Tag Archives: Comp Lit Events

Love in Translation: The Conference

A Report by Thato Magano, Paulina Barrios, Shawn Gonzalez, Rafael Vizcaíno, Rudrani Gangopadhyay, and Penny Yeung

On March 2nd and 3rd, 2018, the graduate students of the Rutgers University Program in Comparative Literature organized their biennial conference on “Love in Translation.” The co-chairs, Rudrani Gangopadhyay and Penny Yeung, hoped that the conference theme would foster conversations about how love figures in and is transfigured by translation by way of thinking about how love disrupts and transforms the ways in which literary imagination functions across languages, time, space, borders. Some of the questions the conference hoped to (and did) address were the following: How is love translated? Can love be a methodology in translation? Is it a hindrance or is it generative? Is love a theme or a product of translation?

The first panel of Friday, on the “Poetics of Translation,” commenced after introductory remarks by the conference co-chairs, by the Program Chair Prof. Andrew Parker, and the Graduate Director, Prof. Anjali Nerlekar. The first paper was by Paul Franz, a doctoral candidate at the Department of English at Yale University. His paper, “To leave my love – alone: Alliances and Realignments in Geoffrey Hill’s versions of Anne Hébert,” examined the complex history of the English poet Geoffrey Hill’s translation of a poem by the French-Canadian poet Anne Hébert, by studying the affiliations between Hill and Hébert as an effort to create an international counterpublic resistant to American hegemony. Paul explored the fact that Hill typically performed Hébert’s poem alongside Shakespeare’s Sonnet 66, which employed a similar litany structure, yet which introduced the key term—“love”—absent from Hébert’s account of popular resistance to Fascist authority. The other two papers were presented by Rutgers Comparative Literature’s own doctoral students, Josué Rodriguez and Penny Yeung. Josué’s paper, ‘The Ethics of Translation in Vicente Huidobro’s “El Hermoso Juego,” or “The Beautiful Game”’,  examined Vicente Huidobro’s microficción, or micro-fiction, “El Hermoso Juego,” or “The Beautiful Game,” (1940) as an example of how Huidobro’s movement, Creacionismo, is able to performatively render Surrealism’s aesthetic, cultural, and political codes in its playful appropriation of automatic writing. Huidobro’s familiarity with the stylistic and cultural codes of the French movement allowed him to playfully build what Gayatri Spivak called an inhabitable textual world for the other in her 1992 essay “The Politics of Translation.” This ultimately embodies a shift from the ideals of revolutionary love towards an ethical relationship to the other, one that foregrounds a text’s access to all through its universalized translatability.The last paper of the panel, presented by Penny, was titled “Partial Translation and World Building,” and argued in favor of “partial translation” through theoretical and creative engagement, by way of her own translations of several poems lifted from French academician Dany Laferrière’s book, L’art presque perdu de ne rien faire (The Nearly Lost Art of Doing Nothing), an untranslated work. By considering Dennis Tedlock’s proposition of a poetics of translatability in his eludication of Mayan poetics, and KE Bishop’s argument that a relationship of metonymy and contiguity, and not metaphor and comparability, underlies a written text and its invisible, unwritten text, she argued that rather than destroying networks of signification, a partial translation can partake in a more hopeful endeavor of world-building.

