As an undergraduate student of English at the University of Athens I was drawn enough to the subject of translation to later pursue postgraduate studies in this field. I obtained an MSc (with distinction) and a doctorate degree from the University of Manchester after securing a PhD scholarship from the Alexander S. Onassis Public Benefit Foundation and a stipend from the Language Engineering Department at UMIST. Before joining Surrey in 2006 I worked as a corpus assistant for the Translational English Corpus (CTIS Manchester), as a research associate for a poetry translation project (Newcastle University) and as a part-time Greek translation lecturer (University of Salford).
Currently I serve as Deputy Director (Centre for Translation Studies) and Programme Director (MRes in Translation and Interpreting Studies)
The underlying thread in my research is the premise that translation is a form of creative rewriting that occurs at specific moments in time. As such, it sheds light on how identity is mediated across language barriers, time, and media. To date, I have been an examiner for 18 PhD theses (nine as internal and nine as external examiner); I am also a reviewer for the Research Grants Council (Hong Kong). As a result of my research activity, I occasionally serve as member of (international) validation panels for MA programmes, interview panels for new appointments and teams for training projects (e.g. subtitling).
Current research: My current research focuses on comic book adaptations for children, humour as a coping/mediation technique in translation, the role of translation is social movements, gender performativity in subtitled filmic discourse and translated dialogue in comic books.
Earlier research: In my doctoral research I examined issues of social agency, publication trends and censorship. Brecht's poetry collections, political essays and plays published under the Greek dictatorship served as exemplars of how translation can be pressed to the service of protest.
Recent awards: Pump-Prime Fund awarded by Faculty of Arts and Social Sciences, University of Surrey; this enabled fieldwork in Greece leading to a monograph on the dissemination and translation of Aristophanic comic books. Faculty of Arts and Social Sciences funding for a Community Outreach programme; this led to the commissioning and delivery of a translation for the Watts Gallery into 5 languages (Chinese, Greek, Italian, Spanish and Norwegian). I have also received Santander Academic Mobility Funding in order to establish links with the Centro de Comunicação e Expressão at the Universidade Federal de Santa Catarina, Brazil.
My supervision interests on postgraduate and research level include the following:
- Humour theory
- Translation of multimodal cultural products (audiovisual programmes, comics, adverts)
- Cultural policy-making/questioning
- Translation history
- Translation and social movements
- Translation as intercultural mediation
- Ming-Chih Wu. Michelle Wu. Negotiating Culture Space and Identity: The Translation of Tongzhi and Ku-er Fiction. (31 March 2015)
- Selin Kayhan. A Bourdieusian Perspective On Translators In Turkey: Examining The Role Of Socio-Economic, Cultural and Political Environment. (20 January 2016)
- Giacinto Palmieri. Oral Self-Translation of Stand-Up Comedy: From the Mental Text to Performance and Interaction. (21 February 2018)
- Eleni Karvounidou. The Manipulation of Children's Literature: The Russian Translations of Alice’s Adventures in Wonderland. (31 May 2018)
- Konstantina Georgiou. The Translator as Reader: The case of Poetry Translations from Modern Greek into English. (03 Oct 2019)
- Artemis Lamprinou. A Study of the Cultural Variations in the Verbalisation of Near-Universal Emotions: Translating Emotions from British English into Greek in Popular Bestseller Romances. (28 March 2013)
- Sara Dicerto. Multimodal Pragmatics: Building a New Model for Source Text Analysis. (28 August 2015)
- Katerina Perdikaki. Adaptation As Translation: Examining Film Adaptation as a Recontextualised Act of Communication. (21 December 2016)
- Athil Farhan. Ideological Manipulation in the Translations of Political Discourse: A Study of Presidential Speeches After The Arab Spring Based on Corpora and Critical Discourse Analysis. (20 June 2017)
- Dimitris Bogiatzis. Creative Writing Thesis: Free Spirit: A Novel on the Life of Nikos Kazantzakis. (10 April 2018)
- Jaleh Delfani. Non-Professional Subtitling in Iran: Process, Product, and Socio-Cultural Context. (03 April 2019)
- Shasha Zhang. Exporting the “Real” China: Exploring Chinese National Ideologies within China-Produced TV Documentaries and their Translations.
- Cheima Bouchrara. Persuasion in Courtroom Discourse: A Critical Discourse Analysis of Closing Arguments in US Criminal Cases.
