Table of contents
Acknowledgements and bionote
Introduction
Chapter 1.Premise and contexts
1.The divided landscape in criticism of African literatures
2.The relevance and limitations of postcolonial theory
3.Hybridity: A hackneyed yet unavoidable concept
4.African literatures as translation and in translation
5.Matters of genre
6.The poetics of African fiction and the creative license of prose
translators
7.Defining sound motifs as aural aesthetics
8.A theoretical prelude to sound translation
9.African literatures: which ones?
10.Corpus presentation
Chapter 2.Making sense of an alliterative practice in translation: From resistance to restitution
1.Background matters
2.Digest of Somali oral literature
3.From Membranes of Maternity to
Lauralité-sur-Lécry
4.Methodology: A cross-corpus analysis
5.Farah’s alliterative project and its reconstruction in French
6.Sound motifs in the Lands of Waberi and Garane
7.Examining retranslations: A rare occasion with contemporary writers
8.The concept of critical threshold of perception as delineation of sound
motif
Chapter 3.The aesthetics of repetition and their meanings
1.Understanding Adiaffi’s transgeneric position through the lens of
translation
1.1N’zassa literature
1.2Toward transpoetics: An aural and surrealist reading
1.3Adiaffi’s carte
1.4Akan poetics
1.5Translating repetition as a poetics of identity
1.6Another poetics of repetition and its translation: Queneau in English
2.Hove’s politics of repetition
2.1Socially committed writer and translator
2.2Formal structures of Shona poetry
2.3Ancestors, or the art of embedding
repetitions
2.4The workings of iterative poetics: From Ancestors to
Ancêtres
Chapter 4.Sound motifs and their motivations
1.When polemics overcast poetics: The case of Ayi Kwei Armah
1.1Understanding Armah
1.2Articulating oral literatures in Armah’s works
1.3Armah’s translators
1.4A cacophony of senses: Splendor and decline in The Beautyful
Ones
1.4Motifs and motivations
1.5The efficacy of aural devices in The Beautyful
Ones
1.6Pathways to poetic re-creation in L’Age d’or
1.7The measure of creativity in translation
2.The matrix of Assia Djebar’s poetic language
2.1A complex linguistic and literary heritage
2.2Situating L’Amour, la fantasia in Djebar’s
work
2.3Dorothy Blair: A made-to-measure translator
2.4Overview of stylistic codes in Arabic literature
2.5From L’Amour to Algerian
Cavalcade: Turning up the volume
3.Overexposures
Chapter 5.Modalities and Intermedialities
1.Of interpretation
2.Weighting factors
3.Intermedial translation as a paradigm
4.Listening to literature throughout history
5.Audiobooks: From rebirth to explosion
6.African literatures and audiobooks: An unavoidable combination?
7.Translating in a digital era
Conclusion
Works cited
Index
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