Relevant bibliographies by topics / French poetry, translations into english

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Academic literature on the topic 'French poetry, translations into english'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "French poetry, translations into english"

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McIlfatrick-Ksenofontov, Miriam. "Fetching Poems from Elsewhere: Ciaran Carson’s Translations of French Poetry." Interlitteraria 21, no. 1 (July 4, 2016): 51. http://dx.doi.org/10.12697/il.2016.21.1.5.

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Ciaran Carson is a renowned Northern Irish poet with a distinguished record of translating poetry from Irish, Italian and French. This article focuses on his translation practice as evidenced in his three volumes of French poetry in translation: sonnets by Baudelaire, Mallarmé and Rimbaud; prose poems by Rimbaud; and poems by Jean Follain. Guided by the music, the matter, and the linguistic and ontological going-beyond of the originals, Carson variously ‘adapts’ prose poems to a rhyming alexandrine format, makes explicit use of derivation, shifts spatio-temporal perspective, and ‘doubles’ his French translations with English originals. Carson’s approach of ‘fetching’ poems from ‘elsewhere’ is assessed in the light of Meschonnic’s poetics of translation, which would define the overarching objective as producing new poems in English which do in English what the originals do in French. The analysis of Carson’s new poems is also informed by conceptualizations of creativity and originality arising from research in cognitive science, literary studies and critical theory. Carson’s practice of working under constraints suggested by the original poems and exploiting possibilities offered by and between the two languages leads to an expressive plurality that unsettles notions of source and target language. His translation artefacts and commentaries are examined for the light they shed on originality and derivation; writing and translating; the subjectivity of the translator; and the relationship between original poem and new poem.
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Reichl, К. "TRANSLATING TURKIC ORAL EPICS INTO ENGLISH AND GERMAN: PROBLEMS AND INSIGHTS." Эпосоведение, no. 1(1) (November 29, 2017): 76–82. http://dx.doi.org/10.25587/svfu.2017.1.8093.

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It is a well-known fact that the Turkic-speaking peoples of Eurasia and Siberia possess a rich heritage of oral epic poetry. Much has been written down, and in some areas the oral tradition of epic poetry is still flourishing today. While a few of the early texts, written down in the 19th century, are available in older German translations (A. Schiefner, W. Radloff), the majority of these epics can only be accessed either in their original language or (in some cases) in Russian translation. Translations of Turkic oral epics into European languages such as English, German or French are urgently needed in order to familiarize epic scholars outside the Turkic- or Russianspeaking world with this important corpus. Translating Turkic epics into European languages poses, however, a number of problems. In the following some of these problems are identified and discussed with reference to my translations of the Uzbek oral epics Ravshan and Alpamysh into German, the Karakalpak epic Edige and the Kirghiz epic Manas both into English. ´The latter translation is still ongoing; two volumes have so far been completed. The translation problems concern basic methodological questions such as the choice between a literary and a literal translation and the strategies available to overcome differences in linguistic structure between the source languages and the target languages. An important element in translation is not only the linguistic, but also the stylistic level of the text. In addition, a translation has to pay attention to paralinguistic aspects (e.g., music and performance modes) and to the cultural world of the original. The translator is not only a mediator between languages, but also between cultures.
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Schabert, Ina. "Trading and Translating: English Literature in Rouen, 1730–56." Translation and Literature 26, no. 3 (November 2017): 273–94. http://dx.doi.org/10.3366/tal.2017.0301.

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In this period the city of Rouen is known for commercial activity and for certain literary connections, but its status as a centre of sorts for English-French translation has gone unrecognized. This paper explores the writers involved (some well known, some less familiar), the rationales for their translations (particularly from the poetry of Alexander Pope), and their relation on the one hand to the commercial life of Rouen, on the other to its Académie Royale, founded in 1744.
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Low, Graham D. "Evaluating translations of surrealist poetry." Target. International Journal of Translation Studies 14, no. 1 (December 31, 2002): 1–41. http://dx.doi.org/10.1075/target.14.1.02low.

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Evaluating translations of poetry will always be difficult. The paper focuses on the problems posed by French surrealist poetry, where the reader was held to be as important as the writer in creating interpretations, and argues that evaluations involving these poems inevitably require reader-response data. The paper explores empirically, in the context of André Breton’s “L’Union libre”, whether a modification of Think-Aloud procedure, called Note-Down, applied both to the original text and to three English translations, can contribute useful information to a traditional close reading approach. The results suggest that comparative Note-Down protocols permit simple cost-benefit analyses and allow one to track phenomena, like the persistence of an effect through the text, which might be hard to obtain by other methods.
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Orsini, Francesca. "From Eastern Love to Eastern Song: Re-translating Asian Poetry." Comparative Critical Studies 17, no. 2 (June 2020): 183–203. http://dx.doi.org/10.3366/ccs.2020.0358.