The second panel of the conference, titled “Queerness” saw two presentations from Duncan McKinnon, a Rutgers University senior in the Comparative Literature and Women’s, Gender and Sexuality Studies programs, and Lubna Abdul-Hadi, a PhD student in the Translation Instruction and Research Program at Binghamton University. The panel kicked off with Duncan’s paper “Feeling the Erotics of Queer Diaspora: Translating the Sensorial in Zami by Audre Lorde and The Book of Salt by Monique Truong.” Duncan’s paper explored how the sensorial, as a medium that exceeds the discursive, can be translated to understand the meanings and experiences between bodies and subjectivities in relation to love and lovemaking in the texts. For Duncan, because the protagonists are often failed by the discursive as a result of the social and economic conditions that impact their lives, they see translating the sensorial facilitating an escape of the limitations in their experiences across linguistic, national and racial difference. Lubna’s paper “Love, Hatred, to Love Again – Translating Female Same-Sex Relationships in Medieval Arabic Literature” explored how the translation of Western hegemonic categories of identification presented limitations of language for non-normative sexualities in the Arab-Islamic community. Exploring the limitations of the western norms of sexuality identification as they have come to be understood under the banner of Lesbian, Gay, Bisexual, Trans- gender, Questioning/Queer, + (LGBTQ+), Lubna turned to Medieval texts exploring female same-sex sexuality to show the expansive vocabulary that existed to think through and identify same-sex sexuality. Her work then, propositions how a turn to the past might be productive to contemporary conversations in the Arabic world in relation to same-sex sexuality. Prof Preetha Mani was the discussant for the panel and spoke to the interconnecting themes of both papers as it relates to translation. In one sense, there is an investment in translating what cannot be easily translated as it demands bringing the inexpressible to the fore, while in the other, there is a recognition of the limitations of bringing to the fore that which is translated. Prof Mani further inquired on what queering translation might look like and how scholars might relate to the practice of translation approached from a queered perspective. The panel engaged in a lively debate around temporality and periodization, translation in the Arab world and how translation might enable a return to the self. 

The third, and final, panel for Friday focused on the “Ethics and Politics of Translation.” The panel included presentations from three different graduate students: Coco Xu from Rutgers University presented ‘On the Ethics of Translation’; Ali Almajnooni from Binghamton University presented on ‘Empire, Drones, and the End(s) of Translation’; and Tuhin Bhattacharjee from New York University presented on ‘The Tragic in Translation: Planetarity and a New Ethics of Reading’. The three presenters shared thought provoking works that questioned the role of translator, how they build bridges, but also constitute threats; translation as an inter-cultural interaction, part of a ‘politics of love’; as well as reflections on temporality and translation. Ali began with his presentation, which focused on an analysis of the drones the United States has been using in the Middle East and how this may be a reflection of a transition from using translation as a form of conquest of ‘the other’ towards a complete rejection of comprehension, an annihilation of ‘the other’. Coco’s presentation followed, which sought to respond to the pessimism and frustration that oftentimes accompany translation studies with a refocus on curiosity. She focused on the idea of translation as hospitality, world construction, and productive curiosity. Thus, considering translation as the moment of reaching a new world and inhabiting ‘in-betweenness’. Tuhin closed the table suggesting a move towards a format of comparative literature that would be planetary instead of global. Through this focus connections with ‘the other’ would be through love and tragedy, with translation as part of this risk and tragedy surrounding the ethical and political connection with others. After the presentations, Prof. Janet Walker congratulated the presenters on their papers and followed with some comments on the panel as a whole, as well as specific observations for each of the presenters. She began by reflecting on how ethics surrounds translation, translators, and the praxis itself. Related to Ali’s reflection on empires, US imperialism, and language, Prof. Walker stated that his link to drones as well as the hierarchy and distancing from the other they establish was particularly interesting. She added also how critical languages are constantly being defined by the State Department and how U.S. citizens are incited to learn them, thus emphasizing the politics behind language. Regarding Coco’s work she linked the element of curiosity to subversiveness and how it was viewed as dangerous by empires throughout the world, connecting this text to the first presentation. Finally, she ended with comments on Tuhin’s use of Spivak, bringing in the tragedy of knowledge, the pessimism of the intellect, and optimism of the will. The questions and discussion that ensued were a testament to the quality of the presentations, focusing on broad topics such as machines/drones, mediation and distance in translation, the specificity of translation, audience and translation, bilingualism and self-translation, ethics surrounding translation, linguistic choice and the politics behind this, among many others.

The first day of the conference concluded with a keynote lecture by Sandra Bermann entitled “Love in Translation: Let Me Count the Ways.” Professor Bermann’s lecture centered on tracing several trajectories for considering the relationship between love and translation. She began by introducing a poetic perspective on this issue through readings of Elizabeth Barrett Browning, W.H. Auden, and Adrienne Rich. Then, she introduced a translation studies perspective, considering the role of love and gender in the work of various translation theorists. Next, she approached this question from the perspective of recent changes in the field of comparative literature. This portion of the lecture challenged the audience to question how translation has been marginalized by the field’s commitment to reading in the original and to reconsider the role of translation in future directions of the discipline. After establishing these different trajectories, Professor Bermann proposed migration both as a way of theorizing translation and of imagining how translation can contribute to the future of comparative literature. This case study drew on the previous trajectories to consider the role of love as a hopeful response to the contemporary linguistic landscape. Professor Bermann’s presentation was followed by a lively discussion that considered how these ideas related to the day’s other presentations. These questions continually returned to the role of translation in graduate students’ teaching, research, and plans for their careers.  

