In the wake of the SEW Symposium Outlanding Woolf,
October 2013 – during which we considered different modes of
estrangement and outlanding in and of Woolfs writing – we
now propose to focus on the question of translation insofar as this
both inhabits and emerges from her uvre. This implies thinking through
ways in which the theory and practice of translation invites us not only
to think about the intricacy and interlinking of reading, writing and
dissemination in terms of linguistic, poetic or
philosophical transposition, but also to extend the question to
translating Woolf into other disciplines and other media such as the
theatre, visual arts, or dance.
We know that Virginia Woolf read in other
languages, as we know she read in translation and also collaborated in
translations from Greek and Russian. We know that the Hogarth
Press published the first translation of Freud into English by
Strachey, that psychoanalysis in exile circulated through Bloomsbury. So
we might consider how this encounter with foreign
languages, literatures and continental thought informs Woolfs
thinking and her poetics, and furthermore how her uvre itself is
inhabited by questions of translation and transposition.
The fact that To the Lighthouse and The
Waves were translated into other languages in Woolfs time by
writers or well known translators invites us to think about the
translation, dissemination and displacement of her writing in terms
of the dialogue and interpenetration of different Modernisms. Meanwhile
ever-renewed endeavours to retranslate Woolfs writing prompt us to
think about its untranslatable quality in the
Benjaminian sense [4], along with questions of orality, layering
of registers, the use of the vernacular, of citationality and of
how different sensorial forms take root in a language and resist
translation: the question of Woolfs own phenomenology of perception for
example. Along the same lines, the many theatrical adaptations of
Woolfs uvre can be explored in translational terms, taking into
account how the very activity of translation is intricately bound up
with intermediality [5] as it is with the emergence of
other art forms such as painting, music and dance from the body of
the text.
We might finally consider the dissemination of
Woolfs writing in other languages and disciplines, by addressing the
question of foreign readings, such as those by Deleuze
or Rancire [6] in France, as a particular form of deterritorialisation.
Such are the branches we might find stemming
from a Trans-Woolf genealogy.
Proposals (400 words and short biobib.) may
be addressed to paris.woolf@gmail.com by December
31st 2014.
[4] Walter Benjamin, The Task of the
Translator , trans. Harry Zohn, in Illuminations, London
: Fontana, 1982, 69-83, 70-71.
[5] Henri Meschonnic, Traduire, Cest
mettre en scne , Potique du Traduire, Lagrasse : Verdier,
1999, 394-419.
[6] Gilles Deleuze and Flix
Guattari, A Thousand Plateaus, trans. Brian Massumi, Minneapolis
: University of Minnesota Press, 1987.
Jacques Rancire, Le fil perdu : Essais sur la fiction moderne, Paris : La Fabrique, 2014.