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This essay explores the loop of translations and re-translations of ‘Eastern poetry’ from Asia into Europe and back into (South) Asia at the hands of ‘Oriental translators’, translators of poetry who typically used existing translations as their original texts for their ambitious and voluminous enterprises. If ‘Eastern’ stood in all cases for a kind of exotic (in the etymological sense of ‘from the outside’) poetic exploration, for Adolphe Thalasso in French and E. Powys Mathers in English, Eastern love poetry could shade into prurient ethno-eroticism. For the Urdu poet and translator Miraji, instead, what counted in Eastern poetry was oral, rhythmic and visual richness – song.
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Lootens, Tricia. "BENGAL, BRITAIN, FRANCE: THE LOCATIONS AND TRANSLATIONS OF TORU DUTT." Victorian Literature and Culture 34, no. 2 (August 25, 2006): 573–90. http://dx.doi.org/10.1017/s1060150306051321.

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To a far greater degree than many of us have yet realized, late-nineteenth-century women's poetry may be a poetry of alien homelands: of cultural spaces, that is, in which the domestic proves alien, even as technically alien territory comes to represent some form of home. And partly for this reasosn, to explore poetry in English may require moving not only beyond Britain, but also beyond English itself. Think, for example, of Christina Rossetti, who composed poems in Italian; of Mathilde Blind, with her German accent and translation of the French edition of theJournal of Marie Bashkirtseff; of Agnes Mary Frances Robinson Darmesteter Duclaux, whose poetry preceded a long, successful career of writing in great part in and for the French; of Louisa S. Bevington Guggenberger, with her German home and husband; or, for that matter, of nineteenth-century India's first influential English-speaking woman poet, Toru Dutt. As generations of Indian critics have stressed, as early anthologizer E. C. Stedman made clear, and as certain editors of recent nineteenth-century poetry collections have also acknowledged, Dutt's writing played a suggestive role within late-century understandings of “British literature.” Indeed, even now, growing attention to her work is helping extend our conception of the geographical origins of “Victorian” poetry from Britain to Bengal. Still, if we are to develop a full exploration of Dutt's cultural presence, we may need to move further as well, connecting Indo-Anglian literature to that of France.
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Baudry, Samuel. "Foreignizing Macpherson: Translating Ossian into French after Le Tourneur and Lacaussade." Translation and Literature 22, no. 3 (November 2013): 322–42. http://dx.doi.org/10.3366/tal.2013.0126.

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This article expounds the method followed by its author to produce a new translation of James Macpherson's Ossianic poetry in French. Through a systematic comparison with earlier translations (in particular Pierre Le Tourneur's 1777 version) various levels of signification are explored, and the article discusses possible ways of recovering the original idiosyncrasy and foreignizing effect of Macpherson's putative translations: which cultural artefacts were highlighted, which were played down, how stylistic features, such as semantic uniformity, unconventional tense or punctuation usages, syntactic disjointedness or phonetic patterns were smoothed away, and how these can be transferred into a French text. The essay also suggests possible indications of the impact of Gaelic literary or linguistic sources on Macpherson's English.
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Waldinger, Albert. "Survivors : Postholocaust Yiddish Poems in Non-Jewish Language." TTR : traduction, terminologie, rédaction 14, no. 1 (July 7, 2003): 183–209. http://dx.doi.org/10.7202/000533ar.

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Abstract This article, dealing with the translation of Postholocaust Yiddish poetry into non-Jewish languages like French, English and German, must necessarily sketch in a linguistic, literary and social background to prepare the ground for the complete understanding of the special task involved in the rendering of Jewish expression. (Conversion into Hebrew presents a far different challenge, described in a related study). Discussed here are literary movements like European Expressionism and Yiddish “Introspectivism” as practiced in the United States as well as the linguistic basis of these in Yiddish speech and poetic prosody and embodied in the translations of Cynthia Ozick (English), Charles Dobzynski (French) and Gabriele Kohlbauer-Fritz (German).
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Diachenko, Nataliia, Olena Terekhovska, Nataliia Vivcharyk, Myroslava Vasylenko, and Lada Klymenko. "The Specifics of Translating Poetry. The Study of the Specifics is Based on the Material of the English and French Languages." World Journal of English Language 13, no. 6 (June 5, 2023): 332. http://dx.doi.org/10.5430/wjel.v13n6p332.

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The work of René Char remains poorly studied in Ukrainian literary criticism, and there are few translations published. In this paper, attempts were made to translate some of René Char's poems from the poetry collection "Fureur et mystère" (Rage and Mystery), which is central to his work. The analysis points out both the advantages and disadvantages of the translators' work. The intertextual connection between the poems "Allégeance" and "Allégement" is revealed and its importance for the interpretation of both texts is shown. This overlap was not shown in the translation. Ways were found to convey this connection within the poem itself, but the option of conveying it in the title was suggested. Some general difficulties that may arise during translation are identified, related to the transmission of rhythm, meter, graphics of the poem, syntax, as well as the figurative component of René Char's poetry. It has been established that the hermeticity of his poems is absolute: interpretation requires knowledge of the historical, cultural, and biographical contexts, as well as an in-depth familiarity with other poems by Char. However, the latter condition cannot be fulfilled by foreign-language readers. As we have discussed above, his works lack translations. So far, no translation of the entire book of poems has been made, and translators (including us) are working on translations selectively. Thus, in the course of our work, we discovered problems related to the translation of René Char's poems. In our translations, we tried to convey the original text with maximum accuracy, although this was not always possible. Considering the difficulties reflected in our comments on the translations, translations of other poems may be performed.
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Italia, Maddalena. "Eastern Poetry by Western Poets: Powys Mathers’ ‘Translations’ of Sanskrit Erotic Lyrics." Comparative Critical Studies 17, no. 2 (June 2020): 205–24. http://dx.doi.org/10.3366/ccs.2020.0359.

