This is the first time I've had teaching a translation course actually, so I don't have that much experience. I'm here primarily to learn. At the same time, I'm very excited about this course and I hope that I have something to offer here. So building on my background as a scholar and as a creative writer, I constructed this course with two assumptions in mind. These assumptions are, I don't think they are particularly controversial and they are, I think, commonplace as well. First, even contrary to what the title of the panel is, there is really no such thing as monolingualism when you think about it. Or at least there is no such thing as monolingualism in a typical upper level English classroom at a public university like mine in Maryland in 2015. UMBC is actually known as being one of the most diverse campuses in the country. So in this particular classroom, my students indeed possess varying levels of readiness and linguistic expertise. In Spanish, French, Japanese, German, Russian in addition to English. Also there is a considerable group of students who are not native English speakers. So they come into the classroom with native knowledge of another language, whether it be Spanish, Korean or Chinese. So these are bilingual individuals like default. So we try to capitalize on that. So there's no, really no among the 18 or so students that I have, there's no exclusively or perfect monolingual person there. So everyone has had some exposure to another language, whether as speakers or as listeners or as readers. What I'd like to emphasize on the first day is that I described all of us as translingual. We are translingual, but borrowing a term from the French philosopher Michel Laurent, translingual meaning that we all have had some experience to another language, however imperfect it may be. We are making our way toward another language, we are learning it. I attended a Friday session about translating from a source language that you may not know very well. And at that session, Jerome Rottenberg said, what is fluency anyway? When do you reach the point where you can call yourself fluent in the language? Are we all fluent even in our own native languages? Or different levels of control and proficiency in our own languages or first languages? So this is what I tried to emphasize. That was my first assumption. The second assumption is that you can't teach the art and craft of translation without some attention to translation theory and history. Again, that is probably relatively obvious, but it needs to be said. In this class, I assign a lot of translation theory and history. I don't construct this course as a workshop. There's a little bit of workshop that has mainly a lot of focus on the translation history. And in the theory, where do you find the theory and history? I, too, want to find it in the translation studies reader edited by Lawrence Wendlutti. Now it's a third or fourth edition, which contains almost all the major statements about translation. Jerome's letter to Pamakus, Schleyer-Mappers, on the different methods of translating Nabokov's piece on translating to Gino Niegi. Of course, both of them means the path for the translator and many others. Surprisingly, that does not have one of my favorite pieces, essays on translation, which is, like I said, the misery and the splendor of translation. So I gave it to my students a minute of wonderful conversation on the first day about language, about thought and speech and translation. So I do recommend that text. It's not in that anthology. I said surprisingly, but it actually anticipates some of Wendlutti's own theories of translation. So it's not surprising for that reason, but it's not entirely wrong. As far as my strategies, so I'm just outlining the syllabus again of a course that is very much working progress right now, meaning I'm teaching it. What is a translator? That's the title of the course. As I said, modeled after Michel Foucault's question, what is an author? The idea for the course is to investigate what the translation function has been over the centuries. This is one strategy for making the translator visible rather than invisible throughout history. And most of us probably know Wendlutti's book, The Translator's Invisibility, which I'm also using in order to provide a background theoretical kind of underpinning for the course. There's a little quote I had here by Catherine Porter, who makes a connection actually between Foucault's essay, who talks about how important it is to think specifically about what authorship meant at a different historical period, and he comes up with a term author function. So Catherine Porter wrote an essay in 2014 called The Expository Translator, in which she makes a connection between Foucault's thinking and her own thinking about the translator's function. So she says, just a very short quote, like the author function, the translator function too is bound up in the legal and institutional way surrounding discourse. It operates in varying ways, according to the era, the culture, and the discursive realm in which it is practiced. It has to be defined in a precise and complex way rather than by the spontaneous attribution of a translator's text to its author. So we try to look carefully about what the translation function has been in many different instances throughout history. As far as the content, we are doing a lot, probably too much. We trace the fascinating histories of English translations of the Bible. Of course, the short story, what is a much larger story, and Homer's Delia as well. We explore debates surrounding translations of 19th and 20th century French and Russian literature, some, again, more telling or interesting anecdotes. Then we investigate experimental approaches to translation. By the drabound in translation from the Chinese, he's making new of certain ancient Chinese poets in F.A., Celia and Luis Zucowski and their homophonic translation of Cthulhuos, coming up with their incredibly opaque, linguistically heterogeneous English versions of Latin. Another example, Jack Spicer, exploring the idea of translation as dictation, making the translator almost as a kind of an idiot, in his bizarre translations of Federica Garcia Lorca, after Lorca. Caroline Bergwald and her text, called Via P.I.A., which is a rethinking of the first tree. The beginning of the Inferno, the first tree lines, you know, the most famous ones, in El Menzo del Camino, in Ostra Vita, basically what she does, if you don't know that word, she sub-titles the 48 doctor variations. She just reproduces English translations of the first tree lines of the Inferno, going back to the 19th century, but mostly 20th century, as many as 48 of them. So we end up with a kind of conceptual piece, also telling you some interesting things about the history of translation, and what the translation has meant over the years. Christian Focchi and his book, again, Traqua, which applies all kinds of formative practices on the work of Austrian poet Georg Traqua. You know, the publisher of that book just yesterday referred to his practice, Focchi's practice as over-riding, over-riding, and that's probably what it is as well. We end with El Carso and some of her translations from Sattles. These are the textual examples. If you know these texts, you realize that they represent the more creative, in some cases, even radical approaches to translation, all undertaken in the last, at this century, in the spirit of modernist experimentation. This is what I, at least, emphasize in the class, experimentation in terms of form, the concept of translation, the dynamic between author and translator, text A and text B. So far, we've had a lot of interesting conversations. And lastly about the projects, what are the assignments? There are two kinds of assignments here. First, in my course, students have an opportunity to pursue their own projects as scholars, but also as practitioners, as translators. As scholars, I asked them to construct the biography of the translation, modeled after an essay by, I'm sure that there are other similar projects of that nature, but the particular model that we used was Emily After's essay, called Marx's Barbarie. Marx's Barbarie, and it's a piece about different translations of Madame Barbarie, especially one by Eleanor Romare, like the retranslated by Paul de Man. So it's a wonderful, very illuminating piece. So what I'm asking my students to do on a smaller scale, obviously, is to choose a foreign literary text of any genre and research the history of its translation into English. Or at least provide some more interesting episodes from that history, paying attention to translation practices, textual variants, etc. And then they are asked to write an essay that synthesizes those five things. Very interesting assignment. My criteria include questions like, does the paper provide sufficient background information about the text and its author, as well as translators' publication reception history? Does the paper include comparative readings of selected passages, side-by-side readings? Does it analyze translators' preferences or post-publication reviews if possible? Or if available? Does it incorporate scholarship on the text, the author of the translations, or any larger issue under examination? Of course it's written to it. Does it state the implications of its findings to translation theory? So either the criteria is just a couple of weeks ago. I created a whole bunch of papers. Some of them, obviously, like in any classroom, more or less successful, more or less good. But I'll just give you a list of some of the topics, some of the things that were chosen. And I let the students do the choosing. I let them choose the work. Pablo Neruda loves songs. That's he ballooned me. And who changed ends journey to the west? Riensochi Akutagawa's short story in a Dalmugro, Kyun Suk Shin's novel. Please take care of my mom. Paul Verlaine's poem. There's no poem. Gabriel Garcia Marquez, 100 years of solitude. It's a hypochritic poem. Suseki Natsumi's novel. I'm a cat. Jorge Luis Borges' The Garden of Forking Paths. Camus, the stranger recently translated as The Outsider. Or three different translations of Don Quixote. So you can imagine, and I also ask students to give presentations on those texts, on their own papers. All kinds of interesting discoveries were made in the process. All kinds of cases and issues to talk about. What it means to translate, not only in particular texts, but also from a particular linguistic or literary tradition. And secondly, and this will be my last point here, my students are also asked to choose a foreign literary text, or part of the text, and translate it into English. Ideally, I want them to model these assignments on some of the practices that we're also reading. Some of the authors and poets, especially that I mentioned. Now they were translating with a difference. Translating in a more creative or radical way. But really, my students are free to use any method they are comfortable with as long as their translation mirrors a meaningful relationship to the source of the text. And I also ask them to submit a short preface, like a typical translator's preface, explaining their choices, describing their philosophy of translation, strategies used, challenges encountered, departures from existing translations, which we are welcome to use as well. As a way of doing some translation practice as well, assuming again that some of them may not be familiar with the source language, but leaving it open for more experimental approaches. Now of course the difficulty for this assignment is coming up with viable criteria, fair criteria, and evaluating these assignments, because there is an important creative component that comes into play as well. So I'm looking for help in that regard, especially. I'm still in the process of figuring those out. There's one other assignment, the smaller one that I may talk about later, but at this time, at this point, this is all I have to say. Thank you. Next we'll hear from Robin Davidson. Robin Davidson is a poet, translator, and professor who's been downtown. She's authored several poetry collections and co-translator of the New Century, almost by Emily Lyft, excuse me. The recipient of the Fulbright and NEA awards, she serves on the editorial board of Calypso Editions and has been named since Second Poet Laureate. So first of all, thanks so much Janelle for organizing this panel, and I'm thrilled to be here with these particular translators, Natasha and Phil. I learned so much just from listening to Phil. I have been teaching the very translation for only about three semesters, about every other semester, so there's lots still that I need to learn. But what I'd like to do in terms of my discussion here is to tell you a little bit about the student population that I work with and talk a little less about a theoretical approach and more about some of the assignments that I have my students do in order to get their interests, and I'll tell you why in just a moment. So at my university, which was initially an open access institution, a lot like City University in New York, for example, we were no longer in the last year or so an open access institution. But many of the students that come to us are first generation college students, often very minimal reading and writing capabilities, and so that underpins some of the choices that I have to make as an instructor when I work with students in a translation class. We have about 14,000 headcount there, and we are both Hispanic serving as a data, as a Hispanic serving institution and a minority serving institution by the U.S. Department of Education. 