The editors would like to thank the many people who have been involved in this Handbook, and in particular Louisa Semlyen, Hannah Rowe and Eleni Steck at Routledge, the advisory board Professor Mona Baker, Professor Lorraine Leeson and Professor Maria Sidiropoulou, and reviewers. Special thanks also to all of the contributors for their engagement with the project and patience in the editing and production phases.
Permission to quote has been granted by the following copyright holders:
Keith Allan, for an excerpt from the 2007 article “The pragmatics of connotation” in Journal of Pragmatics 39: 1047.
Nuria Amat, for the first two lines from the poem Duelo, by permission from Editorial Losada.
Margarita Ardanaz, for the first stanza of her translation of the Emily Dickinson poem “Because I Could Not Stop for Death – Porque a la Muerte yo esperar no pude”, and two lines from “She Bore It Till the Simple Veins –¿Quién sino de ella tímida – inmortal cara/ De quien hablamos en voz baja ahora” and two extracts from the Introduction.
Xosé María Álvarez Cáccamo for the first six lines from the poem “Todos te pretendían”, and for the translation “They All Pretended You” by Keith Payne. Daniel Salgado for the poem “Que non se mire máis a si propia”, and for the translation “Don’t Let It Look at Itself Any More” by Keith Payne, both from Six Galician Poets, by Arc Publications.
Francis R. Jones, for excerpts from pages 180 and 184 from the 2013 book Poetry Translating as Expert Action.
Ann Jäderlund, for the translations of a line from “Safe in Their Alabaster Chambers – Världar öser deras Bågar”, a line from “After Great Pain – Likt människor som Fryser, erinrar sig Snön- Först kyla – sen Dvala – sen det släppta taget”, and for two sentences from the afterword in her Selection and Translation of Poems by Emily Dickinson: Gång på gång är skogarna rosa.
Xohana Torres for the poem “Ofelia”, and the translations by Celia de Fréine and Carys Evans-Corrales, first published in Metamorphoses, the journal of the five college faculty seminar on literary translation, Northampton, USA, Special Issue on Contemporary Galego Poetry, edited by Marta Dahlgren, by permission from the copyright holders.
Silvina Ocampo, for the translation of a poem by Emily Dickinson, “Como ojos que miran las basuras”, by kind permission from D. Ernesto Montequín, on behalf of the copyright holders.
José Siles Artés, for the translation of Donne’s “A Hymne to God the Father”, two lines of the translation “Yo estoy en pecado por miedo a exhalar”, and four lines from Auden’s “Oh What Is That Sound . . .”, for the translation “¿Ay que es ese tantán?”
The first two lines of the poem by Emily Dickinson “Because I Could Not Stop for Death”, Franklin, 1998, no. 479, and “Like Eyes that Looked on Wastes”, Franklin 693.
From “Safe in their Alabaster Chambers” Franklin 124, the line “Worlds Scoop Their Arches”. From “After Great Pain” Franklin 372, the last two lines. From “She Bore It Till the Simple Veins” Franklin 81, the last two lines.
By kind permission from the Belknap Press of Harvard University: Sabina Longhitano, for the excerpt “Prima facie, cognitive effects . . . relevant only for the interpreter” from a 2004 article in Procedia, 158: 188.
Geoffrey Leech.
Paolo Vizioli in Monteiro, G. (2008) ‘Emily Dickinson in “The land of dye-wood”’, Fragmentos 34: 99–113, for the translation of ‘Because I could not stop for Death’: ‘Nao podendo esperar pelo morrer’..
Fiona Macintosh, for the passage “Apparent mistranslations . . . Castillo interior o las moradas” in Babel AFIAL, 2005: 20–30.
Blackberry Trout Face © Laurence Wilson 2011. Excerpt reproduced by kind permission of Oberon Books Ltd.
King, P. (1943) See How They Run. Rehearsal script (2008) Royal Exchange Theatre, Manchester, p. 24. Excerpt reproduced by kind permission of Eric Glass Ltd., for the Estate of Philip King.