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This essay focuses on a pivotal (if understudied) moment in the history of the translation and reception of Sanskrit erotic poetry in the West – a moment which sees the percolation of this classical poetry from the scholarly sphere to that of non-specialist literature. I argue that a crucial agent in the dissemination and inclusion of Sanskrit erotic poems in the canon of Western lyric poetry was the English poet Edward Powys Mathers (1892–1939), a self-professed second-hand translator of ‘Eastern’ literature, as well as the author of original verses, which he smuggled as translations. Using Black Marigolds (a 1919 English version of the Caurapañcāśikā) as a case study, I show how Powys Mathers’ renderings – which combined the practices of second-hand and pseudo-translation – are intertextually dense poems. On the one hand, Black Marigolds shows in watermark the intermediary French translation; on the other, it functions as a hall of mirrors which reflects, magnifies and distorts the emotional and aesthetic dimensions of both the classical/Eastern and modern/Western literary world. What does the transformation of the Caurapañcāśikā into a successful piece of modern(ist) lyric poetry tell us about the relationship that Western readers wished (and often still wish) to have with ‘Eastern’ poetry? Furthermore, which conceptual tools can we mobilize to ‘make sense’ of these non-scholarly translations of classical Sanskrit poems and ‘take seriously’ their many layers of textual and contextual meaning?
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Dissertations / Theses on the topic "French poetry, translations into english"

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Higgins, Jennifer Anne. "English responses to French poetry 1880-1930 : translation and mediation." Thesis, University of Cambridge, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.612206.

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Armstrong, Robert A. "Gleanings in French Fields: A Formal Approach to the Translation of French Poetry." Ohio University Honors Tutorial College / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1587646850156205.

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Cameron, Anne Louise. "The English translation of seventeenth-century French lyric poetry and epigrams during the Caroline period." Thesis, Durham University, 2008. http://etheses.dur.ac.uk/2531/.

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This doctoral thesis is the first comprehensive study of contemporary English translations of French lyric poetry during the Caroline period. While there has been extensive study of translations from French literature of other genres, notably drama, translations of lyric poetry have been largely ignored. The thesis examines the translations within the context of literary and cultural trends in France and England during the seventeenth century. Differing cultural tendencies and reader expectations are evident both in the selection of particular poems for translation, and in the changes translators made to their source texts. Chapter one contains background information on the social and literary relations between France and England during the seventeenth century, and an overview of the social and political conditions in which poetry was written in each country. Chapter two investigates where and how translators obtained the texts of the poems they translated, and in particular the use of the recueils collectifs as sources for translations. Chapters three, four and five provide a thematic overview of the most significant and interesting translations. The themes chosen - eroticism, love and nature - constitute those most popular with translators, and the representation of these themes in both the original poems and the translations is closely connected to wider literary and cultural tendencies in both France and England. Having provided a thematic overview of the translations, chapters 6 and 7 examine some of the more technical and linguistic aspects of the practice of translating from contemporary French poetry in Caroline England. Chapter seven studies the translation of the French lyric voice, and the effects of this on the representation of themes, particularly love and nature. Chapter eight examines the English treatment of some aspects of seventeenth-century French prosody, placing these and the changes made by translators in the context of prosodic developments in both France and England. The conclusion highlights patterns identified in translators' handling of the source texts; these draw attention to the literary and cultural differences between France and England in the seventeenth century, and demonstrate that French poetry is altered in English translation to suit the tastes of translators and their intended English readership.
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Ford, John. "From poésie to poetry : remaniement and mediaeval techniques of French-to-English translation of verse romance." Thesis, University of Glasgow, 2000. http://theses.gla.ac.uk/2690/.

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From Poesie to Poetry: Remaniement and Mediaeval Techniques of French-to-English Translation of Verse Romance, explores the use of remaniement, the art of rewriting, as the method preferred for vernacular translations of genres such as romance. A thorough history of the practice's principles are given, drawing on comments from Classical rhetoricians, patristic writers, authorities of the artes poeticae, and mediaeval translators employing the procedure. A textual analysis of the Middle English Amis and Amiloun follows, utilising a broadly structuralist approach which compares each individual episode and 'lexie' with its Old French and AngloNorman predecessors. This examination demonstrates remaniement to be the method used to translate the romance, highlighting both the important debt owed to the francophone traditions as well as the use of dynamic interpretation to lend the work salience to an English audience. A subsequent linguistic examination includes a new definition of formulae based on prototype theory which utilises mental templates to identifY occurrences. This permits the recognition of over 3000 instances of formulaic diction, many of which can be traced back to native preConquest traditions, as can certain aspects of verse and structure. What emerges, therefore, is a composite work heavily indebted to continental and insular French sources for content and some aspects of style, but largely readapted to lend it appeal to an early fourteenth-century Anglophone audience. The thesis therefore clarifies the establishment and use of remaniement, provides a detailed examp Ie of its use, and in doing so reveals the true extent of the oft overlooked debt owed to francophone traditions in creating English romances. By way of setting these dimensions into a wider context, the conclusion suggests such translations had a general effect on the development of a new insular style, setting standards for the independent creation of works in English as that language continued to re-establish itself as an accepted medium for literary expression.
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Kennedy, Sarah Alice. "The masks of the poet : Baudelaire's petits poèmes en prose in English translations : a methodological study." Thesis, Swansea University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.678660.