44% of our students are Latino, about 25% are African American, 70% Anglo, and then quite a few international students. So I really admire what Pyoche said in terms of there not being really any pure or perfect monolingual student in our classrooms, even if it is simply the multiple languages that they have access to as listeners. Many of the students that come into my classroom don't have any language other than English as their first language, and even the Latino students that we see at UH Jentown often don't even have access to Spanish and are very sensitive about that issue because they are often expected to have Spanish because they come from Spanish speaking families and yet they do not speak or read Spanish. They are certainly not well. And in addition, I have many international students who are English language learners, so they might have Farsi or the Nigerian language of Ibo or Tagalog or Vietnamese, all of those students just beginning to learn English. So they all come into this particular introductory literary translation class. Just another component, another factor that informs how we work together in the classroom is that many of my students sign up for this class because it's part of a creative writing curriculum, not part of a larger literary translation curriculum. They believe that it is literature in translation. So many of them come to the class thinking that they will be reading modern poetry or modern literature fiction, pre-non-fiction in translation. And they're quite stunned to discover that in fact they're going to be asked to translate. So with all of that in mind, I don't begin with any kind of theoretical underpinning in the first week or two. Instead, I try to engage them really in the, I would say the joys and the humor of language as it comes to us. So let me give you some ideas about that. I start with, we do start with introducing just a few issues related to translation theory and craft. Certainly one of those early on in the first couple of days we do talk a little bit about fidelity to the original text and all of the complications of what constitutes an original text. We also talk a little bit about the relevance of multiple translations of a single text, particularly with regard to translating poems. And we talk about the incorporation of scholarship in the translation process. I mention that, but I really only mention it before we begin to read any theoretical material. And so then what we begin with in that first few, two, three, even sometimes four class meetings is a discussion of what I would consider dubious translations or mistranslations where I might show them a bunch of, give them a bunch of links on instructional, using instructional technology or examples of mistranslations where you see Cubasa, so for example Polish sausage translated into French as Policé de Saussage, which means polish the sausage. So we go through a sequence of those kinds of mistranslations which they think is funny and they begin to feel less frightened really of the idea that they're going to have to confront language in a new way. And particularly first generation college students I feel need that confidence building before they face some sort of material that we will come to read them later. Another thing that I ask them to do is to think about idioms in the language that they feel most comfortable in themselves, their own first language and if some of these students are certainly bilingual. So are there, is there an idiom in Spanish or is there an idiom in Farsi that they know and if they were to speak that to their colleague in the classroom how would their colleague respond if they say well you shouldn't have don't get a watermelon head or it's raining cats and dogs or does that ring a bell or just some of the, there are many of these idioms that the students will know depending on their language or their cultural background ethnic background and experience that get them thinking a little bit about the pleasures of language and so they're not, it's not as off putting a process in to begin to read about translation. I also ask them to take a small text and I will typically ask them to simply choose a text, a small text in a language they think they want to work in and plug that into a few machine translators. Now this is horrible, I know it's a terrible thing to do but what is great for them to see particularly if they are a native Farsi speaker Spanish speaker, English speaker and they plug those texts in to being or Google translator or babble, there's several of these things they begin to recognize the ways in which those machine translations are inaccurate, miss certain kinds of subtleties and so forth. So that's how we start. From there, and one other thing that we do that first and then we talk a lot about the fact that even, and Piotr really spoke to this as well, even in our own very familiar tongue, we are translating all the time between or among ourselves and so I ask them to take, to read a couple of passages from Milan Punderas The Unbearable Lightness of Being in English and do you know this section of that book, dictionary misunderstood words and throughout the book there are two or three different moments of these dictionaries of misunderstood words and they're wonderful. So parades, when Sakina thinks of parades she envisions you know, the Soviets marching into Czechoslovakia when Franz thinks of parades, etc. So in Punderas book, each character when they think about a particular word that word has many very meaningful connotations for them and so that when Sabina and Franz speak to one another they are completely miscommunicated. Well we do this all the time. So when I ask my students to choose two different words and then to write up what two different people, either one of them and their parent or one of them and their lover or their mother and their father or the member, when so and so thinks of home they think of and this is actually quite it begins to tie back to creative writing for them and so that's how we start with that kind of I guess you call them warm ups in a way but it's a way really to break the ice with them and it takes a couple of three weeks for these particular students I think to feel comfortable. We then are also reading the kinds of theoretical texts we begin reading in about two and a half, a week or three the kinds of theoretical texts that Peugeot mentioned and I use different texts I experiment with a few different things one that my students do seem to be able to relate to are some of the texts that are in theories and translation edited by John Megano and Liner Schulte we also sometimes use the crafted translation also edited by those guys I'm really looking forward to learning more from Peugeot about the essays that he's using because I heard him use some that I don't use and I think they would be terrific so we do begin that reading early on but slowly for this particular group and then we launch immediately into one of three major assignments so I ask them to choose a source language our target language of course for this course is English since everyone has different source languages in the class we have to have one you know, target language there's no way that at the end of the semester I can really assess how well anyone student has translated anything from Farsi for example into English if I'm not a translator a Farsi or a speaker of Farsi but we start with a poem so I ask them first to identify a source language they would like to work with throughout the semester and then to identify a short possibly lyric poem or I think usually a lyric poem but a short poem that they will then work to translate from that source language into English using the strategies that we begin to look at as we move through the theoretical texts so for example I ask them to provide and this is a workshop we do love this course as a workshop so I ask them to take their transliteration their trots maybe work for word translations and bring those to class we put them up on the using blackboard we use blackboard to show those and we work through those initial drafts of a small short poem for each two they take those poems through multiple drafts and then submit those for review by me and in the process of doing that it does allow us an opportunity very early in the term to talk about fidelity to the original about I would say the advantages particularly in poetry in consulting multiple translations if they've chosen a poem by Neruda or Lorca that has been translated by multiple others I ask them to certainly try to form first on their own but to consult those other translations and then talk about why their particular they make the choices that they have and this is all very hands on initially just linguistically I also have a very good friend who's a linguist on the faculty in the department of English where I teach and she comes in and talks to them about various matters of linguistics for a couple hours for one class meeting so that's part of the working with the poem so I ask them mostly to start with the poem even though I understand that poems are probably the most fraught with difficulty in terms of translation that some even talk about what some translators say is the untranslatability of poetry which I hope none of us so we discuss that issue as well then after we have gone through that process of looking at a single poem I ask them to envision a larger project so if they want to stick with that particular poet and look at a cycle of poems by that poet or they want to switch to fiction or a creative nonfiction maybe a lyric essay or a segment of a memoir they're most welcome to do that I do ask them to stay with the same language they've been translating from the gap go and we move them to the next phase of the class the very first thing that I ask them to do when they're excited on an author and a language for that larger project is to interview a native speaker and there are a bunch of things I ask them to talk with that speaker about so first I ask students to explore the background of this speaker's experience with the source language of what language community they were born into or reared him did both of their parents speak that source language does the speaker herself have more than one first language and so forth so that's one category of question I also ask them to ask this native speaker what kinds of difficulty the speaker has encountered with regard to humor puns idiomatic expression when moving between languages there also has to discuss with the speaker any grammatical structure in the source language that may