The first panel of the conference’s second day was titled “Transgressions.” Amritha Mohan from the University of Hyderabad (India) presented a paper titled ‘Love in the Call of God: A Translation of Sithara S’s Daivavili’ where she analyzed the task of translation as a “manifestation of the creator’s madness” and sought “to emphasise on the importance of translating non-mainstream love narratives, putting into context the resistance they face from the mainstream Malayalee society, thereby making them as an act of protest in itself.” Karen Jallatyan from the University of California Irvine presented a paper titled ‘Diasporic Love: Writing the Impossibility of Translation in Krikor Beledian’s The Palimpsest Man’, where he illustrated the “the impossibility of fully encountering, thus translating, the other.” For Jallatyan, “Beledian’s work suggests that in the face of catastrophe, love, as enchantment with, faith in and dependence on the other, consists in liberating the alterity of the other in one’s self and in others.” At last, our very own Maria Elizabeth Rodriguez Beltrán presented a paper titled ‘Decolonial love in the US Virgin Islands’, where she asked, “what happens when incest becomes a symbol of liberation from colonial powers and opens the possibility for decolonial love?” For Rodriguez Beltrán, Tiphanie Yanique’s Land of Love and Drowning “makes use of several Biblical figures and transforms them by feminizing and reversing them as a way of decolonizing western religion.” The subsequent discussion, moderated by 4th year PhD Candidate Rafael Vizcaíno and started by the sharp commentaries of Professor Nelson Maldonado-Torres, centered on the issues of love in the time-space of catastrophe, diasporic subjectivity, and secularism.

The last panel of the conference’s second day was titled ‘Task of the Translator’. Kiawna Brewster from the University of Wisconsin-Madison presented a paper titled ‘Censoring Love in Translation: In Defense of the Translator’s Preface’, where she illustrated the importance of the Translator’s Preface by considering its role in rewriting the course of literary history and promoting cultural understanding. She examined the Prefaces to Lara Gochin Raffaeli’s translation of Gabriele D’Annunzio’s decadent Italian novel Il Piacere in order to illustrate the morality of translations. Raffaeli tries to introduce the 19th century text for the first time without sanitizing or purging it in any way, thereby undoing the problematic liberties taken by translators. Mariam Rahmani from the University of California Los Angeles presented a paper titled ‘What to do when sexuality doesn’t translate? The Pitfalls of Pronouns and Other Questions’. Ther paper presented an excerpt from a work in progress —an authorized translation of Mahsa Mohebali’s award-winning novel, Don’t Worry (originally in Persian: Negaran nabash, 2008) —and reflected on the difficulties of translating with attention to the politics of gender and sexuality. Some of the questions she explored through her reading include: how English gendered pronouns limit narrative possibilities and unwittingly force an identity-based framework on texts that do not adopt such a conceptualization of gender and sexuality in the original? How does a translator negotiate questions of distance and familiarity? The final paper was presented by Jan Steyn from Cornell, whose paper was titled ‘The Conjugal Translator’. Steyn’s paper explored the Maryse Condé-Richard Philcox author-translator marriage, and reflected on how Philcox’s textual philandering shows how he justifies his infidelity through his conjugality. The subsequent discussion, moderated by 2nd year PhD student Rudrani Gangopadhyay, and was started by the sharp commentaries of Prof. Anjali Nerlekar, centered around the questions of the presence of translator as well the translator’s gender. Questions that came include: can the notion of conjugality in translation degendered? How can slangs and curses be translated? What is the role of paratexts in translation? 