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Auger, Peter. "British responses to Du Bartas' Semaines, 1584-1641." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:be0f89c2-c2e4-482d-ac8f-e867985ff72e.

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The reception of the Huguenot poet Guillaume de Saluste Du Bartas' Semaines (1578, 1584 et seq.) is an important episode in early modern literary history for understanding relations between Scottish, English and French literature, interactions between contemporary reading and writing practices, and developments in divine poetry. This thesis surveys translations (Part I), allusions and quotations in prose (Part II) and verse imitations (Part III) from the period when English translations of the Semaines were being printed in order to identify historical trends in how readers absorbed and adapted the poems. Early translations show that the Semaines quickly acquired political and diplomatic affiliations, particularly at the Jacobean Scottish Court, which persisted in subsequent decades (Chapter 1). William Scott's treatise The Model of Poesy (c. 1599) and translations indicate how attractive the Semaines' combination of humanist learning and sacred rhetoric was, but the poems' potential appeal was only realized once Josuah Sylvester's Devine Weeks (1605 et seq.) finally made the complete work available in English (Chapter 2). Different communities of readers developed in early modern England and Scotland once this edition became available (Chapter 3), and we can observe how individuals marked, copied out, quoted and appropriated passages from their copies of the poems in ways dependent on textual and authorial circumstances (Chapter 4). The Semaines, both in French and in Sylvester's translation, were used as a stylistic model in late-Elizabethan playtexts and Zachary Boyd's Zions Flowers (Chapter 5), and inspired Jacobean poems that help us to assess Du Bartas' influence on early modern poetry (Chapter 6). The great variety of responses to the Semaines demonstrates new ways that intertextuality was a constituent feature of vernacular religious literature that was being read and written in sixteenth- and seventeenth-century Britain.
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Nakhaeï, Bentolhoda. "Critical Analysis of the Stylistic Transformations in the 19th and 20th-century English and French Translations of Omar Khayyám’s Rubáiyát : exploring the Common Quatrains in FitzGerald, Arberry, Nicolas, and Lazard." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA144.

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Cette thèse vise à procéder à une analyse minutieuse de la transformation de la forme et du sens dans la traduction des Robâïât de Omar Khayyám, dans quatre importantes traductions – deux en anglais et deux en français, des XIXe et XXe siècles. Les traducteurs des traductions sélectionnées sont Edward FitzGerald, Arthur John Arberry, Jean-Baptiste Nicolas et Gilbert Lazard. Les traductions réalisées par ces traducteurs ont offert des possibilités d’investigation dans un cadre linguistique donné. En effet, on peut se demander si les traducteurs ont transformé la signification et la forme des quatrains perses. Si oui, quelles procédures ont-ils utilisées ? Plus précisément, comment les réseaux signifiants sous-jacents ont-ils été rendus par les plus importants traducteurs anglais et français des XIXe et XXe siècles ? Par ailleurs, il s’agira d’essayer d’évaluer la qualité de l’écriture dans la langue cible de chaque traduction. En somme, cette thèse cherche à comprendre si les traducteurs sont parvenus à saisir l’importance de la signification du sous-texte et l’élégance de la forme poétique des Robâïât. Cette thèse propose une application scientifique des concepts théoriques de différents chercheurs en traductologie, linguistique et littérature. Les théories dominantes utilisées dans la présente étude sont celles d’Antoine Berman, de Henri Meschonnic, Peter Newmark, Eugene Albert Nida, Susan Bassnett, Mona Baker, Geoffrey N. Leech, I.A. Richards, Roger T. Bell, George Lakoff, Mark Johnson, Michael Hanne, et Max Black. En outre, il doit être indiqué que cette thèse vise à créer un équilibre entre deux pôles de la traductologie, à savoir celui qui s’intéresse aux traductions orientées vers la langue cible et celui qui s’intéresse aux traductions orientées vers la langue source.La traduction des Robâïât dans les langues germaniques et romanes est un sujet digne d’intérêt et propice à la discussion. Cette recherche vise à montrer que l’étude des traductions des Robâïât pourrait contribuer à mettre en évidence les difficultés et même l’impossibilité qu’il y a à rendre certaines caractéristiques de l’original persan en anglais et en français
This thesis aims to carry out a meticulous analysis of the transformation of form and meaning in the rendition of the Rubáiyát in four significant 19th and 20th-century translations—two in English and two in French. The translators of the selected translations are Edward FitzGerald, Arthur John Arberry, Jean-Baptiste Nicolas, and Gilbert Lazard. The translations produced by these translators have offered opportunities of investigation within linguistic boundaries. In fact, one may wonder if the translators have transformed the meaning and the form of the Persian quatrains. If so, which procedures have they employed? More precisely, how are the underlying networks of signification rendered by the most significant English and French translators of the 19th and 20th centuries? Furthermore, what is the quality of the writing in the target language in each translation? On the whole, this thesis seeks to appreciate whether the translators have been successful in understanding the significance of the subtext and the elegance of the poetic form of the Rubáiyát.This dissertation provides its readers with a scientific application of the theoretical concepts of different theorists in translation studies, linguistics, and literature. The most salient theories employed in the present research are those of Antoine Berman, Henri Meschonnic, Peter Newmark, Eugene Albert Nida, Susan Bassnett, Mona Baker, Geoffrey N. Leech, I.A. Richards, Roger T. Bell, George Lakoff and Mark Johnson, Michael Hanne, and Max Black. In addition, it must be indicated that this thesis sets out to create a balance between two poles in translation studies, i.e. target-oriented and source-oriented translations.The translation of Omar Khayyám’s Rubáiyát into Germanic and Romance languages is an interesting and controversial subject to discuss. This research seeks to prove that the study of the translations of the Rubáiyát can contribute to highlighting the difficulties and the impossibilities of the rendition of certain issues from Persian into English or French
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Jones, Suzanne Barbara. "French imports : English translations of Molière, 1663-1732." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:8d86ee12-54ab-48b3-9c47-e946e1c7851f.