or may not be applicable in English for example matters of gender so in a language for example where gender is marked either by verbs by nouns by articles to discuss that whereas in Polish for example we have no use of definite indefinite articles so to come up with at least an element linguistic element related to that language that the speaker herself herself has had difficulty with and does the speaker prefer the use of her native language over other languages and specifically what circumstances mark that preference and so forth so there are sequence of questions that we talk a lot about in class I ask you to go to the native speaker write up that interview once they talk with them and this I feel like it's a way of introducing the student in a very practical way to the kinds of issues they're going to confront as they work on a little bit larger project from there I ask them to develop an annotated bibliography and in that bibliography I ask them to identify sources in several categories that will come to inform their translation practice of the larger work so for example they need to list and discuss those particular essays either that we have covered in class or once they discover on their own that discuss the theory that has informed their or that is informing their own practice so they will turn to these essays that we've read in class and be able to discuss those in an annotation associated with the citation I also ask them to come up with sources that address at least one of these linguistic issues like definite, indefinite pronouns gender or whatever other tense so for example they are translated from an Asian language and there are no verb tense no verb tenses but there are other kinds of markers that indicate time to discuss that issue third what kinds of sources about their particular author and project offer the most historical the best historical and cultural information on that work we do talk a lot about how history one that's right and then lastly the author's biography to what extent are there sources out there about the author and to what extent has the author's life also informed this work and from that bibliography then they're able to develop a preface companies their final project so that they do discuss each of those issues in a preface that accompanies the final manuscript and that final manuscript also goes to the workshop process many times well many times I would say three to four times which is the most we can do in a class of 18 to 21 people where the entire class will be helping thank you it's journal 91st and it's book serve series Natasha also teaches a variety of translation classes on world literatures world cinemas and new media she's the author of many episodes on translation and film we're very glad to have her so I am after since I'm in the pitch here I have a complete meltdown of the of the PowerPoint because it turns out that the projector does not accept supposedly privacy reasons doesn't accept whatever so we'll not accept my files so I am just praying here otherwise I will be reenacting oh there we go and also this is in the meanwhile timed out so while I'm talking we're talking to you so therefore it looks it looks a little funky and occasionally I think try to scroll down I'm not deleting an entire section so it's very anyway so it's really really interesting to listen to Kjelter and Robin because my translation courses are coming from different perspectives in part this is because so I teach regular translation workshop at the international writing program which is not a academic program I'd rather it's out of the graduate of research meaning that the international writing program doesn't have an academic obligation so in that sense we're not teaching as a part of the curriculum part of the college strategy but rather we're teaching in conjunction with the fall residence of the international writing program and the goal is ultimately as far as I'm concerned to kind of disperse and diversify the attention to international writing on campus through a variety of constituencies and in order to make that possible I also teach a first year seminar and that's a freshman seminar for little kids that just kind of do first semester the university pays for that as a retention service and often we serve them so these kids that come in are very very different from what the constituency that Kjelter and Robin are interested in describing one kind of hopes for that or wishes for that but in reality I have a lot of Iowa kids who have in some cases confessed that they've never seen or admittedly know what passivation is in fact they have because all of them have had to have some language training in high school in order to get into the college university but they deny and gladly they're completely denial about the relationship to foreign language and often consider to be somewhat redundant and then there's always the long Chinese student who's been brought in to finance our public institutions and so he or she sits there in the back, Julia, she whose relationship to the material that's being presented is completely different so I teach this first year seminar around the cinema tech that is curated by the writers in the international writing program because it seems to me that cinema often is the fluid medium in which language can be dissolved in order to be better absorbed to use against the numbness for I guess and in other words I really do teach translation to monolinguals in some kind of core sense of their own persuasion so therefore the goal is not to teach translation to say and I was taking assiduous notes for all the work that you were pitching but rather my goal is essentially to teach the notion of distance and to heighten the notion of tolerance to distance because it's resistance to distance that really seems to me to be the first threshold to overcome in other words they have been inkling but they don't have any reason to care and so to find a reason to care for why things sound differently why the world is full of people who don't speak English even though evidence is to the contrary which is the internet speaks English obviously so therefore why should we bother so really the point is to break through that kind of one way mirror of narcissism that the combination of internet and English and environment like I have produced giving you the impression that you can really just that there is absolute no reason for any effort there so the only way to really do this is by the way and because I don't really teach a language course I really do it largely as a through the notion of comparison through the notion of business the most rudimentary form of that plays so I'm first going to talk about different ways of making comparison and difference visible and then I'm going to briefly show some examples of how I actually work with the texts themselves so the most rudimentary form is that of a work play or a play so difference my emphasis is the most obvious is play and so therefore transposition into different verbal forms within the same medium of verbal expression and language that's the kind of at least the consciousness raising moment of the class that I'm in and this is of course completely invisible here but I think and I don't want to belabor this because this is exactly the kind of example that I'm going to talk about first and then Robin were highlighting this comes from the UPenn Charles Bernheimer's page on experimental language and so it's essentially the notion that within English itself difference is already embedded and then you can go to exercises like homolinguistic translation he do the police in different voices homophonic translation and all these examples some of them that have been already quoted by our previous two speakers you know the flowers of bad for flowers of bad kind of thing lexical translation battle mechanical translation writing a poem composed entirely of mischievous songs and lyrics etc so all of these ways are simply marking the difference within English itself my Tasman text however is one that I meant to bring with me but naturally forgot because life goes like that and that's the text that I recommend to everybody and I use it in almost every class I teach it's called 19 ways of looking in one way it's a time of the booklet and fishing right here to my own hands and just to open it up here maybe it's just those you lost but anyway this is a little out of print booklet but I have scanned it and I have to send it to whoever breaking all rules of decor Elliot Baumberger who is one of the two authors of this or editors of this text has encouraged me always to just read it because he doesn't get wrote he's anyhow who says so so 19 ways of looking in one way is basically a time of that's taken the four lines it's Chinese first and it's original characters then translation then including the radicals and the accents and then word by word trot and then 19 different ways and I use that text in almost every class that I do because it seems to me to do the work of difference that's just highlighting the difference and of course it's further compensated further complimented by the fact that on the right on the left hand side you have the translations and on the right hand side you have Elliot Baumberger who is incredibly a survey commentaries on the defaults it's usually on the translation of the left hand side so ripping them to shreds one by one in an incredibly analytic and very very precise language actually so and only a few snipers at the end are clear as it were but the exercise simply flipping through this book is a kind of indisputable explanation of or manifestation of all the points about the sentences with the the broken passage myself so but for one of them was it makes much more sense in order to get the comparison going beyond text to text what we want to move is from intracemiotic that is within the same science system to something that's intracemiotic in other words moving to different science systems where the difference itself becomes more visible and so in the absence of understanding a second language difference can for instance be passed those into difference between speech and writing and here I'm going to pray that my first slide will actually play and this is a short film that I sometimes use for students for secondary currents and well just see for yourselves here and I was thinking about the usefulness of the states by Peter Rose and as Brian created too and I was thinking about this today as I was in a reading and I was listening to a reader reading first in Mandarin and in Cantonese and then me straining to be able to hear the difference between those two I know this is not a complete film so here this is a film where we are all actually ignorant people who don't know what we are in this film in the picture, the people don't know they themselves don't know what part of them they get into the audio we have to jump this little bit just to be more interested in time but you can see, begin to see how this is kind of beginning to go this is a language that gets more more innate and more extravagant and it's impossible that what is being said it's actually So it's just this incredibly tangible way in which we can begin to understand the relationship between transcription and translation and the gap between those two. Transcription indicates where translation may become necessary. Transcription is already a form of translation and then translation is only a more sophisticated version of this kind of magical process if you will. And if nobody is convinced by how one needs translation with this film, nothing will ever convince them. So, but we can then take this issue to become more political and say, you know, if this is a question of not understanding and being able to try to sort out signal, out of noise, if you will, then we can move on to a film that which I also use all the time, which I use a lot for making this point. The point is this, the secondary card makes a point of relationship between writing and speaking in an abstract, comical, but still completely abstract way. Here it becomes an issue of politics. Most