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Reviews
1. Teaching to Transgress: Education as the Practice of Freedom (Harvest in Translation)
Feature
RoutledgeDescription
"After reading Teaching to Transgress I am once again struck by bell hooks's never-ending, unquiet intellectual energy, an energy that makes her radical and loving." -- Paulo Freire
In Teaching to Transgress,bell hooks--writer, teacher, and insurgent black intellectual--writes about a new kind of education, education as the practice of freedom. Teaching students to "transgress" against racial, sexual, and class boundaries in orderto achieve the gift of freedom is, for hooks, the teacher's most important goal.
bell hooks speakes to the heart of education today: how can we rethink teaching practices in the age of multiculturalism? What do we do about teachers who do not want toteach, and students who do not want to learn? How should we deal with racism and sexism in the classroom?
Full of passion and politics, Teaching to Transgresscombines a practical knowledge of the classroom with a deeply felt connection to the world of emotions and feelings. This is the rare book about teachers and students that dares to raise questions about eros and rage, grief and reconciliation, and the future of teaching itself.
"Toeducate is the practice of freedom," writes bell hooks, "isa way of teaching anyone can learn." Teaching toTransgress is therecord of one gifted teacher's struggle to make classrooms work.
2. Translation as Transhumance
Description
Mireille Gansel grew up in the traumatic aftermath of her family losing everythingincluding their native languagesto Nazi Germany. In the 1960s and 70s, she translated poets from East Berlin and Vietnam to help broadcast their defiance to the rest of the world. Winner of a French Voices Award, Gansels debut illustrates the estrangement every translator experiences for the privilege of moving between tongues and muses on how translation becomes an exercise of empathy between those in exile.
3. Translation as Citation: Zhuangzi Inside Out (Global Asias)
Description
This volume examines translation from many different angles: it explores how translations change the languages in which they occur, how works introduced from other languages become part of the consciousness of native speakers, and what strategies translators must use to secure acceptance for foreign works.Haun Saussy argues that translation doesn't amount to the composition, in one language, of statements equivalent to statements previously made in another language. Rather, translation works with elements of the language and culture in which it arrives, often reconfiguring them irreversibly: it creates, with a fine disregard for precedent, loan-words, calques, forced metaphors, forged pasts, imaginary relationships, and dialogues of the dead. Creativity, in this form of writing, usually considered merely reproductive, is the subject of this book.
The volume takes the history of translation in China, from around 150 CE to the modern period, as its source of case studies. When the first proponents of Buddhism arrived in China, creativity was forced upon them: a vocabulary adequate to their purpose had yet to be invented. A Chinese Buddhist textual corpus took shape over centuries despite the near-absence of bilingual speakers. One basis of this translating activity was the rewriting of existing Chinese philosophical texts, and especially the most exorbitant of all these, the collection of dialogues, fables, and paradoxes known as the Zhuangzi. The Zhuangzi also furnished a linguistic basis for Chinese Christianity when the Jesuit missionary Matteo Ricci arrived in the later part of the Ming dynasty and allowed his friends and associates to frame his teachings in the language of early Daoism. It would function as well when Xu Zhimo translated from The Flowers of Evil in the 1920s. The chance but overdetermined encounter of Zhuangzi and Baudelaire yielded a 'strange music' that retroactively echoes through two millennia of Chinese translation, outlining a new understanding of the translator's craft that cuts across the dividing lines of current theories and critiques of translation.
4. Translation as Tone Poem
