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Eugenia Loffredo and Manuela Perteghella, who both have connections to the university where I work (the University of East Anglia), have started a new blog on translation.This is how they describe it:...
It's hard to imagine a modern family as prominent in as many ways as Philip Sidney and his sister, Mary Sidney Herbert, Countess of Pembroke were.
New thinking, original ideas, and artistic expression are the essence of creativity.
New thinking, original ideas, and artistic expression are the essence of creativity. The ways that others see the world makes us change how we think, comprehend, behave, communicate, and act. And while not all change is produced by creativity, creativity produces change.
Throughout its history, popular music has contributed to change. Today, musicians and artists provide a palate of new creative and technological platforms through which personal ideas and ideologies that can positively influence the entire world.
There are a handful of basic, yet vital principles required to yield positive impact through change—primarily the simplicity of the message, the clarity of the ways in which anyone can participate, and the setting and common understanding of clear and realistic goals. In other words, the classic rules behind any marketing initiative. Rarely supported by governments, musicians have applied such principles to many causes, whether political, social, or environmental, each with their own level of success.
In some cases, music does not raise awareness or support causes without the support of the authorities—it actively protests government actions. From the father of Afrobeat, Fela Kuti in 1970s Nigeria, to folk artist Billy Bragg’s protest songs targeting Margaret Thatcher’s crushing of the unions in 1980s Britain, musicians have been forceful in their views and inspired millions to act, even when in danger of their lives.
The most recent example is Pussy Riot, the all-g
Calenda - Création, traduction et réception : Autour de l’œuvre de la romancière libanaise Hoda Barakat
Publié le lundi 22 octobre 2012 par Elsa Zotian
Cette journée d’étude, organisée à l’INALCO par le Centre d’étude et de recherche sur les littératures et les oralités du monde (CERLOM, EA 4124) dans le cadre du cycle « Paroles de créateurs », se propose de porter un regard critique sur l’œuvre de la romancière libanaise Hoda Barakat, ainsi que sur sa réception en Occident et en Orient.
Kadhim Jihad HASSAN, INALCO, CERLOM : Kadhim.email@example.com
Président de séance : Christophe Balaÿ
Ouverture de la rencontre, par Stéphane Sawas, INALCO, CERLOM
16h-16h30 : Pause
16h30-18h : II- Création, traduction et réception : table ronde en présence de l’auteure
Président de séance : Kadhim Jihad Hassan
Évocation de la réception de son œuvre, par Hoda Barakat, romancière
Imagine you want to plant some flowers in your garden. You collect the seeds and then go out and sow them. But you are distracted, you are not focusing, therefore only a few fall on the proper soil. Some end up in a thorny bush, others too near the pavement, a few fall too far. When, after some time, you go and check on the progress, what do you expect to find? Do you think that “all” the seeds have turned into flowers? Well, no, they haven’t. Not “all” of them: The ones near the pavement at first sprouted but then they dried out for lack of strong roots. The seeds that had fallen in the bush were chocked by the thorns and those thrown too far had been eaten by the birds. Only the few that had fallen on the suitable soil had bloomed into beautiful flowers.
Sustainable Nostalgia and the Power of Creative Thinking
Fiction or creative non-fiction writers with significant publications and teaching experience are invited to apply for the position of Viebranz Visiting Professor of Creative Writing for the academic year 2013-2014. Publications and teaching experience in a second genre would be preferable. The individual hired will teach two genre-specific courses each semester, at the beginning and advanced level, and be an active participant in the English Department. Departmental activities will include giving a reading as part of the St. Lawrence University Writers Series; serving as a reader on a senior honors thesis, and possibly directing a senior independent project; and leading occasional workshops for senior writing majors, or giving a craft talk on writing. Evidence will be sought of a proven record of innovative pedagogy in creative writing and an enthusiasm for teaching; minimum two years of undergraduate teaching experience.