occasioned dictators are done with saying, the city of Tikrit, here in northern Iraq, is now firmly under the control of the American forces. Or is it, these members of the Iraqi resistance movement still loyal to the down to say, think otherwise? The Americans tell lies. Each day our forces go stronger. Each day we were closer to our goal of driving the incidents. What are they? Nothing, carry on. We are driving the invaders from our motherland. We are not afraid to add subtitles. They are, aren't they? What do I need subtitles for? That's what I understand what I'm saying. I'm pretty English, I'm from the American University, in Cairo. What do you see, I don't understand what you're saying. What do you see, how they come to say to us these subtitles? Well, maybe it's the interpretation of the hearing service. The strong and open thing is coming to a taste now. Oh, they may take on me again. My pleasure. Hey, I'm coming down to the next level. That is coming to a taste now. He might speak perfect English. She does teach, she'll buy the teacher. She can play, but pick up, pick up, pick up, pick up, pick up. The other end is close to the door. The situation remains as the Anderson-Ballazhan is at that here in northern Iraq. What do we do then, can see it? Listen to me please. What's amazing is that this is, we're fighting for decree, right? But 10 years later, this was made in South Africa, we completely lost. But it is this, I mean, this is a question of also fishing out signal, out of noise, right? And being able to determine which of the forms of English is viable, which is not. And also then raises the question of who does this transcribing, where does the voice of interpreting and then, therefore, translating come from, right? And once these modules, one of these questions have been raised, that one can move on to and ask that question in different contexts yet. And that is to take something like this, which is this, I don't know if any of you are familiar with the project called the Jesus Film, which is a campus missionaries project, which basically takes a film, which I'm not going to be showing you here, but it's easily accessible as you can see, the Gospel Translation, I call this page. And where each day the film, a kind of hour and a half long film, which is the history of basically the New Testament, is actually, no, it's the New Testament, is translated into a new language, additional languages. And so the current state is at 3,357 languages, which this film has been translated. And you start looking at the list of the languages in which this film exists. And it is probably one of the most awesome linguistic repositories that you can find anywhere on the Internet. I'm sorry, but you know, all you need to do is just look at the list that we can have up here. Yeah, well, this is the problem. But it's essentially 1,375 languages that are spoken by extremely small groups and which are then used for the purposes of translating, for purposes that missionaries have translated into Bible for the last 2,000 years. Missionaries at the heart of the Western experience is the missionaries to translate into the Gospel. And this is really the epitome of it. As I said, languages that I swear to you, none of us, I mean, none of us have really ever heard of, and which are sometimes subtyped, sometimes they are subtyping the film, sometimes they are dubbing the film. But they are always a kind of a linguistic supplement along the lines that we have just seen. See some years in this list of some of the languages. And even since I uploaded this 3 days ago, there are already 3 or 4 more languages. So you have exactly the configuration that you saw with the BBC in Iraq where an image is superimposed and interpreted in a particular language in the service and then what policy is the question that is raised. Okay, so once I think this notion of translation not only being pervasive, completely determined and deeply political and only present has been made, I don't think it's really that hard to make ultimately, then we can start looking at individual cases. And the example I'm going to be using here, which I sometimes use in class as well, so the work of translation itself is that I basically look at the textual edition of translation of films. And this is something that's only possible, that didn't used to be possible in film of celluloid. Now, of course, films appear in a very huge right to a different, what we would have to call, editions. So you can find DVD, even if you go to a local public university library, you can find 3 or 4 editions of different DVDs with different subtitles. And then we can start doing the kind of work of comparison that you can simply, you can set up 2 monitors and be looking at 2 different versions of the same film with different subtitles or different forms of translation, subtitled, dubbed, etc. But for the purposes of this presentation, I'm not talking, I mean, I do teach a course on history of translation in cinema, and I also do teach a course on translation in new media, so where language is dissolved in this digital and in technological environment. So far from apologizing to using technology, in fact, I think that it is the very medium in which translation, which translation we have, it's in the world. It just happens to be a good example because it's a film that's extremely popular with my students, it's called Let the Right One In, Swedish teams from horror films, it's really actually a terrific film, which it so happens to just type in compared to subtitled translation, you will find there's this great site in which somebody is going in and look and basically pull, pull frame enlargements and compare the original release version, which was a theatrical release version in Europe, especially, and then the American DVD translation. So if you just see, you can just glimpse a little bit, next door, where do you live, how do you know where I live, the American version is much more abbreviated, much more compact. You have other, so here's a little snippet, which is kind of good, you can see. The original release version says forgive me and the American release version says sorry. And then, because this is a website that's about comparison, film comparison, and there's a lot of websites like these, they actually go on and do a kind of a wide verbal riff on what it means to, what the difference is between saying forgive me and I'm sorry, I'm sorry. And then this website actually also has links to a place where you can just do a full comparison of the two subtitles. Oh, this happens to be, you know, it's called, this one is, you can just type in comparison trans subtitles, let the right one in, I'd rather not, I can do it afterward, but it's really, it's just Google stuff, you know, it's really nothing, especially magical about any of this. But what is particularly interesting about this one film is that of course, then we come to the ultimate form of trans-media translation that is the remake. And then you have to ask ourselves, why is it that American cinema has been, has completely absorbed remakes, and it's made, built a history of, its history is full of replete remakes, which is a form of extreme translation, you might say. So what is it that makes, let the right one in, regardless of which kind of subtitles you're using, not acceptable to an American audience, why do we have to go to remake it, right? And so this happens to be just a particularly interesting little website, which thinks that's actually the work of comparison itself. But again, this is one among many. And I'm going to play just this 30 minute comparison, again with the voiceover, to the serving and bearing element of the work of comparison. But I will show it to you just because it features an additional element, which is really, which raises additional questions about the status of translation and the legal status of translation as intellectual property and the control over translation. So. So. So. So. So. So the website itself was doing the work of comparison, I'll let you find for a very, very long way. But because the two films have completely different status in terms of intellectual property, one is available regularly for everybody to see and the other one is available regularly for everybody to see, and the other one is available regularly for everybody to see. And somebody, whoever those two people are who are doing the commenting, may pay out of it and essentially further highlight the uncertainty of the possibility of comparison and the different legal status of those two films. These are the, at least in the camera, so immediately on the platform, on the legal platform. So a lot of us don't need to talk about the differences. Actually, if one sits and has a patient, so sitting through 25 minutes, you can sort of discern the American version, which is otherwise not available. And in fact, even our universal language hasn't had it, but it could be, I'm sure it can be available somehow. But you could discern, you could certainly listen to the commentary and that, in and of itself, you could certainly listen to the commentary and that, in and of itself, is a perfectly good clause of passage. Does it, I think I'm going down, I just want to say, I think this is a way in which students who really don't have the traditional curiosity can be, as a protractor of the terminal threshold and many students since who have gradually become, you know, popular with bottom films because this is really great since I spread it. That all I consider I can have trying something. Thank you so much, Natasha. And we'll open up the floor to what I'm sure will be a rich discussion. Yes. Thank you all so much. Absolutely lovely. I know a lot of people live in room including myself for taking away so we can develop our own courses for our own students, so these are really helpful to me. In situations like this, I have a lot of questions that are really helpful to me. In situations like this, I always find myself struggling to think about English as the lingua franca in these classes and to what extent do the classes that talk about translating work or even with practical workshop component reestablish the centrality of English as the mode in which we talk about important things. And so what I'm wondering is are there ways that you've developed in the classroom setting or in other settings related to it where non-English language has actually become part of the productive process or part of the critical process? That's my question. I could respond to that just briefly. First of all, thanks for asking that. What a great question. One of my colleagues who is a Spanish prof has developed a Spanish translation minor at my school and his students translate from various things into Spanish. And so he has... We have students who are actually majoring in Spanish or wish to have a minor in Spanish. He's addressed that issue and I think it's been successful so far because we have a 44, almost 45% Hispanic or Latino student population. But it occurs to me that there would be ways that I could work with him that we could do, you know, we could experiment. But I don't know. I just want to mention it. The one? Secret. Secret. Secret. Secret. Secret. Secret. And we see that all 12 urges of the Kermis Code in and out of the military there is no stability, right? And mistakes, what we would call a mistake, or choices, especially in the lyric form, you know, just put everything back on the table. So that's an easy way, activating a lot of fun to show that English doesn't know anything about whatever they were doing in a sort of light-hearted way, but it brings all the questions about ownership really to the core of the game, right? Well, another exercise that we do to get students working along language, and I don't know if this is exactly what you're speaking, but at least trying to get students to talk outside of their language is when we try to exercise and call the page to the methods. I don't know, some of you know the heavier and bubble-on scheme and call the question, cannon, the Kutran, the Russian cannon, and even as they kind of dominated that