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This thesis explores the first English translations of Molière's works published between 1663 and 1732 by writers that include John Dryden, Edward Ravenscroft, Aphra Behn, and Henry Fielding. It challenges the idea that the translators straightforwardly plagiarized the French plays and instead argues that their work demonstrates engagement with the dramatic impact and satirical drive of the source texts. It asks how far the process of anglicization required careful examination of the plays' initial French national context. The first part of the thesis presents three fundamental angles of interrogation addressing how the translators dealt with the form of the dramatic works according to theoretical and practical principles. It considers translators' responses to conventions of plot formation, translation methods, and prosody. The chapters are underpinned by comparative assessments of contextual theoretical writings in French and English in order to examine the plays in the light of the evolving theatrical tastes and literary practices occasioned by cross-Channel communication. The second part takes an alternative approach to assessing the earliest translations of Molière. Its four chapters are based on close analysis of culturally significant lexical terms which evoke comically contentious social themes. This enquiry charts the changes in translation-choices over the decades covered by the thesis corpus. The themes addressed, however, were relevant throughout the period in both France and England: marital discord caused by anxieties surrounding cuckoldry and gallantry, the problems of zealous religious ostentation, the dubious professional standing of medical practitioners, and bourgeois social pretension. This part assesses how the key terms in translation were chosen to resonate within the new semantic fields in English, a target language which was coming into close contact with new French terms.
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Eichel, Andrew Timothy. "Translating Anglo-Saxon poetry : foreignized translations of "The seafarer" and "The wanderer" /." View online, 2009. http://repository.eiu.edu/theses/docs/32211131566903.pdf.

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Ryland, C. A. "Memorialisation and metapoetics in Paul Celan's translations of French surrealist poetry." Thesis, University College London (University of London), 2008. http://discovery.ucl.ac.uk/1445830/.

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Contrary to assumptions within existing scholarship on Paul Celan's poetics, this thesis demonstrates that surrealist aesthetics were a significant discourse within Celan's poetics, in particular in die theories articulated in his Buchner Prize speech (1960). By mapping the points of convergence and divergence between specific surrealist ideas and particular elements of Celan's poetics, it demonstrates that the most significant point of contact between die two sets of aesthetics lies in the surrealist idea of a sustained tension between the unconscious and conscious realms, and between the past and die present, which elucidates Celan's well-known 'meridian' metaphor. The study thus develops new interpretations of Celan's theories, in particular in its assertion of the primacy of unconscious impulses in Celan's view of poetic language. Its conclusions thereby impact on an understanding not only of the specific status of the surrealist discourse in Celan's aesthetics, but also of the shifting relationship between poetic language and die poet's and readers' conscious and unconscious realities and of the intentional and unintentional cultural encounters that impact on linguistic and literary7 signification. The inquiry' focuses on verifiable and concrete points of contact between Celan's writings and surrealist texts, in the form of his translations of surrealist poems, his poetological notes and his correspondence. Recently published correspondence and theoretical writings by Celan reveal that he considered poetry to be composed in part as a result of unconscious impulses, which become visible during translation. Close readings of Celan's versions of surrealist poems demonstrate that these translations both illustrate and thematise this textual Unconscious, and so exhibit the metapoetic content of Celan's translations. By focusing in particular on the surrealist aspects of the original poems translated by Celan, and on Celan's transformation of these features into metapoetic figures, these readings therefore demonstrate the poetological significance of Celan's encounter with surrealism, and culminate in a new conceptualisation of his poetics of translation.
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Books on the topic "French poetry, translations into english"

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Balabanova, Violeta. Poetry & pictures: English-French-Arabic. Sofia?: s.n., 2002.