- Arianna Carloni. The Role of Continued Dance Training in the Reception of Audio Description.
- Eleanor March. From margin to Centre: Prisoner writing as an act of translation.
I teach the following undergraduate and postgraduate modules:
- TRA3036 “Translation of Specialised and Creative Texts” (final-year undergraduate module)
- TRAM058 “Translation of Persuasive Texts” (MA module)
- TRAM178 “Translating Cultures” (MA module)
- TRAM411 “Issues in Literary Translation” (MA module)
In addition to my general teaching and programme-related duties, I also have the following administrative duties in the School of Literature and Languages that complement these roles: Subject Leader (Translation), Postgraduate Exams Officer, Postgraduate Exam Board Chair, Exchange Student Co-ordinator, PhD Admissions Co-ordinator (for the subjects of translation and interpreting), studentship evaluation panel member for scholarships awarded by the university and the AHRC (TECHNE).
Reviewer for: Anglistica, The Translator, Meta, Intralinea, Palgrave McMillan, Routledge, Alif, JosTrans. I am a member of the Modern Greek Studies Association
that was published in Greece at the time the student movement was emerging. The collection was
launched in 1971, four years after the military coup in Greece. Drawing on the notion of ?frame?
from social movements theory, the paper focuses on the trajectory of the Greek student movement
and the main ?frames? that brought it forward as the most successful form of resistance against the
junta. Then the paper illustrates how the Brecht anthology in particular captures the general
climate of cultural and political opposition that created the resonance deemed necessary for the success of the student movement.
well as for the massive antiauthoritarian student movement that took place in a global
sixties context. This paper summarizes significant protest activities under the Greek
junta, an authoritarian regime that was in a state of flux. Events are categorized under
three broad protest waves: passive resistance/clandestine activities, elaborate cultural
activity and mass mobilization. As is shown, networks of resistance developed
gradually with the convergence of the needs of various sectors or society. Effective
opposition meant resorting to ?meaningful? discourse in an authoritarian context. The
role of culture in this context proved to be instrumental, because it served as the arena
where this meaningful discourse was interpreted and re-interpreted against the
backdrop of local and global demands. Cultural activity and consumption morphed
into ideological and organizational preparation that eventually determined the stakes of an open antiauthoritarian movement.
The present study explains that ideology can affect translators? linguistic selections which can consequently shape the receivers? worldviews. Owing to the fact that after the Arab Spring, new leaders with different ideologies and belonging to different political movements sprung forth, their political discourse has become a subject of increasing interest. The language these leaders use to promote their own political and ideological visions and the way to interpret them requires analysis to detect the possibility of translators? intervention in the translation of these speeches.
Adopting a mixed approach of corpus linguistics and critical discourse analysis, the present study focuses on investigating the manipulation of the source text ideology in the translation of presidential speeches after the Arab Spring. The source texts analysed in this study are 20 speeches by the former Egyptian president Morsi translated into English by five translators of various ideological backgrounds. The analysis of these source texts is based on the extraction of keywords and a selection of keywords with ideological content. The analysis of the target texts, on the other hand, focuses on the use of ideological keywords in lexical patterns and grammatical structures to detect ideological manipulation in translation.
The thesis aims to describe systematically the means through which translations transfer, strengthen, or mitigate the ideology underlying the source texts. Using five parallel corpora of the source texts and their translations, the thesis also aims to ascertain whether the lexical choices and the syntactic structures employed in the target texts engender changes in the ideological content of the source texts and their underlying ideology.
The results reveal that two out of the five translations project a manipulated ideology that is at variance with the ideology underlining the original texts. One translation strengthens the ideology of the source texts, whereas the other two translations aim to maintain the original ideology unchanged. This indicates that instances of ideological manipulation are probable even in the translation of presidential speeches due to the nature of the source texts, the ideology underlying them as well as the possibility of an ideological clash.
A model for a systematic adaptation analysis seems to be currently missing in Adaptation Studies. Translation Studies can also benefit from a closer look into the workings of cultural production. An analysis of adaptation as intersemiotic and intermedial translation can give rise to the factors that condition the flow of narratives across media and cultures. Such an analysis can also shed light on the relationship between cultural products and the socio-temporal context that accommodates them.