market in the last 10, 15 years, more recently they've done a lot of controversy about their method and more than written about them, it turns out that she's a native speaker, it turns out that her husband, who does the actual, sort of final translation that's published, apparently his Russian is a Russian language, right? And when they describe their method, she basically does a trot and then hands it to him and then he kind of turns it into nice English. So we would pair students up as an exercise where you'd have someone from Arabic and then Chinese or the person in Arabic and sort of do a trot and the person who doesn't know the Arabic has to somehow be nice in English. So I mean, it doesn't get English out of the way here, at least getting students working across languages a little bit more, not just in English. That's great. I've said that because we have access to these 30-some writers every fall in the International Writing Program, we really make a point out of getting the two, to read out loud. So no translation workshop ever starts, so we do a translation workshop in which sometimes you find a good match, you find the Mongolian, the graduate student who does Mongolian but who can translate for the Mongolian poet, but sometimes not and so sometimes it's a paired translation but it's always centered on the performance of the poem in, and then the author coming in and saying, this is what I most care about in terms of my style, et cetera, but that's a privilege of having the author there. That's certainly the sound of the language alone, which is one of the reasons why I'm so attached to it, it's because even without having it, the acoustic quality and the immersion and the encounter with the difference itself, I think is sometimes a bit of a shock because the media so easily isolates us from that. When we do our workshop part that was, we always have students read the session and their source language before we move to their application. Yeah, yeah. In power, but also students. Yeah, that you don't have to be speaking in an accent. Thank you. Other questions, yeah. Are you so aware of the text, the critical text that you use? Mm-hmm. Well, the one that I mentioned by Jose Ortega-Igas said, is actually included in the book that you use, right? In the theories of translation. Theories of translation, so that was another text I was considering at one point. So theories of translation edited by Rainer Schulte and John... Bigonet. Bigonet. The one I'm using is the translation studies reader edited by Lorenz Benuti, published by Rutledge. Again, it has some of the major texts in translation theory, as well as some recent examples of translation scholarship as well. So it's a wonderful, kind of chronologically arranged anthology with prefaces, with a lot of introductory information provided by the editor himself. So I recommend that textbook, especially for the class that I'm, at least I'm teaching, which I described, and which does play so much emphasis on the history and even theory. In a more workshop or in the class, I'm not sure if that would be the ideal text necessarily. It depends on the amount of the history or theory you want to bring in. But I wonder if there are any other texts out there that people can recommend? Yeah. It was a book that I speak eight stages for translating a poem. And it's wonderful because it takes you through first to thinking about sound, thinking about tone, thinking about diction. And he uses translating a real poem as an example. But it's really great because you can have the students take one text and go through all the stages. But you can also ask them what stages is he missing? What would you add to this? And I recommend that you have really, really good results, especially at the beginning of the semester, for students who want to just translate literally in half a second. And it's also fun to criticize it. That, yeah, I borrowed Jennifer has been generous enough to pass that on. I use it almost always in a translation workshop because it gives people vocabulary for describing, breaking down the process. Another text I was interested in, and I use some sections from it, is actually David Bellows's Is That a Fish in Your Air. Yeah, me too. Yeah, very, very accessible, as opposed to the Venuti material, which can be kind of, you know, altervenium in it. And it can be, you know, come across as a little, you know, dance for students. But David Bellows writes wonderfully about some of the same issues. There's a wonderful chapter there on the history of machine translation, for example, which in my class we discussed, and we actually looked at Google Translate. We all tried to learn how it works. But, you know, we used it in class. We did all kinds of interesting exercises. But not before we had read that chapter on Google Translate in Bellows's book, providing some of the historical background on machine translation and what Google Translate is all about. It's fine. How that works as an industry, so that they can then choose some of these other literary methodologies instead. Because Tim gives, he has a really light-hearted approach, I think, to issues of localization and translation. And he gives really nice examples that students hear a lot. And I want to add to this that we've been teaching in our course on globalization, translation and globalization. We have been using Michael Cronin's work a lot. And Cronin is one of those people who has a new book every year. So whatever is hot right now, there'll be a very thin and very expensive book by Roudledge published on it. But that should detract from its usefulness and it's extremely teachable. So in particular, Michael Cronin's translation in the digital era, I think it's called, the most recent one. So Cronin, C-R-O-N-I-N. And he's originally a medievalist and it really informs his approach. But it's extremely knowledgeable and he has sections on technology. And he doesn't have like Bellos, who's really a literary translator and who wrestles with the problem of translation as a kind of an agonist-y relationship to make machine translation. Cronin really thinks about translation as a kind of a sociological labor and economic fact of history, period. And so he is much less, he is much less of this kind of a fraud relationship. Everything's translational for him and he's very methodical about it. So it's really terrific book and very, very helpful, especially for technologies of translation. Other questions or suggested texts? Oh, sure. Should we pass it around to... Well, you know, I think that's what supposedly the new author website is going to be doing, teaching you translation resources. So maybe under that aegis, that could be a subcategory or something. Well, I wanna just say thank you to my fellow panelists. I mean, I volunteered for this panel mostly to learn something because I feel like there's so much I don't know. So this is great for me. Thank you very much. And thank you to you all for your suggestions and enjoy the remaining two events at our conference. Take care and safe travels to wherever you're going next.


se but it's not quite this time, there are other opportunities though, we do have another mega box loaded up right now for another chance to win a mystery crate spot, but after eight only one very happy person and that's going to be Chad Cromwell, Chad congrats to you, we'll see you in that mystery crate jaspeasecasebreaks.com, bye bye, all right congrats, oh wow, hi everyone Joe for jaspeasecasebreaks.com coming at you with another four box break of 2022-23 Bowman University Chrome basketball, random letter break number 23, we're going to go by the first letter of their first name, 22, 23 and 24 are from the same case, so this is the middle third of the case, the final third loaded up right now jaspeasecasebreaks.com, big thanks to this group for making it happen, we only sold 13 spots outright, we're going to randomize those 13 names top four, we'll get extra spots after eight, five and a three, four, two, three, four, five, six, seven and eighth in final time, we've got Jeff Tristan Michael Tristan, congrats, little bonus little buy one get one for you, those rooftops will let you differentiate your full spots from the winning spots, all letters, those are all the letters right there, some combo letters and let's roll it and randomize it four or two, six times for names and letters, there's a ton of people outside the Vegas Golden Knights arena, four or two, six times, T down M, I wonder how often the NBA finals and the NHL finals conclude on back to back nights, all right, Benjamin with T, Tristan EG, LHWZ, Michael with F, Tristan with S, Jeff with V, you also have D, Tristan with P, Michael NO, Robert A, Tristan C, Michael J, Tristan R, Jeff B, Travis K, and Michael with the letter M, all right, we're going to pause the video just for a moment when we come back, we're going to see if there's any trades, then we'll have the break, stick around, Jason and I looked it up, the guy who handles the Stanley Cup I think is, makes like $400,000 a year just to make sure, just to take care of the cup, I guess it's like value, it's like guarding artwork at some point, all right, excuse me, welcome back everybody, we got no deals done, not a shocker here on a Tuesday, it's for random letter break 23, so that list remains the same, one, two, three for the left side, right, and then four, five, six for the right side will select which four boxes we're going to do, and it's going to be four, one, two, three, four, five, six, these are the final four boxes of the case, it's already up, jaspyscasebreaks.com, jaspyscasebreaks.com, all right, good luck, a lot of people out there in the, that's cool, some cool scenes outside the T-Mobile Arena in Vegas, and Jonathan M. Marcia Salt, he's your 2023 consmyth trophy winner, the best player in the Stanley Cup playoffs, that's a cool trophy, they don't want him to skate around with it, he's about to run off with it, hockey does have some of the coolest trophies in, in sports, there it is, good luck everybody, we got JJ Starling, 119 out of 199, Blue Ray Wave going to Michael in the letter J, and we've got Mattis Bezellis, purple to 399, that's for Michael in the letter M, purple shimmer, which are not numbered but of course all card ship, and Chris Murray is our first autograph, that's Travis with the letter K, Chris with the K, and then we got a Jordan Hawkins autograph, Ray Wave Otto for Michael in the letter J, 59 out of 199, and a big kahuna, Brandon Miller, these are a relatively short printed, they're not taking the autograph too, it's gonna go to letter B, that's for Jeff, all right one box down, a few more to go, what a cool trophy with Stanley Cup, like the tradition everyone gets a day with the Cup, that's pretty cool too, how many players have have broken the, broken the Cup, I don't know Jason and I are actually just talking about that, I don't think it's actually been broken, at least not in my memory, it has been damaged but not broken, like the, I don't know if there's ever been a story where like the the bowl of the Cup has been snapped off or anything like that but there's been dents for sure, dropped many a time, wonder how many have drank out of it, probably every single person that has had a day with the Cup because you got a day with the Cup, every single person has probably have had some sort of, or maybe during the celebrations at least, have had a beverage out of there, there's Nick Smith Jr, right in the locker room yeah definitely in the locker room, everyone will, 246 out of 4 at 99, that's a Nick Smith Jr going to Michael in the letter N, kind of weird seeing Jonathan quick lift the Cup, in a different uniform, it's Caitlin Clark going to Tristan and we got Jaden Shoot, 122 out of 199, blue for the Blue Devils, going to the letter J Michael, Ravel tweeted a photo of a bill the Bruins had at a club when they won in 2011, was like 156,000, in Boston, was it in Boston, it was in Boston, I would, in Vegas, well you can get in a lot of trouble in Vegas, you would think they have some place reserved already, Jason right, like some travel