"Tapping into Translators' Creativity" book started as a project within a project and it was basically "born" on Twitter. I was so intrigued by how creative translators are on so many levels, that I wanted to write about it. I had no idea that what started as an idea, and a few thoughts written down in a children's playground, would eventually become a book featuring 21 translators.The book explores how translation and creativity intersect and overlap and it is inspired both by translators and creatives and the things they have in common.A simple book, written in a simple language.Examples are drawn from different sources, from translation, art and writing, but what makes it special is its recurrent theme, the painting Girl With a Pearl Earring by Johannes Vermeer.Book review: http: //ritamaia.com/blog/tapping-into-translators-creativity

Same version with Color Interior (includes colored pictures): https://www.amazon.com/Tapping-Translators-Creativity-Magda-Phili/dp/1521236887Translators are (re)writers, they are dot connectors, they know how to read between the lines, tap into the heart of texts with all their layers, do research, use glossaries, work with software, network, create brands, help people communicate across the globe.Creativity helps translators become better at their craft, find ways to market their services, establish an online presence, design beautiful websites. But there's more: translators often pursue hobbies in art, crafts and music. Translators are also creative when it comes to finding ways to cope with the challenges of a highly demanding, yet underappreciated profession. Their creativity is paramount to their professional development and fulfillment and it is key in understanding the value translators bring into the written world.In this writing journey, inspiration comes not just from translation but from the world of art and in particular, Vermeer and his most famous painting "Girl With a Pearl Earring".

Translation and Creativity discusses the links between translation and creative writing from linguistic, cultural, and critical perspectives, through eleven chapters by established academics and practitioners. The relationship between translation and creative writing is brought into focus by theoretical, pedagogical, and practical applications, complemented by language-based illustrative examples. Innovative research and practice areas covered include ideas of self-translation and the 'spaces' of reading, mental 'black boxes' and cognition and the book introduces new concepts of transgeneric translation, pop translation and orthographical translation.

In Translation as Creative-Critical Practice, Delphine Grass questions the separation between practice and theory in translation studies through her analysis of creative-critical translation experiments. Focusing on contemporary literary and artistic engagements with translation such as the autotheoretical translation memoir, performative translations and 'transtopian' literary and visual art works, this Element argues for a renewed engagement with translation theory from the point of view of translation as artistic and practice-based research capable of reframing translation theory. Exploring examples of translation as both a norm-breaking and world-making activity in the works of Kate Briggs, Ayesha Manazir Siddiqi, Noémie Grunenwald, Anne Carson, Charles Bernstein, Chantal Wright or Slavs and Tatars to name a few, this Element prompts us to reconsider the current place of translation practice in translation studies.

This volume brings together cognitive psychologists who look at process phenomena from various linguistic vantage points. It examines simultaneous interpreting, methodology, how to glean information from data, and particular features of the processes of translation.

In their introduction to this collection of essays, the editors argue that constraints can be seen as a source of literary creativity, and given that translation is even more constrained than 'original' literary production, it thus has the potential to be even more creative too. The ten essays that follow outline ways in which translators and translations are constrained by poetic form, personal histories, state control, public morality, and the non-availability of comparable target language subcodes, and how translator creativity may-or may not-overcome these constraints. Topics covered are: Baudelaire's translation practices; bowdlerism in translations of Voltaire, Boccaccio and Shakespeare, among others; Leyris's translations of Gerard Manley Hopkins; ideology in English-Arabic translation; the translation of censored Greek poet Rhea Galanaki; theatre translation; Nabokov and translation; gay translation; Moratín's translation of Hamlet; and state control of translation production in Nazi Germany. The essays are mostly highly readable, and often entertaining.

The Routledge Handbook of Language and Creativity provides an introduction to and survey of a wide range of perspectives on the relationship between language and creativity. Defining this complex and multifaceted field, this book introduces a conceptual framework through which the various definitions of language and creativity can be explored. Divided into four parts, it covers: different aspects of language and creativity, including dialogue, metaphor and humour literary creativity, including narrative and poetry multimodal and multimedia creativity, in areas such as music, graffiti and the internet creativity in language teaching and learning. With over 30 chapters written by a group of leading academics from around the world, The Routledge Handbook of Language and Creativity will serve as an important reference for students and scholars in the fields of English language studies, applied linguistics, education, and communication studies.