M.F.A. or Ph.D. in creative writing, with at least two books and significant additional publications, are required. We encourage applications from candidates who bring diverse cultural, ethnic, and national perspectives to bear on their writing and teaching. The successful candidate will join a department with a curricular commitment to teaching the mutuality of the study of literature and the practice of creative expression. Salary commensurate with experience. A fully-furnished house is provided as part of the compensation package.
Please send a detailed letter of application, C/V emphasizing publications and relevant teaching experience, e-mail address, sample syllabi and writing exercises, to Dr. Sidney L. Sondergard, Viebranz Search Committee, Department of English, St. Lawrence University, Canton, NY 13617. Review of applications will begin on October 31, 2012. Finalists will be asked to submit a writing sample and three letters of recommendation attesting to teaching experience.
Located in Canton, N.Y., St. Lawrence University is a coeducational, private, independent liberal arts institution of about 2,300 students. The educational opportunities at St. Lawrence inspire students and prepare them to be critical and creative thinkers, to find a compass for their lives and careers, and to pursue knowledge and understanding for the benefit of themselves, humanity and the planet. Through its focus on active engagement with ideas in and beyond the classroom, a St. Lawrence education leads students to make connections that transform lives and communities, from the local to the global. For additional information about St. Lawrence, please visit SLU’s homepage at http://www.stlawu.edu.
SLU is an Affirmative Action/Equal Employment Opportunity employer.
Literary Translation as Creative Practice
“Translation is a great way to read a literary text because it forces you to exhaust the complexities of meaning through deep reading,” says Paul Vangelisti, author of over twenty books of poetry, NEA Translation and Poetry Fellow, and Chair of Otis College of Art and Design’s MFA in Writing. The College has developed a special translation track in response to the increasing need for access to world literary traditions.
While it seems unlikely we can 'control' when we have an insight, it's now very clear that we can dramatically increase the likelihood that an insight emerges. The trouble is, we have to get used to letting our non-conscious brains do the work.
Transcreation: When Translation isn’t Enough
When George Bernard Shaw wrote ‘Pygmalion’, it was an attempt on his part to scorn class distinction and disparity prevalent in England at the time. An Irishman himself, he used the English language — and its many dialects which determine the speaker's status — as a tool to show his audience, society’s shallow standards of judging a person.
A new Indian ‘Minglish’ movie called English Vinglish, addresses this rather thorny issue in a smart manner. It is the story of an Indian housewife, Shashi, with a successful corporate professional as a husband, who patronises her exceptional cooking and other housewifely skills. Her poor mastery of the English language turns into a critical issue with her family.
I was recently re-reading some notes about the great German writer Goethe’s (1749-1832) masterpiece “Faust.” The old, well-known folk tale narrates of Dr. Faust having made a pact with the Devil in order to gain universal knowledge and magical powers. As a consequence, he lost his soul. Goethe’s character is totally different. His Faust represents the virtue of human aspiration and is therefore highly inspiring, in spite of his many downfalls. The story is simple, although it has numberless ramifications. Faust makes a bet with Mephistopheles (the Devil) stating that the latter will not be able to make any moment so pleasurable that Faust will wish for Time to stop. And, fortunately, he wins the bet.
[...] the CEOs identified creativity as the most important skill. While schools have always been good at teaching critical thinking — an important and aligned skill — creative thinking is most often absent from the curriculum.
Deliberate conscious thought involves both divergent and convergent processes. You are reminded of things you know about that might help you to solve the problem, and then you evaluate those ideas and focus on the ones you like.
Deadline: 1 - 2 October 2012
The best way to start translating is to simply start translating. Participants will have the chance to translate short passages immediately, rather than get bogged down with translation studies theory, and the results will serve as a springboard to discuss the finer points of translation. How do you capture the voice and register of the original work? What cultural items require special attention? All this and more will be addressed over the course of the workshop.