coordinator, whoever on the team was just like alright, we're not going to talk about it but, oh he's a nice prime signature, Adam Flagler, they probably rented out some some place already, so many places in Vegas to celebrate, here's 2 out of 50, I mean who are there, are they hotel partners with somebody, maybe maybe Bet MGM or something like that, is a sponsor, we got to start looking at sponsors, then we got to start looking at proximity to the T-Mobile arena, which is near Mandalay Bay, I want to say, right, so they can just, no sorry that's, they're north of Mandalay Bay, they're closer to, well to Park MGM and New York, New York, that's where they are, I mean they could go to like, they could like rent out the pool area at ARIA, that'd be kind of cool, if you just rent out the entire pool area for ARIA and just say, we're just going to take, take this over, run up the bar tab, I don't know what, I don't know what the popular clubs are in Vegas but, I mean they could all just show up at this club and just go nuts, there's Jalen Bridges to $2.99, that's something to look out for Jason on social media to see which club or which party they end up in Vegas, someone's gonna have like the cup at a club, wherever the team decides to go, I mean I guess it's a Tuesday night, how many people are, I mean it is Vegas, I don't know how many club nights are happening on a Tuesday night, it is Vegas, there's got to be something, a tab would be higher if they were, if they won this on a Friday or Saturday, how much does that weigh? The cup, the Stanley cup, like 30 pounds maybe, 25, 30 pounds, here's Armando Bacot going to Robert in the letter A, we've got a Drew Timmy, nice, purple mini-diamonds 23, 27 out of 3, 99, Jeff with the letter D, here is Jarris Walker, 90 out of 100, it's a cool shot, Michael in the letter J, and another Armando Bacot autograph in here for letter A, Robert, 12 out of 4, 99, the other one was not numbered, this one's a refractor autograph, and another Caitlyn Clark, she's pretty good, I've heard of her, she's good at basketball, that's going to go to Tristan, I think all the players have lifted the cup, all the coaches have lifted the cup, now I can, good job Vegas, let's go to some Dodger baseball here, they are hosting the Chicago White Sox, Tony Gonslin on the mound, I've got an opera singer on this Toyota commercial, an In-N-Out commercial, man that looks good, I have an In-N-Out in a minute or two, I deserve an In-N-Out burger this weekend, let me treat myself, all right fourth and final box, good luck, we've got a Trey White, I don't know why Trey White slipped around, maybe it was something especial, let's leave it just in case, all right Dodgers up for nothing, bottom of the fifth, top of the fifth, we got Kallel Ware, letter K, Travis, refractor autograph, 64 out of 4, 99, you've got G.G. Jackson, 77 out of 199, I say Gary Greg, Gary Greg Jackson, G.G. going to Tristan, good game Jackson, and Brandon Murray is your final autograph, that is for Jeff and the letter B, and now my friends, is that, that was a four box break of 2022-23, Bowman University, Chrome basketball, random letter break number 23, I'm Joe for jaspeaskatesbrakes.com and I will see you next time for the next one, bye bye. Cubs are up eighth, who are the Cubs playing tonight? Rex, when is Justin Steele coming back? I need him for my fantasy scene, come on Rex, you're supposed to be my, my Cubs correspondent, scores I can look up, but I want, I want that next level information, is Ballinger still not back, I feel like he's been, he's been out for like a month or two maybe, feels like two months, all right Logan gets a spot in the Mystery Crate filler, okay that's good, so maybe he's on his way back soon, all right Mark picks up a spot in Bowman Inception, it's also University Break, and gets the first spot in the next Chrome University Break, Michael gets three in the Bowman University Chrome Break, that's all I got for now, but jaspeaskatesbrakes.com, get in there, grab some spots, we can shout out some orders and then we'll see, we'll see what we can do, so get in on it boys and girls, and Ballinger, okay so he's gonna make some rehab starts, nice, good, good for Ballinger, even better for Justin Steele, need him back on my fantasy team, how do they determine what you feel like they go to like, why I don't know, that, that I actually have no idea, like I don't know, maybe sometimes I think it just varies, sometimes it's just, it's based off of like travel, like where it's easier to, for this person to get some starts, and then get back on a plane and go join the big club, sometimes that's it, sometimes it's the quality of pitching there or something like that, I mean, I don't know if there's like a, could it be arbitrary, could it be more to do with, oh maybe the Cubs are promoting someone from low A to AA or from A to AA or something like that and you know, they need an extra player, Ballinger fills in for a few days for some rehab starts or something like that, could vary, you know, I think they sent Alec Minoa, Toronto Blue Jays sent the struggling Alec Minoa to like single A, you know, so which is you know, sort of a lot of younger players, super low stress environment, you know, blah, blah, blah, blah, I mean that, that might be it, but I think at the minor league level, you're not going to have too much, you know, differentiation between trainers and coaches for specific injuries, but it's possible, you know, they might be like, oh here's a coach that is familiar with like hamstring injuries and knows how to kind of utilize those players, but that really wouldn't make sense because you know, if you're, if you're getting a rehab start, I mean, you're going to be playing, you're expected that you're going to be playing at 100% level anyway, so it's really nothing to baby with that. I think the big club would be, would be instructing those coaches anyway, they'll be like, hey, here's so-and-so, he's got a quad issue or whatever, you know, we only want him to do two at bats a game and then take him out of the field, blah, blah, blah, blah, you know, so I think those instructions come from the top, but yeah, as for why they go to like single A or double A or triple A or whatever for any rehab start, I don't know, my feeling is that the answer is probably more boring than what you think, like I wouldn't be surprised if it was just more, if it was more like administrative than anything or like, oh, well, there was a roster spot open there, so that's where he is. This team, this team was at home, so it was a lot easier. He, this person wouldn't, like Belanger wouldn't have to be on the road with a minor league team or something like that. Ian Hap is injured? How did he get injured? All right, gang, so we got about two hours left in the show, which is a lot of time, do a lot of things, if you'd like. So let's just kind of quickly run through what we could do. Now, we could knock out another filler for that mystery crate. That would go a long way to help filling that mystery crate at some point this week. We are a little far away from that bowman, but that bowman jumbo is on sale. That's an hour-long break, a little over an hour, but if we get that full in the next 30, 40 minutes, we can do that for sure. That could be a lot of fun. The immaculate random number block, immaculate basketball random number. It's a full case random number block break. Now we're planning on five full spots and one filler, and a few fillers for it. Maybe we can knock out a filler for that break. Bowman University random letter. Bowman University inception is down to six. Bowman University chrome is down to nine. Bowman University, Bowman's best university football is down to six. We can keep getting that collar, keep getting our collage on. Let's, Jason will be going live at noon tomorrow, noon LA time, three o'clock east coast time. Why don't we, why don't we hit the ground running? Someone grab the cardinal, someone grab the Broncos, and that could be the first break that Jason does tomorrow, which probably accounts for why, I know a lot of people have money tied up in those select football breaks, but probably accounts for why it's a little on the quieter side now. But hey, if you're waiting for tomorrow, you might as well lock in your teams now. And of course, Star Wars would be a lot of fun. I'm a Star Wars fan. We can talk Star Wars, we can rip open Star Wars. It could excuse for us to talk a little Star Wars. All of that's on Jaspy's casebreaks.com, so show time ticking pretty quickly. Not a lot of orders coming in here, but I think we only had like, what, a few orders in the last 45 minutes. But we can always reignite a little momentum right now and get things going. So let's get things going. Jaspy's casebreaks.com. Thanks everybody. All right, Anthony looking ahead to tomorrow gets the chiefs in select two. Anybody want to finish off select one? That way Jason could just hit the ground running tomorrow when he come pops in a little bit earlier. Noon Pacific, 3 p.m. Eastern. Cardinals and Broncos left. A couple relatively inexpensive teams might stumble into some hits, maybe get a wax party spot. Who knows? But we can make that the first break of tomorrow. It's a brand new release. Select football. That's a popular one. A lot of those breaks close to single digits. We did add another case. So plenty of teams left there though. And Bowman University fans, we're pretty close on this. The random football one, the random player break, 24.99 a spot. We can pop open some best. It's a half case break. We can do another, we can do four boxes of the Bowman University inception or we have Bowman University Chrome, which is down to nine. So a lot of university products to pop open. I feel like that's been gaining a little traction and sort of popularity. I feel like when some of those came out, people were kind of like, all right, interesting, I guess. But it's been gaining a little more steam. Obviously, Victor when Benyama helps, you know, Kaitlyn Clarks being in there certainly helps. But I think people are kind of wrapping their heads around it. So let's get it on it, folks, jaspyscasebreaks.com. Who played that? That's why he's like, that's why they're using it. Well, what happened to him?  And she can control the weather. Well, we also went on a short pitch drive looking at the thing to break on a base pitch. Andrew Vaughn softly right there to the front in three minutes. This was your cold shot. You took less than three one-pitch into the seats.  It was a really good strike. Driven to my center. He's been, uh, balling and, you know, it's not true. Don't think Dodgers, they're not done. Jason Hayward in the playoffs about today because Max Muncie did my hair string like this. You know, with the ball in play, little car roll in eyes, might have to hold. Nice little sinker. Damn, I don't know what you think. I'm just going to try to just have it. Great swing. Oh, something about to hit a sack there. We want to be safe behind the wall. Great backstip. Well, we've been holding you on a really serious thing. We can't, I'm not really serious. We'll bring you in. I'm not sure if we can. We'll bring you in. Black box. And you fix one. That's the big deal for James out there in the shower. Oh, yeah. Yeah, the shake's pretty old. How's that work? And it's not like big. Are you getting used to it? It's not like it's not like the outspent anymore. I mean, it's like the line best we've seen. We had a good expansion draft. And the fix is about to play the handle.  