The Translation Zone

Apter, Emily

doi:10.1515/9781400841219

Cited by 623 publications

(24 citation statements)

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“…Our use of the term translation zone has parallels to the term deployed by Apter () and Barry (), in that it marks a space of critical engagement and is shaped by practice. Barry () for instance, in an analysis of international political relations, posits the zone as a politicized border: one that is contested, shifting, and always open to invention.…”

Section: The Growing Centrality Of Knowledge Production and New Contementioning

confidence: 88%

“…Barry () for instance, in an analysis of international political relations, posits the zone as a politicized border: one that is contested, shifting, and always open to invention. Apter (), in her analysis of the politics of language wars, contends that such a site belongs to no one single, discrete language but is always in translation . Our use of translation zone applies specifically to the creation process for cultural industry firms and the fluid context in which new creation‐network assemblages can emerge.…”

Section: The Growing Centrality Of Knowledge Production and New Contementioning

confidence: 99%

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Circus in Action: Exploring the Role of aTranslation Zonein theCirque duSoleil's Creative Practices

Rantisi

Leslie

2014

Economic Geography

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This article explores the process of knowledge production and creativity in the circus. In particular, it examines how the Cirque du Soleil has been able to forge an innovative and novel tradition of circus arts by drawing upon knowledge and competencies from the related fields of sport, circus, dance, and theater. Using the notion of translation developed in actor network theory, we trace how a variety of actors and entities, including both human and nonhuman actants, are enrolled in the creation of a contemporary circus performance. We explore how power and agency are distributed in the networks that foster creativity in the circus, highlighting their inherently unstable and precarious nature, and how the Cirque has created an open and unbounded space that accommodates fluid exchanges between actants (what we call a translation zone).

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Section: The Growing Centrality Of Knowledge Production and New Contementioning

confidence: 88%

Section: The Growing Centrality Of Knowledge Production and New Contementioning

confidence: 99%

Circus in Action: Exploring the Role of aTranslation Zonein theCirque duSoleil's Creative Practices

Rantisi

Leslie

2014

Economic Geography

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“…By beginning The Translation Zone (2005), her extraordinary contribution to the current language wars in literary and socio‐political comparativism, with a list of axioms bracketed by, “Everything is translatable” and “Nothing is translatable,” Emily Apter unwittingly gives us the most useful illustration of how limits operate in world literature theory. I say unwittingly because Apter classifies her comparative work as counter to the methods and practices of world literature.…”

Section: Translation As Warfare and Welfarementioning

confidence: 99%

The Limits of World Literature

Holmes

2016

Literature Compass

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This essay examines recent work on world literature theory, with a particular focus on those theorists who treat individual texts as in dialogue with the circulations of linguistic and cultural translation. I treat world literature as the theory without an object and make the counterintuitive claim that its objectlessness makes it well suited for leaving behind antiquated modes of categorizing and canonizing so-called world texts, in order to make room for new kinds of structured thinking about the world. The essay begins with an introduction to the manifold interconnections of the new world literature, including its broad overlap with fields of globalization, translation studies, comparative literature, and postcolonialism. I position four key theorists of 21st century world literature -Emily Apter, Rebecca Walkowitz, Berthold Schoene, and David Palumbo-Liuin oppositional pairs in order to show the underlying commonality in their thinking about the value of a literature of and for the world. My entry point into the "thinking machine" of the world literature text is the concept of the limit. Far from the commonplace understanding of limit as a limitation or boundary, I argue that understanding world literature at the limit allows literary texts and theory to be read as an event of thinking that is in-process, in-common, and incomplete, an analogue to the necessary impossibility of knowing the world."in der beschränkung zeigt sich der meister" ("It is in the limit that the master is proven.") GoetheThe Limits of World Literature 573

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“…belonging to no single, discrete language or single medium.'' 22 The enduring obscurity regarding the origin of several volumes of the Turkish Spy only reinforces the sense that there is perhaps no ''original'' language to the text. 23 In other words, if Mahmut himself trades in the language of protonationalism much like Montesquieu's Rica, the text nevertheless remains unmoored from what would constitute the nationalism of language.…”

Section: Mahmut the Cosmopolitanmentioning

confidence: 99%

The long transatlantic career of the Turkish spy

Crane¹

2013

Atlantic Studies

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The Translation Zone

Cited by 623 publications

References 0 publications

Circus in Action: Exploring the Role of aTranslation Zonein theCirque duSoleil's Creative Practices

Circus in Action: Exploring the Role of aTranslation Zonein theCirque duSoleil's Creative Practices

The Limits of World Literature

The long transatlantic career of the Turkish spy

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