The conference concluded with a translation workshop led by Professor Susan Bernofsky. Professor Bernofsky led the group through a series of activities that engaged participants in thinking about translation from various angles. In one activity, sets of two texts—one original and one its translation—were placed side by side but unidentified, and participants were tasked to determine which text was which. More often than not the group was divided in opinion, and having access to both the source and target languages did not necessarily make the evaluation easier. This sparked lively discussion on what marks a translation, while also providing ample examples that counter the notion of translations as inferior texts. Another activity simulated the operations of an editorial board. The group was given different translations of the same text to look at and had to decide which was the preferred version as well as what editorial changes might be made to improve upon them. It was later revealed that all the versions were drawn from published translations of Dostoevsky’s Crime and Punishment. The group compared the strategies employed by different translators and reflected upon the varying aesthetics these decisions created. Professor Bernofsky also shared learning moments from her own wealth of experience as a translator, such as how to deal with rhythm, wordplay and repetition, and the glossing of untranslatables with no direct equivalent in the target language. The three-hour workshop provided a forum for conference attendees to reflect on translation theory through its praxis, and for those who are practicing and aspiring translators, it was an occasion to brainstorm strategies to deal with the many practical challenges of the craft.

 

When the Divine Wind Blow On Ye: The Spirit of Bandung and Transpacific Becoming

By Virginia Conn

As the official Imperial Japanese Navy marching song from the Second World War played in the background, Comp Lit students and guests took their seats around the table, greeting each other and settling in for the third and final graduate student colloquium, one of the last big events of the semester. Comp Lit students had a chance to happily catch up with each other’s memories of the last few weeks. As Annabel would go on to explain, the marching music was used to mobilize the imperial troops during World War II, which tied into her paper’s overall discussion of military mobilization.

For Comp Lit’s third colloquium, Jeong Eun Annabel We presented an in-work chapter from her dissertation, titled “When the Divine Wind Blow on Ye: The Spirit of Bandung and Transpacific Becoming.” While resisting the easy joke that we were all blown away, I think it’s safe to say that everyone present was extremely impressed by the depth and breadth of Annabel’s research, to say nothing of the deftness with which she wove together numerous and disparate weighty concepts.

Focusing on the novel The Typhoon by Ch’oe In-Hun, Annabel explained that her dissertation, broadly construed, was about how the effects of military mobilizations are used to control movement, affect, and bodies, and situates the novel at a crossroads of thinking about decolonial movements across the transpacific. While Cold War structures have continued to exist long past the ostensible thaw—structures such as the military occupation of the Pacific and East Asia, the peninsula’s division into South and North Korea, and the cyclical threats of nuclear devastation that continue to this day, among others—the Pacific region continues to be erased even as it is strategized upon. Annabel’s dissertation, then, asks, what kind of work has to be forged out of imperial militarization towards decolonizing knowledge production?

Beginning with the invocation of a curse from Shakespeare’s The Tempest to consider the wind as a colonial curse that brings one into conflict, The Typhoon returns to the 1940s to cast new light on 1970s Cold War regimes and, in doing so, decenters neoliberal modes of knowing and engages with the recruitment of colonial populations that were previously imperially mobilized. Written in Korean in 1970s South Korea, the novel is a work of speculative fiction/alternate history about an alternative historical trajectory that critically maps the nature of political and military mobilization.

Annabel’s intervention into this novel and its place within the process of decolonial praxis was to situate it at the forefront of several separate and significant political scripts. Each rewritten script functions as a theory of movement, performing the dual task of assessing the coloniality of military mobilization and offering transpacific becoming as an alternative movement towards decolonization and Korean reunification.

This literary analysis in and of itself would have been fascinating enough, but Annabel went on to situate the novel within and against the backdrop of the spirit of solidarity and decolonial movements (such as the Afro-Asian People’s Solidarity movement, Asian-African conference on Women at Colombo, Non-Aligned movement at Belgrade, etc.) inspired by the Bandung Conference in 1955. While both the political spirit wrought by the conference itself and the project attempted by Cho’e each had their limits, Annabel invited us to see how they both challenged historiography. The presentation concluded with the question: how could one have lived as if one has no regrets for the fact of one’s mobilization? Annabel suggested that the task is that of thinking mobility in the postwar juncture.

From Hip Life to Real Life: Hip Hop and the Performative Inscription of New Social Relations in Nigeria

On February 28, 2018, third-year PhD student Gabriel Bámgbóṣé organized a talk on Nigerian hip hop for his class.  This is a review of the event by one of his students, John O’Meara.


