Elena Castellano-Ortolà is an associate lecturer in the Department of English and German Studies at the Universitat de València. A former postdoctoral fellow, she also collaborates regularly with the Université Bordeaux-Montaigne.

• ContentsPart 1: Cross-Disciplinary Feminisms: Towards Feminist Translator Studies 1. Introduction. Feminisms, disciplinary politics, and translation: Defying knowledge 1.1 A Feminist stance on the (re-)production of knowledge 1.2. Feminisms, disciplinary politics and translation 1.3. A feminist, agency-driven view on translation (history) 2. Feminist Translator Studies: A Cross-Disciplinary Hub 2.1. Feminist Translator Studies: Agency, discursiveness2.2. Towards Feminist Translator Studies 2.3. Critical Discourse Methodologies for Feminist Translator History: Feminist Translation as a Form of FCDA 3. Telling the narrator’s tale: The legacy of Barbara Godard’s agency 3.1. The narrator 3.2. The talePart 2: A Feminist Translator's Portrait: Barbara Godard's agency at the crossroads of literature in Canada 4. Arrival at York University: In the chinks of the Canada Council machine 4.1. Establishment? A point of departure 4.2. "English-Canada's New Wild West": Québec's Rebellious Literary Search for Identity4.3. Intercultural Canada? The Literary Translators Association (LTAC) 4.4. Stagnation? 4.5. Arrival at York University: The Canada Council Years4.6. Godard's Tale of Don L'Orignal (1978): Channeling Maillet's Roman Acadien5. Breaking into academia: The golden age of Canadian-feminist translation 5.1. “Roman national or récit féminin?”: The reception of a literary (Feminist) Québécois Identity 5.2. Feminist Criticism as the first truly transnational Canadian dialogue 5.3. The Golden Age of Canadian-Feminist Translators 5.4. L'amèr (1977) and These Our Mothers (1984): Godard's First Approximation to Brossard's Fiction Theory6. Passing on The Mission: New Questionings 6.1. Self-Criticism: The emergence of Canadian (Literary) Translation Studies 6.2. Collaboration, Polyphony: Translation becomes self-conscious feminist activism 6.3. Loose ends6.4. Overture: The Last Academic Voices of Canadian-Feminist Translation 6.5. "Je déparle yes I unspeak": A collaborative translation of Lola Lemire Tostevin's bilingual feminist poetry (1989) Part 3: Future directions 7. Feminisms, Nation, Translation: Barbara Godard's Periplum and the fate of Canadian Feminist Translation Studies 7.1. Decline of the Canadian dream 7.2. Divergence in the CanLit ranks: (Im-)Possibilities of the Woman/Nation Binomial 8. Un-Charting The future of the dialogue between translators and feminisms 8.1. Prospects: Disciplinary politics and (Translative) Feminisms Index