To this end, the present project aims at examining the film adaptation process from a hermeneutic point of view, looking into both textual and contextual parameters that monitor the adaptation process. A model towards the systematic analysis and interpretation of the changes occurring in the adaptation process (i.e. adaptation shifts) is also developed to fulfil this aim. The model draws upon insights from Translation Studies, Film Studies and Narratology and has a descriptive/comparative and an interpretive component. The former is used to examine adaptation as an audiovisual text in relation to its source material and the latter deconstructs the adaptation process in relation to the agents and contexts involved. The model can thus contribute to a systematic study of adaptations and to a better understanding of the adaptation/translation process.
For these purposes, a new type of translation needs to be conceptualised for it to be recognised as taking place in bilingual comedy. In doing this, the starting point is the recognition that stand-up comedy represents a form of oral communication, in which the presence of a written text cannot be assumed. The type of translation putatively involved in bilingual stand-up comedy is thus defined as ?oral self-translation?. The notion of ?mental text?, borrowed from the ethnographer Honko (1996), is proposed as the source and target text of this type of translation. The concepts of declarative and procedural memories are then deployed to offer a theoretical model for the content of this mental text.
These challenges call for a phenomenological approach as the main method of this study, in which the experience of a sample of ten bilingual stand-up comedians is investigated by means of in-depth semi-structured interviews. The researcher?s own experience in performing stand-up comedy in both Italian and English is also reflexively interrogated and compared with the participants? experiences, as collected in the interviews.
The results extrapolated from this data suggest that translation does occur in bilingual comedy and that its comic efficacy is considered very satisfactory by the performers themselves, in accordance with their interpretation of the audience?s reaction. This success seems to be correlated with the special degree of freedom enjoyed by the self-translating comedian. The choice of language, moreover, seems to be associated with different performing styles and different levels of emotional involvement from the comedian. In its interaction between performers and audience, oral self-translation of stand-up comedy is shown to partake in the process of ?identity negotiation? (Swann 1987), particularly when this interaction occurs between members of a diaspora and members of the host community.
The study focuses on power and authority references, which are frequently identified in the book, as the creatures of Wonderland constantly insult and terrify Alice in their attempt to seize power. Through these examples and drawing on Even-Zohar?s polysystem theory, Toury?s concept of norms and House?s model of translation quality assessment, this thesis also answers questions as to how the norms prevailing in the source culture are transferred to the target culture, as well as what translation strategies are used by the Russian translators of Alice Adventures in Wonderland in each of the periods examined.
Since the study takes place in a Russian context, references to censorship in translation and publication of children?s literature are inevitable, as previous research has demonstrated that publications were under state control, particularly during the Soviet years. Therefore, the translations used here as observational material, are also examined for any potential censorship effect.
Despite the fact that the same examples are examined in all three translations, the result and the translators? choices, differ to a great extent. The pre-Soviet translation has many deletions, related particularly to the violent scenes of the book. The Soviet translation is a literal rendering of Carroll?s original story. Finally, the post-Soviet translation is a creative work, which contains many additions that bring the story closer to the mentality and understanding of the Russian readership.
the case of poetry translators from modern Greek into English.,
Within Translation Studies there have been some attempts at exploring the role of the reader during the translation process. Cognitive research, using think-aloud protocols and/or eye-tracking and keystroke logging as their methods, has offered valuable information that expands our understanding of what translators do when they read during the translation process (Englund Dimitrova 2005, Jakobsen 2003). In addition, several ?situated theories? (Flynn 2013) by translation scholars who are also practitioners has provided several categories with which to describe an initial, exploratory model of the translator as reader. These attempts have been sporadic and not entirely systematic and have been unable to produce a comprehensive picture of what the translator brings into the reading-for-translation process. The object of this study is to merge and expand these categories proposed by translation scholars (Beaugrande 1977, Diaz-Diocaretz 1985, Jones 2011) into a coherent model of the poetry translator as reader.
The expanded model is complemented by data from several different sources collected from Modern Greek into English poetry translators. The key issue of how the translatorial habitus affects the reading-for-translation phase is eplored through the examination of a corpus of paratexts created by or about these poetry translators. The study also draws data from the responses of twenty poetry translators to a survey and from ten semi-structured interviews with the same group of poetry translators for the exploration of the translatorial habitus. Finally, the effects of the translatorial habitus on the reading-for-translation phase are explored through verbal protocols with eight poetry translators.