[1]
K. Briggs, This Little Art. London, England: Fitzcarraldo Editions, 2017 [Online]. Available: http://ebookcentral.proquest.com/lib/uea/detail.action?docID=5046656
[2]
‘“Critical-Creative Re-Writing: A Briefing” from Issue VIII/2 – Autumn 1999 – The ESSE Messenger’, The ESSE [Online]. Available: http://essenglish.org/messenger/back-issues-1990-2005/issue-viii2-autumn-1999/
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E. Loffredo, M. Perteghella, E. Loffredo, and M. Perteghella, Translation and creativity: perspectives on creative writing and translation studies. London: Continuum, 2006 [Online]. Available: https://search-ebscohost-com.uea.idm.oclc.org/login.aspx?direct=true&db=nlebk&AN=837693&site=eds-live&scope=site
[4]
S. Bassnett, P. R. Bush, and S. Bassnett, ‘“The Writer of Translations” from The translator as writer: p 23-32.’, London: Continuum, 2006 [Online]. Available: https://ebookcentral.proquest.com/lib/uea/detail.action?docID=742337
[5]
P. Nikolaou and M.-V. Kyritsi, ‘“Turning inward: Liaisons of Literary Translation and Life-Writing” from Translating selves: experience and identity between languages and literatures: p 53-70.’, London: Continuum, 2008.
[6]
J. Boase-Beier and M. Holman, The practices of literary translation: constraints and creativity. Manchester: St. Jerome, 1998.
[7]
R. Wilson and L. Gerber, Creative constraints: translation and authorship. Clayton, VIC: Monash University Publishing, 2012.
[8]
Nicholas Jose, ‘Translation Plus: On Literary Translation and Creative Writing’, The AALITRA Review, no. 10, pp. 5–17, 2015 [Online]. Available: https://www.lib.latrobe.edu.au/ojs/index.php/AALITRA/article/view/731/657
[9]
‘Translation vs. Creative Writing Workshops: Structural Differences - Words Without Borders’ [Online]. Available: http://www.wordswithoutborders.org/dispatches/article/translation-vs.-creative-writing-workshops-structural-differences
[10]
S.-A. Harding and O. Carbonell i Cortés, Eds., ‘Chapter 20: “Translation as a creative force”’, in The Routledge handbook of translation and culture, Abigndon, Oxon: Routledge, 2018 [Online]. Available: https://ebookcentral.proquest.com/lib/uea/detail.action?docID=5306310
[11]
R. K. Washbourne and B. Van Wyke, Eds., Routledge handbook of literary translation, 1st ed. London: Routledge, 2018 [Online]. Available: https://ebookcentral.proquest.com/lib/uea/detail.action?docID=5582764
[12]
K. Malmkjær, Translation and creativity. New York, NY: Routledge, 2019.
[13]
K. Malmkjær, Translation and creativity. New York, NY: Routledge, 2019.
[14]
J. Balmer, G. V. Catullus, and G. V. Catullus, Chasing Catullus: poems, translations & transgressions: p 9-10. Tarset: Bloodaxe, 2004.
[15]
J. Balmer, Piecing together the fragments: translating classical verse, creating contemporary poetry, 1st ed., vol. Classical presences. Oxford: Oxford University Press, 2013.
[16]
S. Bassnett, P. R. Bush, and S. Bassnett, The translator as writer. London: Continuum, 2006.
[17]
E. Boland, In a time of violence. Manchester: Carcanet, 1994.
[18]
D. Paterson, The eyes: a version of Antonio Machado. London: Faber, 1999.
[19]
D. Paterson and R. M. Rilke, Orpheus: a version of Rilke’s Die Sonette an Orpheus. London: Faber, 2007.
[20]
R. Barthes, ‘“From Work to Text” from The rustle of language: p 56-64.’, Berkeley: University of California Press, 1989.
[21]
C. A. Scott, Translating Apollinaire. Exeter, U.K.: University of Exeter Press, 2014.
[22]
C. Scott, Translating the perception of text: literary translation and phenomenology. London: Legenda, 2012 [Online]. Available: https://uea.idm.oclc.org/login?url=https://www.taylorfrancis.com/books/9781315084619
[23]