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1941-, Kelley David, and Khalfa Jean, eds. The New French poetry. Newcastle-upon-Tyne: Bloodaxe Books, 1996.

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William, Rees, ed. French poetry, 1820-1950, with prose translations. London, England: Penguin Books, 1990.

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Lisa, Neal, ed. Treasury of French love poems: In French and English. New York: Hippocrene Books, 2000.

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1908-, Fowlie Wallace, and Fowlie Wallace 1908-, eds. Modern French poets: Selections with translations. New York: Dover, 1992.

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Sisson, C. H. Collected translations. Manchester [England]: Carcanet, 1996.

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Stanley, Appelbaum, ed. Introduction to French poetry. New York: Dover Publications, 1991.

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1951-, Reuzeau Jean-Yves, ed. French poets of today. 2nd ed. Toronto: Guernica, 1999.

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Conroy, Kennedy Ellen, ed. The Negritude poets: An anthology of translations from the French. New York: Thunder's Mouth Press, 1989.

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Béatrice, Mousli, ed. Review of two worlds: French and American poetry in translation. Los Angeles: Otis Books/Seismicity Editions, 2005.

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Book chapters on the topic "French poetry, translations into english"

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Blakesley, Jacob S. D. "Comparing English, French, and Italian Poet-Translators." In A Sociological Approach to Poetry Translation, 19–48. New York : Routledge, 2018. | Series: Routledge advances in translation and interpreting studies ; 37: Routledge, 2018. http://dx.doi.org/10.4324/9780429462511-2.

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Saenger, Michael. "Comic Translations in All’s Well That Ends Well." In Shakespeare and the French Borders of English, 125–45. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137357397_6.

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Jiang, Lan. "American Adaptation of Tang Poetry Translations from Europe." In A History of Western Appreciation of English-translated Tang Poetry, 139–49. Berlin, Heidelberg: Springer Berlin Heidelberg, 2018. http://dx.doi.org/10.1007/978-3-662-56352-6_9.

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Sabiron, Céline. "4. Translating the French in the French Translations of Jane Eyre." In Prismatic Jane Eyre, 244–67. Cambridge, UK: Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0319.07.

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Following the concepts and theories developed by translation and reception specialists, this essay combines literary, linguistic, and translatological approaches in a study five French translators’ responses to Brontë’s use of French in Jane Eyre. Translation within the novel is presented as both necessary (for the English-speaking readership) and impossible in order to preserve the ‘effet de réel’, and also for cultural, ideological, and ontological reasons. However, Brontë’s pedagogical approach to textual deciphering is not translated into the French versions of her work, so that French readers are not educated into reading and producing textual meaning. Her vision of a multiple language system viewed as a continuum, her dream of freeing languages, that is Jane Eyre’s literary agenda, ends up lost in translation.
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Gehmacher, Johanna. "Féminisme: Translations, Transfers, and Transformations." In Translation History, 153–86. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-42763-3_6.

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AbstractThis chapter examines Käthe Schirmacher’s most successful book, Die moderne Frauenbewegung (1905, 2nd edition 1909), and compares it with its less comprehensive precursor, Le féminisme aux États-Unis, en France, dans la Grande-Bretagne, en Suède, et en Russie (1898), and the German book’s English translation The Modern Woman’s Rights Movement. A Historical Survey (1912). Drawing on a conceptual history approach, it analyses strategies of transfer, self-translation, and translation between these books; the chapter also discusses the transfers and transformations of the French key term ‘féminisme’ in a broader context and traces the translations of the term in German and English and of the German term ‘Frauenbewegung’ in English and French. In so doing it complicates the history of the term ‘feminism’ and argues that it changed its meaning more than once between languages and over time before becoming a clearly defined and established concept.
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Baddeley, Susan. "4. Writing Catholic, Translating Protestant. English Translations from French in the Sixteenth Century." In Language Commonality and Literary Communities in Early Modern England, 103–22. Turnhout, Belgium: Brepols Publishers, 2022. http://dx.doi.org/10.1484/m.peemb-eb.5.127776.

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D’Angelo, Edoardo. "Chapter 16. The Middle East." In Comparative History of Literatures in European Languages, 264–83. Amsterdam: John Benjamins Publishing Company, 2024. http://dx.doi.org/10.1075/chlel.xxxiv.16dan.

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Literary Latin production of the Middle East during the Crusader period (eleventh-fifteenth century) is surely not extensive, but it exists and is important. Of course, some literary genres in the “Latin East” survive only in French (epic, legal texts, etc.), but several other genres were composed in Latin, such as historiography, theology, poetry, geography and other ones (scientific translations from oriental languages, etc.).
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Gagne, Christophe, and Emilia Wilton-Godberfforde. "The Perils of poetry." In English-French Translation, 139–60. Routledge, 2020. http://dx.doi.org/10.4324/9781315731933-6.

