Overview

Innovative perspective to the meaningful import of body and materiality in the translation process, a focal point of recent literature in Translation Studies This book is situated in the breach opened up by recent debates on inherited notions of text, language, and translation that followed the emergence of new technologies. It examines two works of contemporary dance, Marie Chouinard’s Jérôme Bosch: Le Jardin des Délices (2016) and Mathieu Geffré’s Froth on the Daydream (2018), as examples of intermedial translation. Conceptualising translation through the lens of theatrical dance allows us to see the translation process as a creative, corporeal, and political practice of negotiating human and non-human agencies, deeply intertwined with issues of memory and struggles over representation. Drawing on a wide range of theoretical debates from translation theory, dance studies, cultural theory, gender studies, postcolonialism, art history, cognitive linguistics, multimodality, film studies, and memory studies, as well as on concrete examples of performative works, the book charts a course for the development of dance translation as a legitimate, if still under-researched, subfield of translation studies. With free digital appendices This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content). This book will be made open access within three years of publication thanks to Path to Open, a program developed in partnership between JSTOR, the American Council of Learned Societies (ACLS), University of Michigan Press, and The University of North Carolina Press to bring about equitable access and impact for the entire scholarly community, including authors, researchers, libraries, and university presses around the world. Learn more at https://about.jstor.org/path-to-open/

Full Product Details

Author:   Vanessa Montesi
Publisher:   Leuven University Press
Imprint:   Leuven University Press
Dimensions:   Width: 15.60cm , Height: 1.70cm , Length: 23.40cm
Weight:   0.485kg
ISBN:  

9789462704398

ISBN 10:   9462704392
Pages:   320
Publication Date:   16 September 2024
Audience:   Professional and scholarly ,  Professional & Vocational
Format:   Paperback
Publisher's Status:   Active
Availability:   In Print  
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Table of Contents

List of Figures List of Text Boxes List of Tables Acknowledgements Prelude: Setting Words in Motion Three Anecdotes… …and an Introduction OFFSTAGE 1.Stretching Ways of Stretching What about Dance? Theoretical Grounding: Multimodal Social Semiotics and Intermediality 2.Rehearsing Dance and the Visual Arts Dance and Language Dance and Literature Dance and Translation Transition TROIS COUPS 3.What’s in a Name? O’, Be Some Other Name! ‘Tis but thy Name that is my Enemy! What’s in a Name? Deny thy Father, and Refuse thy Name 4.Words Written in the Air: Dance as Ephemeral Writing How Can We Know the Dancer from the Dance? We Need to Know the Dancer from the Dance Can We Know the Dancer from the Dance? Why Should We Know the Dancer from the Dance? 5.Translated/Translating Bodies and the Translator’s Embodied Dramaturgy The Dancer’s Embodied Dramaturgy Translated Bodies The Translator’s Embodied Dramaturgy Interlude Methodology and Methods Embodied Ethnography and Embodied Writing PERFORMING 6.Translational Agency in Jérôme Bosch: Le Jardin des Délices Jérôme Bosch: Le Jardin des Délices (2016) Political Agency in Dance and Translation 7.Distributed Agency in Jérôme Bosch: Le Jardin des Délices Translating the Painting into Somatic Sensations Distributed Agency Spatial and Discursive Framings: The Garden of Earthly Delights at the Gallery of Nassau Spatial and Discursive Framings: Jérôme Bosch: Le Jardin des Délices at the CCB 8.Translation and Memory in Froth on the Daydream (2018) Translation and Memory Studies Boris Vian: Living and Writing in the Translation Zone Translation History of L’Écume des Jours Froth on the Daydream (2018): Offstage Froth on the Daydream (2018): Performing 9.Translations and Memories of L’Écume des Jours Cracks in the color-blind image of Paris: Belmont’s L’Écume des Jours (1967) Performing the Imaginative West in Late Soviet Russia: Denisov’s Chloé (1981) From Surrealism to Magic(al) Realism: Gô Rijû’s Kuroe (2001) Performing the Materiality of Bodies and Graphic Line: Preteseille’s L’Écume d’Écume des Jours (2005) Inheriting French Surrealist Cinema: Michel Gondry’s Mood Indigo (2013) After the Tide Has Gone, What Remains? Translation and/as Memory Postlude: Unwinding Three Anecdotes… …and a Conclusion Appendixes Notes References

Reviews

"""A very original and daring work, which grapples with some of the most complex theoretical questions currently animating Translation Studies, and applies them, in a compelling way, to the study of theatrical dance."" - Karen Bennett, NOVA University of Lisbon – School of Social Sciences and Humanities (NOVA FCSH) ""Dance as Intermedial Translation is a truly transdisciplinary achievement and a compelling reading. Mobilizing a carefully orchestrated corps-à-corps with intermedial theatrical dance, the book refigures the concepts of ‘translation’, ‘text’ and ‘language’ as situated embodied practices, showing how they matter, materialize and create in ways that can contribute to foster socio-political agency. Structured as a “choreo-dramatization” of research, Montesi’s writing style embodies a methodological choice that corresponds to a strong epistemological stance, one of increasing relevance in many contemporary research fields in the human and social sciences: the commitment to assert the complicated affective social and material economies of research-making, research-writing, research-performing and research-sharing."" - Paula Caspão, Centre for Theatre Studies, Lisbon University ""This book is a welcome addition to the field, further expanding translation studies into the realm of the stage. The literature is copious, enabling Montesi to challenge the founding questions of the field of translation studies. Focussing on case studies, Montesi is able to illustrate your aims with passion, enthusiasm and detail, rightly encouraging the field to expand, to consider all the art forms and all forms of communication, here asserting the need to consider the movements between page, stage and canvas."" - Helen Julia Minors, York St John University ""An original and very meaningful contribution to translation studies by setting up a mutually enhancing cross-disciplinary dialogue with the field of dance studies."" - Dirk Delabastita, University of Namur ""Vanessa Montesi’s book Moving Across Page, Stage, Canvas: Theatrical dance as a form of intermedial translation addresses the fascinating topic of transfer of creative meaning from a multimodal variety of texts into the medium of theatrical dance. As such it fits into an increasing number of recent publications on embodiment in general and the embodied nature of translation in particular. This text, therefore, is a timely addition to the field, offering as it does a rich variety of case studies."" - Mary Wardle, Sapienza University of Rome"

"""A very original and daring work, which grapples with some of the most complex theoretical questions currently animating Translation Studies, and applies them, in a compelling way, to the study of theatrical dance."" - Karen Bennett, NOVA University of Lisbon – School of Social Sciences and Humanities (NOVA FCSH)"

Author Information

Vanessa Montesi is a HE Lecturer in Dance Studies at Dance City/University of Sunderland, a member of the Centre for Comparative Studies (University of Lisbon), and a trustee at Company of Others.

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