As a mathematics student born and raised in New Jersey and of almost entirely Irish descent, I walked into this discussion with virtually no knowledge of Nigerian music and/or culture. However, aided by the exploration of African myth and the study of duality and synthesis of humankind and the world, it became evident that music is a universal language and that, despite geographical boundaries, there are many subtle connections between what I have grown up with and the topics discussed in the lecture by Michael Tosin Gbogi, a PhD candidate in the Interdisciplinary Program in Linguistics at Tulane University, New Orleans. The distinctiveness of Nigerian hip-hop notwithstanding, cultural markings, emceeing, deejaying, and breakdancing remain global markers of the genre. Gbogi’s main argument is that Nigerian rap/hip-hop is a reappropriation of the musical form that was originally domiciled in the Africa and became globalized after transplantation through the Middle Passage. In a thorough exploration of the social and cultural signatures of Nigerian hip-hop through cultural, literary, and linguistic lenses, I was able to see both the vast divergences and the many similarities that exist between both Nigerian and American styles of music and the visual stimuli that they present.

Nigeria hosts the second-largest hip-hop scene in the world, both in the mainstream and in the underground counterculture. The genre was first heard in Nigeria in 1981. However, by 1985 with the military regime and the economic crises of the structural adjustment regime, art suffered greatly because of the continuous violence that lasted until 1998. Many artists left the country to seek greater opportunities and found their own success elsewhere while paying homage to their homeland. The hip-hop scene reemerged with the first mainstream song “Shako Mo” by the Remedies. In this piece, the rappers feign an American accent, which might be an effort to gain a larger audience through relatable features to American English.

Gbogi questions the idea that Nigerian hip-hop music is very vapid and almost completely limited to “dance music” that partygoers may enjoy while in the club. He argues that the art goes much deeper in terms of context and meaning; Nigerian artists adopt hip-hop as a sonic instrument of agency, featuring mostly artists from poor or working-class backgrounds. Additionally, Nigeria is a heavily stratified society with respect to class relations. The youths therefore take inspiration from hip-hop in their yearning for an escape from the trying times of poverty. In Reminisce’s (feat. Olamide and Phyno) “Local Rappers,” the term “local” means poor. Thus, there is a sense of duality existing in the word, defined as both of lower socioeconomic status and grafted at the same time with a sense of belonging to the artists’ community. This demonstrates the highly effective reaction of hip-hop music (as a cultural binder and a means for success) to social problems.

However, the counter to this point of view is that globalization reduces one’s authenticity: the ability to “keep it real.” Gbogi introduces this second dimension as the use of language by one group to achieve hegemony over other groups. This suggests that language as a concept incorporates into its focus such issues as language norms and general cultural beliefs. For example, the Nigerian rapper Ruggedman incorporates Nigerian slang (pidgin) without imitating an American accent in order to maintain the sense of national belonging. In a similar manner, the song “Ehen” introduces themes of pushing back against the music of previous artists through a fusion of language and grammar of the “mother tongue” with languages often representative of the lower class.

Slang is generally described as an oppositional language that members of a minority group use to mark their difference from both established order and a more established diction. Onomastics, ethnic “shout-outs” to ghettos/neighborhoods, furthers this theme of relating to the audience. This is defined as “ghetto naming,” which exists as a method of class crossing as displayed in Wizkid’s “Ojuelegba,” named after the low-class neighborhood in Nigeria. Wizkid creates a narrative that states that he is a part of his people, though he finds a way out of poverty and achieves success despite his initial condition. Although there exists some narrative that consigns the past to the past and presents current events in the immediate present, it still follows that leading principle best outlined by Lord of Ajasa: “You can’t be doing hip hop if you’re not true to yourself, if you are not real.” With the synthesis of all these exploratory findings, I was able to leave the lecture far more enlightened and worldly, understanding that we are all truly one on this planet through the scope of intercultural traversing by music.

 

About the author
A first-generation American on his father’s side, John O’Meara will be the first in his family to graduate from college with a bachelor’s degree. This May, he will earn his BA in Mathematics, as well as minors in English, Computer Science, Music, Economics, and a certification in Recording Arts. In his spare time, he loves to read, particularly the works of medieval writers focusing on the topic of dissent; his favorite work of the genre is Piers Plowman by William Langland. Additionally, John is an avid songwriter and poet, performing in the many underground scenes throughout the city of New Brunswick. Upon graduation, he hopes to attend graduate school for Financial Mathematics and continue in his effort to become a certified Associate of the Society of Actuaries. While in school, John is a bartender at the local restaurant, The Stirling Hotel. A lover of all gin, his favorite cocktail to sip after a long day is a Tom Collins.