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"Other Modern European Literatures." In The Oxford History of Literary Translation in English, edited by Stuart Gillespie and David Hopkins, 393–440. Oxford University PressOxford, 2005. http://dx.doi.org/10.1093/oso/9780199246229.003.0008.

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Abstract The first two sections of this chapter cover translations from the two major European literatures (of this era) other than French: Italian and Spanish. In both these cases, the 1660–1790 period comes well after an early heyday of English translating activity; in fact, the translation of Italian literature was in the doldrums in the anglophone world during these years. The glorious achievements of the Elizabethans in this field were now neglected, and there were just a few worthy harbingers of the Romantics, who finally removed the French blinkers from English eyes, and revealed the full glory of Italian poetry.
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Nuttall, Jenni. "Literary Language." In The Oxford History of Poetry in English, 61–75. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780198839682.003.0005.

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Abstract Chaucer’s innovations paved the way for the literary language of English poetry of the fifteenth century. Chaucer’s style was praised by poets such as Hoccleve and Lydgate who continued and developed it to serve their own stylistic purposes. Lydgate, for example, elaborates the aureate style. There is also a broader tradition of aureate language, in Marian lyric and in other genres such as the chronicles of John Hardyng and in translations from Latin and French. In addition, this chapter examines aspects of fifteenth-century English and Scottish poetry which develop types of experimental ‘strange’ or ‘rough’ English, mixing aureate terms with colloquial language.
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Conference papers on the topic "French poetry, translations into english"

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Şəmsi qızı Məmmədova, Xumar. "Nakhchivan literary atmosphere and literary translation." In OF THE V INTERNATIONAL SCIENTIFIC RESEARCH CONFERENCE. https://aem.az/, 2021. http://dx.doi.org/10.36719/2663-4619/2021/02/03.

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The presented article discusses the issues of Nakhchivan literary environment and literary translation. It is noted that translation is a creation in itself, and the activities of representatives of the Nakhchivan literary environment in this area are exemplary. In general, during the independence period, some experience was gained in the literary environment of Nakhchivan, translations from German, English and French by our poets and writers Hamid Arzulu, Shirmammad Gulubeyli, Shamil Zaman who is famous as poet, prose-writer and translator were delivered to readers in the form of books and works were published in the press. The examples presented in the article once again prove the perfection of the writers' translation activities, their translations from German, English and French provide the Azerbaijani reader with full information about the society, people and their life of these peoples. Key words: Nakhchivan, literary atmosphere, literary translation, prose, poetry
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Pilar, Martin. "EWALD MURRER AND HIS POETRY ABOUT A DISAPPEARING CULTURAL REGION IN CENTRAL EUROPE." In 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/s28.06.

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The contemporary Czech poet using the pseudonym Ewald Murrer (born in 1964 in Prague) used to be a representative of Czech underground literature before 1989. Then he became one of the most specific and original artists of his generation. The present essay deals with his very successful collection of poetry called The Diary of Mr. Pinke (1991, English translation published in 2022). Between the world wars, the most Eastern part of Czechoslovakia was so-called Subcarpathian Ruthenia (or Karpatenukraine in German). This rural and somewhat secluded region neighbouring Austrian Galicia (or Galizien in German) in the very West of Ukraine and the South- East of Poland used to be a centre of Jewish culture using mainly Yiddish and inspired by local folklore. The poems of Ewald Murrer are deeply rooted in the imagery of Jewish and Rusyn fairy tales and folk songs. While Marc Chagall, the famous French painter (coming from today�s Byelorussia), discovered these old sources of Jewish art for European Modernism, Ewald Murrer uses the same sources but his approach to literary creation can be seen as much more post-modern: he uses but at the same time also re-evaluates old myths and archetypes of this region with both a lovely kind of humour and more serious visions of Kafkaesque absurdity that are probably unavoidable in Central Europe. The fictional and highly poetic diary of Mr. Pinke is highly significant as a sophisticated revival of the almost forgotten culture of a Central European region that almost definitely stopped existing after the tragic times of the Holocaust and Stalinism.
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Pilar, Martin. "EWALD MURRER AND HIS POETRY ABOUT A DISAPPEARING CULTURAL REGION IN CENTRAL EUROPE." In 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/s10.06.

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The contemporary Czech poet using the pseudonym Ewald Murrer (born in 1964 in Prague) used to be a representative of Czech underground literature before 1989. Then he became one of the most specific and original artists of his generation. The present essay deals with his very successful collection of poetry called The Diary of Mr. Pinke (1991, English translation published in 2022). Between the world wars, the most Eastern part of Czechoslovakia was so-called Subcarpathian Ruthenia (or Karpatenukraine in German). This rural and somewhat secluded region neighbouring Austrian Galicia (or Galizien in German) in the very West of Ukraine and the South- East of Poland used to be a centre of Jewish culture using mainly Yiddish and inspired by local folklore. The poems of Ewald Murrer are deeply rooted in the imagery of Jewish and Rusyn fairy tales and folk songs. While Marc Chagall, the famous French painter (coming from today�s Byelorussia), discovered these old sources of Jewish art for European Modernism, Ewald Murrer uses the same sources but his approach to literary creation can be seen as much more post-modern: he uses but at the same time also re-evaluates old myths and archetypes of this region with both a lovely kind of humour and more serious visions of Kafkaesque absurdity that are probably unavoidable in Central Europe. The fictional and highly poetic diary of Mr. Pinke is highly significant as a sophisticated revival of the almost forgotten culture of a Central European region that almost definitely stopped existing after the tragic times of the Holocaust and Stalinism.
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Sulem, Elior, Omri Abend, and Ari Rappoport. "Conceptual Annotations Preserve Structure Across Translations: A French-English Case Study." In Proceedings of the 1st Workshop on Semantics-Driven Statistical Machine Translation (S2MT 2015). Stroudsburg, PA, USA: Association for Computational Linguistics, 2015. http://dx.doi.org/10.18653/v1/w15-3502.