C. Scott, Literary translation and the rediscovery of reading. Cambridge: Cambridge University Press, 2012.
[24]
‘Clive Scott, “Free Verse and the translation of rhythm”. Thinking Verse I (2011), 67-101.’ [Online]. Available: http://thinkingverse.org/issue01/Clive%20Scott,%20Free%20Verse%20and%20the%20Translation%20of%20Rhythm.pdf
[25]
C. Scott, Translating Rimbaud’s ‘Illuminations’. Exeter: University of Exeter Press, 2006.
[26]
‘Experimenting with a Single String: Apollinaire’s “Chantre” Clive Scott in Experiments in Translation’, Norwich Papers, vol. 16 (2008) [Online]. Available: https://www.uea.ac.uk/documents/595249/1420270/NP+Volume+16.pdf/7952e8ec-db97-49e2-82c7-4f2a6396b1ed
[27]
E. Loffredo, M. Perteghella, E. Loffredo, and M. Perteghella, ‘“Translation and the Spaces of Reading” from Translation and creativity: perspectives on creative writing and translation studies: p 33-46.’, London: Continuum, 2006.
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J. L. Borges, D. A. Yates, and J. E. Irby, Labyrinths: selected stories and other writings. London: Penguin, 2000.
[29]
G. Genette, Palimpsests: literature in the second degree, vol. Stages. Lincoln: University of Nebraska Press, 1997.
[30]
S. Dillon, The palimpsest: literature, criticism, theory, vol. Continuum literary studies. London: Continuum, 2007.
[31]
S. Collins, Ed., Currently & emotion: translations. London: Test Centre Publications, 2016.
[32]
E. B. Gilman and E. B. Gilman, ‘Introduction from The curious perspective: literary and pictorial wit in the seventeenth century: p 1-15.’, New Haven: Yale University Press, 1978.
[33]
P. Brooks, Reading for the plot: design and intention in narrative. Cambridge, Mass: Harvard University Press, 1992.
[34]
C. Scott, The spoken image: photography and language. London: Reaktion, 1999 [Online]. Available: http://ebookcentral.proquest.com/lib/uea/detail.action?docID=480986
[35]
J. Burnside, Black cat bone. London: Cape Poetry, 2011.
[36]
P. Elbow, ‘“What Do We Mean When We Talk about Voice in Texts?” from Voices on voice: p 1-35.’, in Voices on Voice: Perspectives, Definitions, Inquiry, Urbana, IL: National Council of Teachers of English, 1994 [Online]. Available: https://eric.ed.gov/?id=ED375404
[37]
H. Cixous, M. Calle-Gruber, M. Calle-Gruber, and E. Prenowitz, Hélène Cixous, rootprints: memory and life writing. London: Routledge, 1997.
[38]
A. Boulter, Writing fiction: creative and critical approaches, vol. Approaches to writing. Basingstoke: Palgrave Macmillan, 2007.
[39]
C. Scott, ‘Translating the perception of text: literary translation and phenomenology: p 1 and p 14-15.’, in Translating the perception of text: literary translation and phenomenology, London: Legenda, 2012 [Online]. Available: https://uea.idm.oclc.org/login?url=https://www.taylorfrancis.com/books/9781315084619
[40]
S. Bassnett, P. R. Bush, and S. Bassnett, ‘“A Dialogue: On a Translator’s Interventions” from The translator as writer: p 9-19.’, London: Continuum, 2006 [Online]. Available: https://ebookcentral.proquest.com/lib/uea/detail.action?docID=742337
[41]
C. Maier, ‘Perspectives on translation: eggsgells, selt-translation and the encouragement of student translators (IOW no.21)’, In Other Words, vol. 21, pp. 53–61, 2003.
[42]
T. Hermans, ‘“The translator’s voice in translated narrative” - Chapter 11 in “Critical readings in translation studies”’, London: Routledge, 2010, pp. 193–212.
[43]
P. Stockwell, Cognitive poetics: an introduction. London: Routledge, 2002.
[44]
R. Pope, ‘Creativity: theory, history, practice: p 62-69.’, London: Routledge, 2005 [Online]. Available: https://ebookcentral.proquest.com/lib/uea/detail.action?docID=214782
[45]
R. Wilson and L. Gerber, Creative constraints: translation and authorship. Clayton, VIC: Monash University Publishing, 2012.
[46]
Marjorie Perloff, ‘A Humument: A Treated Victorian Novel by Tom Phillips (review)’, A Humument: A Treated Victorian Novel by Tom Phillips (review), vol. 24, no. 2, pp. 312–313, 2018 [Online]. Available: https://search.ebscohost.com/login.aspx?direct=true&db=edspmu&AN=edspmu.S1538457818200084&site=eds-live&scope=site