And I'll bring you which is here. Well, the integral is like, we'll make a play. And we'll make a set of things that are going to play the whole way. So it's done with that next. Next group is the last group. So we'll play it. Yeah. That's good. We need to pull it in. We're ready. Yeah. Easy. All right. Ryan Redman looking ahead to tomorrow and tonight gets a few spots in that Bowman Best University half case break. That's all football. So now there's three spots left. That could be a great break to do tonight, which will probably end up being the last break of the night. And anyone that want to get last spot mojo for a select, so I can add it to the schedule for tomorrow. Remember, we don't even have these now. But if someone gets the Broncos, Jason will have a break to start as soon as he gets in and gets settled in, he'll be ready to go. So Denver Broncos left. And then where is that football? And then three left in that Bowman's Best University. So we did a Best University. Looks like probably about, what, 40 minute breaks? So half a case. So it took me, so yeah, about 25, 30 minutes. So if we get this done now, we still have time to do another break. And Ryan also goes with inception as well, Bowman University. We can do both of those, if you'd like. That'd be a nice way to end the night. So get in on it, jaskyscasebreaks.com. Let's go. Inceptions even faster than Best by far. That Bowman Inception University is. All right, nice. So that's sold out. Let me go look for that inception though. So we have a race set. We have a race on the page. Let's go. So we have a date. So we have a race set. So we have a lot of guys. So we're getting the drink water. So we have all of these tables. So we have some pretty good guys out there. So you understand me? I'm gonna say, yeah, the approach. So we're gonna have a race. So I was in five days. So we'll be back after four to seven. It was six, seven years from us. Yeah, maybe a little bit. But it's so insane. Yeah, yeah. All right. I found that Bowman Inception. So if we want to finish it, polish that off too. We can do that tonight. Hi, everyone. Joe for Jasper's Case Breaks.com. Coming at you with a 2023 Bowman's Best University football break. Four box, half of a case. Random player break number one. So we've got a nice player look. So we've got a nice player look. We've got a nice player look. So we've got a nice player look. So we've got a nice player list right here. And there's all other players not on list spot. I think that'll also include, like, Bryce Young and CJ Stroud as well. Because I think there's not actually not very many. That's why they're not their own category or their own spot. Because I think Bryce Young and CJ Stroud are only on these multi-autos and they don't have base autos or anything like that. So there's not a lot of them. But there are a lot of familiar names right here, though. Big thanks to this group right here. So it's only... So you can see right here, when I highlight the list of players, you can see the count 75 right there. There's only 75 items on the list, and we only sold 25 spots. And you can see that count number right there as well.  So in this fresh list right here, there's one, two, and three. So you'll see Greg's last spot mojo star. One, two, and three times. And I already had the list of players in here as well. Now let's roll it. I'll put all the results in the first tab. Let's roll it and randomize it six and a four. Ten times for names and players. One, two, three, four, five, six, seven, eight, nine. Got Ryan down to Ben. And then six and a four. Ten times for the players. One, two, three, four, five, six, seven, eight, nine, and 10th and final time. After 10, we've got KJ Jefferson down to Mason Smith. All right, I'm not going to read off all these names. I preserve my voice here, but I'm going to show you the list as is, and then I'll alphabetize by your first name so you can see all your players grouped together. So there's the first chunk of the list. There's the next part of the list. There we go. And now, yeah, Greg, with all the other players not on list spot as well. Let's sort by, call them A, alphabetically by your first name. And so, Ben, they're your teams. Bryce, Eddie, Greg, Jared, Jeff, Kyle, Michael, Ryan, and Tristan, and Vipple, last but not least. All right, we're going to pause the video. When we come back, we're going to see if there's any trades, and then we'll have the break. So stick around, BRB. The chat's been pretty quiet. I don't think I've seen anyone here for almost over an hour, but the trade window is open if you'd like. Anyone's here watching, but just sort by player again, print and rip. Let's see how it goes. Let's see how it goes. All different counts. Bryce, what's going on? When did the next NFL season box start to drop? Late summer. If we're on track. We'll probably look for like luminance. It's one of the earlier ones. Probably August, maybe? July? Maybe Origins in August? September-ish around there. Those are some of the early kind of bigger name ones. Something for that. Yeah, me too. I feel like we've seen, I guess we're getting a taste of the new draft class as well. I think for the most part, even luminance, they'll still be in their college gear, but pro team name. Origins, I think, might get closer to we might see them in their pro uniform and their pro team name on there. But some of the earlier ones will still have their college uniform, but pro team name. So, but yeah, around there. We do so much football here that it's kind of crazy, right? They're still valuable, but you kind of get sick of the old names from 2022 and you're like, all right, we need to see some new names now. I've seen these names a million times, so it's always refreshing to start seeing new names here. All right, let's unpause the video, let's roll. All right, welcome back ladies and gentlemen. No deals are done, so it seems the same. There's the first part of the list. Here's the second part of the list right here. Thanks everybody for making this happen. I'll post the second half of this. I should have done it before I started the video, but I forgot. I'll post the second half of this after this break. So, there it is. Bowman's Best University 8 box break. We're doing a half case here. I guess I didn't find the exact size of it. All right, so we've got four boxes back there. Four boxes over here. So we'll roll the die. We'll go one, two, three for those four and four, five, six for those four right here. Six, we're going to do that right side. Four, these we'll save for next time. We'll write, kind of see right there, number two right there in those boxes so we know they're from the same case. Let's see what we've got. Two autographs per master box. It's one per mini box. Oh yeah, Bryce, yeah. The Panthers are definitely going to be a popular team next year. That's why I like the draft. NFL Draft kind of represents like, you know, the next draft class and then more often than not it'll be like a completely different team that'll be super extensive. So it's always, always interesting to see that sort of stuff. And I think there's really nothing going on in the football world. You know, I mean there's a handful of players that Josh Jacobs, my Raiders haven't decided on a franchise tag or an extension. Optimistically, I'm hoping that they're working on a little extension. I guess, Odell Beckham Jr. debuting for the Ravens. And if he didn't mess up his ACL during that Super Bowl I wonder if the Odell Beckham Jr. story would have been a little different, especially for the hobby. You know, I think he's still a pretty popular player, but just needs to put together some consistent time. Here's Tua's brother. Tua-Lia, Tungova Loa 135 out of 199. Hopefully I said that right. That's fight song, Jordan Addison that Tungova Loa will go to will go to will see all other players not on list. Greg with that one. Little catch all. First spot. And our first autograph is Brant Cuthi which will go to Michael. Yeah, that was a little bit of drama, right? But then his agent said that he did show up. So I don't know what's going on. Here's Caleb Williams, something to look out for next season. And now I'm re-seeing a headline. Josh Allen taking some responsibility for Stefan Diggs drama. So what's going on here? Maybe it's just a slow news day for football. There's Jackson here. That's Speckle or Mini Diamond, not numbered. I thought it would be, but it's not. There's Anthony Richardson and then we got a Jaden Wally for 250. That's four. Goes to the All Other Players list. Anthony Richardson will go to Ryan Redman. Hopefully we'll find some numbered cards of his possibly, perhaps. And we got Julian Fleming. Julian Fleming that's going to be for Greg, one of his last spot Mojo spots. 128 out of 150. I think most of these guys are drafted. Alright, so according to Elena Getzenberg of ESPN, Buffalo build quarterback Josh Allen said a wide receiver, Stefan Diggs is absent from the first from the team's first mandatory minicamp practice Tuesday after leaving the facility early in their day comes from an issue the team is working on internally. The quarterback said that he did not think there is a personality conflict between him and Diggs, but that there are things that it could have gotten better last year. Some examples Allen gave of what the build can do to support Diggs is incorporating him, quote, a little bit better in what we're doing here and, quote, getting him the ball or getting more involved in the game plant. Allen said that is related to, quote, teamwork and has to do more, has to do with more than just football. What is that all about? Seems interesting. Yeah, but I mean but is there a personal beef between those two guys because of that? Allen said, again Allen said that is related to teamwork and has to do more with more than just football, but he placed some responsibly on himself saying there's things I could do better to help out with the process and try to get him back here and be the Buffalo build that he's meant to be. Allen goes on to say I think we're just as an organization maybe not communicating the right way with everything Allen said. So again just trying to talk and listen at the same time and hear him out. And like I said just try to move this forward as quickly and as respectfully as possible. So I guess he was there and then left and then not ended up doing the proper practice itself. The pair did speak Tuesday per Allen and the quarterback downplayed the importance of the wide receiver's absence with it being June. Yeah, true. And they're slow news day for football and there's been plenty of time before the season starts. Pass rusher Vaughn Miller also referenced that Diggs not being here for practice this time of year is quote really not that serious and both present express their love and support for the wide receiver. Steph, he's my guy Allen said. Excuse me excuse my I effing love. I'm not going to say the full thing but I effing love him. It's a family show. He's a brother of mine. This does not work what we're doing here without him. We wish he was in here today and was out here there on the field with us and that's not the case but I've got his back no matter what. And again I've got no doubt that we will figure out what's going on. I effing love him. I can't stress that enough. And the article goes on. Maybe I'll read some of it in the next box. That's interesting. What is that? Maybe there's Henry 202 to 150. That'll be for Ryan Redman. What does that sound like you guys? Yeah, I'm sure they're not happy with the early exit but I mean it's been months now that now it's time to get back to business and look forward to this season there's Kool-Aid McKinstry. Kool-Aid going to going to Greg. Another one of his last spot mojo spots is it yeah I don't know what it could be you know I'll tell you what though a lot of those vet players players that have been around the league for a lot don't like these June camps you know maybe it was just like hey can I have like a vet day off and they're like no well I'm going to take one there's Hendon Hooker. Nice that's uh that's for Vipple. 