them!

### a) Original tourist text on Montpellier and Papazoglou's translation into Darkon City.

*Prompt:* Translate, changing the time or place (real or imaginary)

#### Montpellier

Il est un pais où l'eau ne sort que de la terre et le soleil reste bien haut dans
le ciel.

Avec deux fois plus de journées ensoleillées que la moyenne nationale et une multitude de fontaines, qui ont donné à la ville son surnom de "ville aux 100 fontaines", Montpellier est, dès cette introduction, un paradis pour les aficionados de l'héliocentrisme touristique.

Ces deux arguments ayant déjà, certainement, provoqué chez certains un départ précipité pour cette ville promise, ne doivent plus rester, devant ces lignes, que les personnes pour qui le soleil n'est pas la seule motivation d'un voyage.

Que ces dernières ne fassent pas l'erreur de rayer la cité de leurs destinations de vacances car Montpellier est aussi riche de découvertes qu'elle l'est de lumière.

Dotée d'un centre historique millénaire, la ville foisonne d'attraits culturels et patrimoniaux que font vivre une culture méditerranéenne de la