Pick one of the three Translation Workshops:
For queries: firstname.lastname@example.org
We spend 16 hours daily to find, edit, and format writing opportunities/ announcements for our readers. All we ask is that you provide a backlink/ credit our site as your source: http://www.asiawrites.org/2012/09/asia-expressions-workshop-translating.html#ixzz27sphHJEE
It is September, which means—inevitably—that I find myself thinking about Paul Celan’s “Todesfugue,” this time (the first time) as a teacher. It is hardly easy, in subject matter or in style—it is credited for being the target of Adorno’s, “Poetry after Auschwitz is barbaric,” and the exception that made him back away, ever so slightly, from this rule. Discussion inevitably turns toward the fact that Celan writes his poetry in German, the language of the Nazis. What sticks in my mind, however, is the curious act of reading his German in English translation.
John Felstiner—whose translation is the only one that “feels” right to me—has also written an essay on the process of bringing the poem into English, “Translating Paul Celan’s ‘Todesfugue’: Rhythm and Repetition as Metaphor.” (Despite the academic title and its home in an academic text, it’s a fascinating piece worth reading for anyone interested in questions of translation.) The essay itself is sometimes described as a commentary to Felstiner’s translation, but what has become clearer to me is that Felstiner approaches the translation itself as, perhaps unconsciously, a kind of commentary.
Is technology sapping children’s creativity?
By Nancy Carlsson-Paige
My 4-year-old grandson Jake who lives in Guatemala recently called my husband in his office on Skype. No one seems to know how Jake managed to get onto the computer and make the call. And, as I sat talking to a friend, her 3-year old somehow found her iPhone and found his way to a video of Cat in the Hat.
This intensive two-day workshop with best-seller author and creative guru, Mario Pricken, took place in Cape Town at the end of August 2012. During the workshop, we saw the synergy of an eclectic group of 20 Creatives from all four corners of the globe.
It was a once-in-a-life time opportunity to meet the 'Godfather of Advertising' himself and participants now better understand the secret behind his highly successful career.
From identifying innovative creative thinking techniques, to understanding how pre-conditioned socioeconomic and political structures shape and limit our thought processes, the workshop introduced a new culture of creative thinking.
This culture aims to remodel, rethink and redesign the creative industry as we know it today. Mario's techniques are best used from the second one receives a brief until the start of execution.
A guest post by Joseph Benn from Ideas Mapping and author of Brilliant Business Ideas I have a fascination with inventors having helped many develop their...
Creativity is comprised of four factors. Just remember this equation: Creativity = Surprise + Originality + Beauty + Utility.
Today I want to talk about the components of creativity or the underlying factors of the creative process. One way to approach the problem is by looking at how we measure or evaluate a creative product.
Creativity is sometimes broken up into divergent thinking and convergent thinking; though I argue that essentially same processes are involved in both.
Divergent thinking is measured using Torrance test of creative thinking (TTCT). TTCT consists of both verbal and figural parts. Divergent thinking is also measured by Guilford’s Alternate uses task in which one has to come up with as many uses as possible for a common household items (like brick).
These creativity test results are scored keeping in mind a number of different creativity criteria. The most common (common to all of the above) criteria are:
1. Flexibility: This captures the ability to cross boundaries and make remote associations. This is measured by number of different categories of ideas generated.
2. Originality: This measures how statistically different or novel the ideas are compared to a comparison group. This is measured as number of novel ideas generated.
3. Fluency: This captures the ability to come up with many diverse ideas quickly. This is measured by the total number of ideas generated.
4. Elaboration: This measures the amount of detail associated with the idea. Elaboration has more to do with focussing on each solution/idea and developing it further.
Convergent thinking is measured by tests like remote associations test or insight problems. These problems are solved when you apply one of the methods below:
1. Make unique association between parts of the problem. This looks again similar to flexibility or how fluid is your categorisation schema enabling you to think out of the box and
Have you ever wondered where novelists, actors or writers find inspiration for their work?