Junot Díaz’s Place-Based Imagination and the Scales of World Literature

A report on Gabriele Lazzari’s colloquium presentation
by Rudrani Gangopadhyay

On March 19th, Gabriele Lazzari presented the first colloquium of the spring term on Junot Díaz’s place-based imagination and the scales of world literature. Gabriele explored how, in Díaz’s fiction, the local gets inscribed in multiple sites whose boundaries are blurred, leading to a complex shifting spatial imagination that constantly transitions from the microcosm that the characters inhabit to the macroscopic scale. Díaz’s fiction and historical imagination, Gabriele argued, is “place-based but not place-bound,” suggesting that while his works are deeply site-specific, they are not deterministically attached to places.

Díaz’s fiction, as well as his own unique position within larger frameworks of institutional and publishing geographies, redefine the binary of the global and the local. His book belongs to the New York–based publishing sector; his educational background, too, is predominantly North American. These factors would usually shape his readership in a certain way. However, one of the unique things about Díaz is the invocation of multiple readerships in his works. On the one hand, he addresses readers who understand the smatterings of Spanish in his writing as well the Dominican cultural specificities. On the other hand, however, his works also invoke a kind of reader who treats literary objects as anthropological souvenirs. These multiple readerships complicate the already vexed dichotomy between the categories of the local and the global in Díaz’s works, which constantly oscillate between local groundedness and global circulation.

Another way in which Díaz’s fiction redefines the scales of what should be considered local and global is by the ways in which he locates narrative and political histories. A single correlation of story-location is impossible in his fiction, as the Dominican Republic and the United States are relentlessly connected. Spaces cannot be thought of in isolation because they are a part of a larger entangled narrative totality—a spatially and temporally expansive whole. Personal histories and acting global forces become a way for narrative movements to be articulated in spatial terms, while the condensation of centuries of history within a single sentence does so in terms of temporalities. The use of historical depth and geographic expansiveness in the narrative marginal also naturally accompany questions of scale. In his presentation, Gabriele puts forth a question about how texts themselves are involved in scale-making. This happens in The Brief Wondrous Life of Oscar Wao, for example, where the narrative transitions between the microgeography of the home to the regional geography of New Jersey—as continents become inextricably linked with the archipelagic connection of Dominican Republic—lead to a kind of decontinentalizing in Oscar Wao’s world. The use of the Fukú americanus curse, so central to Díaz’s narrative, becomes an epitomization of the spatio-temporal expansiveness of his writing. Acting as a chronotopical force, it connects Africa, Latin America, United States on the one hand, and blurs the distance between Paterson and Santo Domingo on the other. The lines between the personal and the systemic too are blurred in the process.

Gabriele concluded that Díaz’s mode of temporal imagination does away with place-bound essentialism despite having a place-based consciousness. His fiction articulates the rejection of nativist ties with places that Amir Mufti and Rebecca Walkowitz write about. Going beyond monoculture and monolingual notions of belonging and existing simultaneously in different cultural and linguistic geographies, Díaz represents these disruptions formally by creating intertwined fictive universes which are filtered through the voice of the localized narrator. Ultimately, Díaz’s place-basedness allows for a rethinking of the categories used to think of contemporary fiction.

The presentation was followed by an enlightening round of questions and answers, pertaining particularly to multiple readerships as well as to multilingualism and translingualism. Gabriele also answered questions about whether Díaz should be considered a singular example of this particular kind of intervention in our understanding of the local and the global, or if he is part of a larger trajectory of contemporary writers. According to him, other writers like Bolaño might be a part of such a larger line-up, but Díaz is a very particular case because of his biographical position as well as they way in which he uses language in his works.

Congratulations to Gabriele on his excellent presentation! We are very thankful to him for sharing with us a slice of his fascinating work, and we look forward to hearing more about it.