81 out of 99 I mean it is sort of a him not being there is a non-issue right I don't think anyone would have really cared if you know he never showed up. What makes it weird is how the team is talking about it seems like there's more of an issue because coach Sean McDermott was saying before practice Diggs was not present and that he was quote very concerned about the absence now Josh Allen describes the response as a typical reaction from a head coach obviously he wants everybody there the bills and Diggs's and Azia Bakari who spoke with ESPN's Adam Schefter said Diggs was in the building Monday and was present Tuesday Bakari said that Diggs took his physical met with McDermott and general manager Brandon Bean over the past two days and will be there for the entirety of minicamp for the bills Diggs left the facility before Tuesday's practice he was not present for any portion of the team's practice on the outdoor field facility they're scheduled to practice Wednesday and Thursday I mean it sounds I don't know half of it's kind of like it's a slow news week in football kind of story I guess you're right maybe coach is like I want everybody every coach wants 100% 100% participation attendance from all of his players every coach wants that maybe Diggs thought hey I don't want to twist an ankle during these sorts of things I'm going to take the old vet day off it's 29 years old but it is mandatory yeah they don't want to get docked pay but he was there why aren't they practicing I don't know what's the miscommunication all about or is Josh Allen just being a good teammate and just being a leader and just shouldering the blame even though there's nothing to blame him for there's Will Anderson to 150 that'll be for the all other spot it's going to be for Greg or maybe it's just a slow news day there's fight song Sean Clifford insert auto that's going to go to it's not on the main list that's for all other players that's going to be for Greg is that numbered yeah to 99 save that Will Leviss CJ Stroud nice that's Aqua Lava for Greg 150 out of 199 and Xavier Worthy it's going to be for you Bryce you got the Xavier Worthy spot and you get his autograph I don't follow college super closely was he drafted is he going to play another year I hope he's good Bryce is in the chat, should I look him up he's a California kid he attended Central East High School in Fresno, California originally committed to Michigan but changed to but then transferred or changed his mind and went to UT Worthy earned immediate this is according to Wikipedia Bryce Worthy earned immediate playing time as freshman year at Texas in 2021 he had a breakout freshman year in Texas breaking several freshman school records these records include receiving yards in a season with 981 and receiving touchdowns in a season with 12 these records were previously held by Roy Williams with 809 yards with 8 touchdowns in 2000 Worthy also broke the school freshman record of receiving yards in a game with 261 yards against Oklahoma wow at the conclusion of Worthy's freshman season freshman all-american by pro football focus 247 sports and FWA in 2022 a little bit of a drop off had almost the same amount of receptions 60 versus 62 his freshman year receiving yards down to 760 his average down 12.7 and TDs down to 9 entirely his fault though maybe Bryce is saying he is very good viewers just need to be better but I'm a TCU guy so Texas is just wow makes it easier for you to sell it and move on you won't have any sentimental attachment to it alright so he's probably has another season or two in college will probably get drafted so what's his uh yeah he's a 61 160 receiver that's pretty solid it's a little more it's a little extra meat on that bones 160 at 61 I guess it's alright there you go you have some friends who are UT alum so yeah you will pester them over hey future wide receiver one in the NFL Will Rogers die cut Caleb Williams for Gregg it's another guy who can get a high draft position next year Anthony Richardson for Ryan and the Tavon Thomas uh mini diamonds is going to be to 299 uh Tavion Thomas that is it's going to go to you Jeff Jeff Henn with that nice Jalen Carter and Jordan Travis is your autograph that'll be for Jeff we got Tanner Morgan to 250 that's going to be for the all others spot in the last little bit of stuff here should we should we save it Aiden O'Connell there's a Bryce Young Aiden O'Connell for my Raiders I don't know what's going on with my Raiders Jimmy G got foot surgery after he was signed and here's uh Keshon Boot for uh for Vipple so if that foot doesn't recover in time by pre season camp you know for pre-season activities you're either looking at Aiden O'Connell or I forget Hoyer I think might be the other guy in the quarterback room so that could be pretty hilarious Josh McDaniel says he's not worried but he's contractually obligated to say that there's a Bryce Young that's going to go to the all other players list alright there you go nice quick little break some solid stuff here not bad at all there's no wax party attached to this but this is a fun break second half will be in the store check it out jaspyscasebrakes.com I mean should they I mean yeah I mean why not might as well I mean I I don't think I think there if there's a healthy Jimmy Garoppolo I think that offense will be fun to watch you know I'm not terribly concerned about that but but that defense is just not good I mean so why not just tank this season I mean I mean as a competitor I'm not a big fan of tanking but I mean maybe that'll just be it'll just solve itself you know what I mean yeah the division's brutal right and wild cards brutal so maybe it'll just work itself out Bryce and maybe they should just end up tanking if they have to because they still need another I think you know they had a good I think they had a pretty solid draft this year you know but what the problem is the Raiders have had so many years of not solid draft is that their depth is just terrible you just need years of good drafts because you still need it's one thing to have superstars right but you still need the second and third string offensive linemen that you can kind of rotate in and out to keep your number one guys healthy that sort of stuff Raiders haven't been doing that you know and and I mean I don't so like they're so if like one of their cornerbacks or one of their linebackers they get hurt and they have last season then it was just then it was just an S show because there was nobody else to back them up and then obviously their salary cap stuff so now you can't just buy players you know to fill in those holes and create depth that's what drafts are for us we have seven rounds of drafts plus compensatory rounds plus all that sort of stuff you know plus signing undrafted guys and all none of none of those guys like good teams are able to kind of build a little depth that way so when you practice squad guys you still need blah blah blah blah you know so they didn't have any of that right and yeah Mayox gone and I don't even know if Gruden was really making very good picks either there's mixed feelings about Raider Nation about that but that was like three or four years of just wasted time you know and so like what do you do I mean Joss McDaniel may not be ideal but he's the one that wants to be here I guess and so he you know decided hey I'll uh I'm down to be he's getting paid a lot but he's like hey I'm here I'm willing to be here I want to be coaching the Raiders I mean so there has to be a bit of a leash you know I think that has to it has to be there so why not just kind of unintentionally intentionally tank and then you know try to get a Caleb willing or draft up try to get a Caleb Williams I mean that could be like that franchise quarterback by then there's like two or three years of just being able to draft and get defend to get players and get this and get that blah blah blah blah that's why also at this point then you got to start thinking well I know you got to put butts in seats but why is Davante Adams even there and I love Davante Adams but why is he even there you know why is Hunter Renfrow even there you know why is you know so you kind of kind of get to thinking that so like in my head I'm just like you know there could be a franchise tight end in uh in mayor from my mayor from Notre Dame I thought was a really solid pick pair him with a quarterback next year while you're rebuilding the defense and the offensive line then you can start piecing wide receivers and other skill position players together and you go from there it seems easy to me it's like surround LeBron James' shooters not Russell Westbrook that doesn't fit as much as I love Russell Westbrook you know it's like one of those sort of obvious things but alright so the next uh the next bowman you is uh is up where's the football section there it is yeah I'm not terribly thrilled with Josh McDaniels either Bryce but I mean how many how many coaching changes do the Raiders need to make from year to year I don't know I mean at some point you need some sort of organizational consistency right yeah that's a tricky one I'm not sure how I feel about that because on one hand but I mean and then if not McDaniel then who go after Dorsey after you know I mean if the Raiders have like a top three pick or something like that you know or even the top pick then yeah maybe you just clean house and say hey new coach job not job one you're drafting Caleb Williams or best quarterback whoever it may be and then two that's it then you then you go start building that team in your image and likeness and go from there I don't know if it was a little really stuffy earlier yeah no worries man see us yeah Jason will be here at noon tomorrow LA time three o'clock east coast time we've got I mean by the time he gets here that select at least maybe a number of half case breaks maybe sold out already so join him early and make it happen yeah to develop his next Josh Allen I think that would be you know it's all about like windows you gotta find the right windows to make those moves and maybe it's been uh it's been frustrating being a Raiders fan that's for sure but hey I love my team and it'll hopefully it'll be all that much sweeter when uh when success finally finally goes their way well we've got about 20 solid minutes left in the show ladies and gentlemen you know it would be fun and Greg just picked up a spot in this is that four box break of inception that's that's like a 10 minute break especially if you're staying up late like it's not gonna take up too much of your time it's it's four boxes from a fresh case if that means anything for you it's more of a multi sport vibe I think it's mostly basketball but I think they mix in some football so I'll tell you what there's one two three four spots remaining in that inception break I'm gonna kind of tidy up around here do my sort of end of store activities and um you know if this sells out in the next five minutes I'll do it if not we'll call it a tiny bit earlier and reconvene tomorrow because tomorrow is going to be a real busy day that will happen tomorrow for sure if it doesn't sell it tonight and then um there'll be a lot of select we'll probably do some of that inception more Bowen University between other breaks and it'll be it'll be a fun one. Bryce did you see the NBA Flaws triple over wow that popped that's pretty awesome pretty awesome logo men we don't do as many flawless cases as some of the other guys but I feel like we were we could be due for a logo man at some point. Can't win them all we had a good run with some logo men a couple years ago alright folks I think I'm gonna call it appreciate Greg grabbing that inception spot about 35 minutes ago but there hasn't been any other actions since we're about 10 minutes out it's gonna be a busy day tomorrow I gotta do some updates on this computer too looks like wish me luck on that. Bryce thanks for hanging with me appreciate everybody hanging with me and breaking with me tonight I'll be back tomorrow well Jason Jaspy first of all will be back at noon tomorrow that um that select break I'm sure that last team will be snapped up by the time he gets in here noon Pacific 3 p.m. eastern then I'll tag in 3 p.m. Pacific 6 p.m. eastern and we'll run to about now right around now so with select tomorrow I'm sure we'll do a lot of select but I'm sure there's some other stuff we can do too you know I'm sure there'll be a lot of things that we can work on tomorrow mystery crate star wars more bowman university stuff all that sort of stuff so join us tomorrow it's gonna be a good one and it's gonna be a fun one good night Rex good night Bryce good night everybody we'll see you tomorrow join Jason at noon 12 p.m. Pacific 3