Creativity is not a predetermined way of looking at the world—you can get inspired by almost anything, anywhere, anytime. All you have to do is be receptive to inspiration.
Some people inherit a highly developed sense of creativity or come to it naturally because they were raised in a creative environment. But most of us need some form of inspiration if we want to look at the world with a different perspective.
Whatever you call it–creativity, thinking outside the box or thinking sideways, creative thinking is all about looking at the world with a different twist, in a slightly different way than you usually do.
The good news is that inspiration is all around us.
Creativity can be used in many endeavors. In World War II it was used to save lives.
J.P. Guilford, a psychologist and father of modern creativity, came up with a game plan to test the creative thinking of bomber pilots in the U.S. Air Force in World War II. He designed a personality test to select the most creative pilots who were most likely to survive being shot down by using their creativity .
His question, “What would you do with a brick?” helped weed out pilots who weren’t good at thinking sideways or differently in dire circumstances. Try it yourself. Can you come up with 50 uses for a brick in 15 minutes or less?
Most of us fine-tune our creative side when we are exposed to new things around us. All of us are influenced by our experiences–whether they are theatrical productions, symphonies, films, TV or travel.
Look for something new to explore or learn. Then hold on to those experiences and use them to inspire you.
How did you feel when you listened to a magnificent choir or attended a concert in a park on a summer evening? Unleash those feelings to inspire your creative juices.
A mysterious process
Creativity is a complex neurological process. It’s not as easy to quantify. There’s no such thing as a light bulb over your head announcing a good idea.
But scientists have found that they can “see ideas” with a brain scanner. A few seconds before a person gets an idea, the area of the brain called the superior anterior temporal lights up.
No one path inspires creativity, but scientists have found that different parts of the creative process require different types of creative thinking. They have also learned that when we are resting, the superior anterior temporal (behind the ear) tries to send us messages of inspiration.
Albert Einstein may have summed up long naps and walks on the beach best when he said, “Creativity is the residue of wasted time.”
Read more: http://njtoday.net/2012/09/12/think-creatively-think-sideways/#ixzz26IlpBe00
Guest Post by Yewande Omotoso
What are people doing when they're speaking a language?
But is it even true? It is striking that Jackendoff doesn't offer anything more in defense of the claim about unlimited novelty than I have repeated here. Is this such a straight forward matter? Is it just self-evident that the examples of Jackendoff's wife and daughter demonstrate the existence of the linguistic creativity that plays such an important role in laying the foundations of linguistic theory?
Researchers have long been studying the connection between health and the five major personality traits: agreeableness, extraversion, neuroticism, openness and conscientiousness. A large body of research links neuroticism with poorer health and conscientiousness with superior health. Now openness, which measures cognitive flexibility and the willingness to entertain novel ideas, has emerged as a lifelong protective factor. The linchpin seems to be the creativity associated with the personality trait—creative thinking reduces stress and keeps the brain healthy.
A study published in the June issue of the Journal of Aging and Health found that higher openness predicted longer life, and other studies this year have linked that trait with lower metabolic risk, higher self-rated health and more appropriate stress response.
The June study sought to determine whether specific aspects of openness better predicted survival rates than overall openness, using data on more than 1,000 older men collected between 1990 and 2008. The researchers found that only creativity—not intelligence or overall openness—decreased mortality risk. One possible reason creativity is protective of health is because it draws on a variety of neural networks within the brain, says study author Nicholas Turiano, now at the University of Rochester Medical Center. “Individuals high in creativity maintain the integrity of their neural networks even into old age,” Turiano says—a notion supported by a January study from Yale University that correlated openness with the robustness of study subjects' white matter, which supports connections between neurons in different parts of the brain.
Because the brain is the command center for all bodily functions, exercising it helps all systems to continue running smoothly. “Keeping the brain healthy may be one of the most important aspects of aging successfully—a fact shown by creative persons living longer in our study,” Turiano says.
Creative Thinking for Transformational Problem Solving
Or do you?