Decoloniality Workshop Series: “A Critical Genealogy on Mobility: From Master-Slave Dialectics to Relational Praxis”

By: Thato Magano

The Decoloniality Workshop held its second meeting of the spring semester on Thursday, March 8th, 2018, to discuss Jeong Eun Annabel We’s dissertation chapter, “A Critical Genealogy on Mobility: From Master-Slave Dialectics to Relational Praxis.” Annabel framed her discussion around the complex questions related to how a multivocal reading of Hegelian dialectics can be productive in thinking through nonalignment movement(s) of Cold War geopolitics. Reading Takeuchi Yoshimi, Ernst Bloch, Aimé Césaire, Frantz Fanon, and Ch’oe In-Hun together, Annabel’s approach is to think through questions of mobilization towards decolonization in order to examine how these thinkers conceptualized imperial mobilization in early to mid-twentieth century, and consequently, the problematics they identified in imperial conceptions of movement. Locating questions of modernity, coloniality, mobility and relationality alongside each other, Annabel worked with these thinkers’ theorization on movement to situate transpacific and indigenous sovereignty within the Afro-Asian conference at Bandung in 1955 and argued that a “new understanding of movement based on relational praxis emerges from this paradigm, challenging imperial model(s) of mobilization.”

Thinking along with Japanese thinker Takeuchi Yoshimi on mobilization and Hegel’s master-slave dialectics, Annabel proposed that a critical tracking of movement to conversion for the “slave” becomes essential to the project of decolonization in order to understand how this “movement”, which she reads as transformation, can also be seen as a “confrontation with mobility: the directionality of recognition, whether horizontal (slave-slave) or vertical (master-slave), is determined by the colonial mobilization of the slave.”

For Annabel, these forms of mobilization presented a challenge to Cold War movements that sought alignment with Cold War liberalism’s colonial roots, built as it is with colonized resources and enslaved populations of the world. In situating the Afro-Asian conference at Bandung in 1955 and nonalignment movements within this framework, productive questions can then be asked about the epistemic challenges posed to (neo)liberal democratic capitalism’s failures to deliver a real redistributive praxis.

Professor Nelson Maldonado-Torres served as the discussant for the workshop and asked Annabel to critically consider how she might mobilize mobility in the chapter as it relates to the entwinement of intellectual work and military work as the thinkers she is thinking through served in the military. The discussion afterwards centered on the topics of Pan-Asianism, decolonization, and nonalignment.

The next meeting of the Decoloniality Workshop will be held on April 11, 2018, where Professor Carlos Decena (Latino and Caribbean Studies & Women’s and Gender Studies) will present material from his current book project. For more information, visit the workshop’s website at https://decolonialityworkshop.wordpress.com.

Call for Papers: “LOVE IN TRANSLATION” Graduate Student Conference 2018

LOVE IN TRANSLATION

Comparative Literature Program at Rutgers

Graduate Student Conference

March 2-3, 2018

Rutgers University, New Brunswick

Keynote Speaker: Professor Sandra Bermann, Princeton University

Translation workshop by Professor Susan Bernofsky, Columbia University

CALL FOR PAPERS

The biennial graduate student conference at the Rutgers University Program in Comparative Literature seeks to understand how love figures in and is transfigured by translation. The conference invites participants to think about how love disrupts and transforms the ways in which literary imagination functions across languages, time, space, borders. Some of the questions we aim to address are: How is love translated? Can love be a methodology in translation? Is it a hindrance or is it generative? Is love a theme or a product of translation?

Graduate students interested in presenting their research at Love in Translation are asked to submit an abstract of 300 words that addresses the conference theme.

Possible topics include, but are not limited to:

  • Love and the ethics of translation
  • Love and literary pedagogy as translation
  • Love in the text
  • Love, translation, popular culture
  • Love, translation, world literature
  • Love, translation, activism
  • Love, translation, gender
  • Love, translation, environment
  • Love, translation, genre
  • Love, translation, borders (textual, epistemic, geographical/geopolitical)

The deadline for paper proposals is 11:59 PM on December 15th, 2017. Please e-mail all proposals to Conference Co-Chairs Penny Yeung or Rudrani Gangopadhyay at rucomplit2018@gmail.com . All submissions should include the title of the paper, the abstract, and the name, affiliation, and email of the author.

More details about the conference can be found at the conference website.