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Bumatova, Aida. "IMAGES IN THE TRANSLATION OF POETRY SAMPLES IN "BABURNAMA"." In The Impact of Zahir Ad-Din Muhammad Bobur’s Literary Legacy on the Advancement of Eastern Statehood and Culture. Alisher Navoi' Tashkent state university of Uzbek language and literature, 2023. http://dx.doi.org/10.52773/bobur.conf.2023.25.09/unqc5556.

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Poetry is one of the most beautiful and complex forms of art that transcend time, place, and culture. This article analyzes the changes occurring in the poetictranslation of classical Muslim poetry into English. In the article, translations into English of the poetry of Zahirad-Din Muhammad Babur were selected to be researched and analyzed as the most striking examples of classical Muslim poetry.
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Gushchina, P. E. "THE MOTIF OF FAITH IN B. OKUDZHAVA’ POETRY: STRUCTURE AND FEATURES OF RENDERING IN ENGLISH TRANSLATIONS." In ACTUAL PROBLEMS OF LINGUISTICS AND LITERARY STUDIES. TSU Press, 2021. http://dx.doi.org/10.17223/978-5-907442-02-3-2021-136.

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Mihaila, Ramona. "TRANSCULTURAL CONTEXTS: NETWORKS OF LITERARY TRANSLATIONS." In eLSE 2017. Carol I National Defence University Publishing House, 2017. http://dx.doi.org/10.12753/2066-026x-17-167.

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While in the Western societies the act of translating was a phenomenon that had a powerful tradition which started long before the sixteenth century, in the Romanian Principalities the first timid attempts were recorded at the beginning of the nineteenth century. Taking into account the translations accomplished by the nineteenth Romanian women writers and the large range of languages (French, Italian, Greek, Latin, German, English, Spanish) they used, I have tried to “discover” and “revive” as many women writers as I could, first of all by focusing all my attention on the works of the neglected women (writers) translators. The present research, which limits only to Romanian women writers that translated writings of foreign women authors, needs also a special attention to finding biographical data about the translators since a lot of them used pen names (few writers used even more than three pen names) or signed their writing or translations only with the initial letters of their names, especially for the works published in installments. There is a significant amount of research in order to bring to light all the translated works since most of them can be found only in (incomplete) issues of journals, almanacs, literary magazines, theatre’s journals, or manuscripts. By using the international database Women Writers in History we may involve researchers and students from many European countries in contributing with important information concerning their women writers. There are also negotiations with national libraries in 25 countries around Europe in order to get partners for this database which offers open access.
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Correard, Nicolas. "¿Lazarillo Libertin? Sobre la primera recepción en Europa del Norte: traducciones e inspiraciones anticlericales." In Simposio internacional El Lazarillo y sus continuadores: Facultad de Ciencias de la Educación, 10 y 11 de octubre de 2019, Universidade da Coruña: [Actas]. Servicio de Publicaciones. Universidade da Coruña, 2021. http://dx.doi.org/10.17979/spudc.9788497497657.29.

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It has often been argued that the picaresque genre derived from the Lazarillo castigado, if not from the Guzmán de Alfarache, more than from the original Lazarillo. Such an assumption neglects the fact that the first French and English translations did rely on the 1554 text, whose influence, conveyed by the 1555 sequel also translated in French in 1598, did last until the early 17th century. Probably designed in an Erasmian circle, the anticlerical satire, enhanced by provoking allusions to certain catholic dogmas, did not pass unnoticed: the marginal comments of the translations, for instance, testify for a strong interest for this theme. It is no wonder, therefore, if the first satirical narratives freely inspired by the Lazarillo, such like The Unfortunate Traveller by Nashe, the Euphormio Lusinini Satyricon by Barclay, or the Première journée by Viau, adapted its religious satire to their own actuality: in the context of the rise of libertine thinking, characters of Jesuits and Puritans could become new targets for novelistic scenes based on an obviously “lazarillesque” model.
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Muhammadiyeva, Dilafruz. "CREATING AN ELECTRONIC PLATFORM OF “BABURNAMA” IS THE DEMAND OF THE TIMES." In The Impact of Zahir Ad-Din Muhammad Bobur’s Literary Legacy on the Advancement of Eastern Statehood and Culture. Alisher Navoi' Tashkent state university of Uzbek language and literature, 2023. http://dx.doi.org/10.52773/bobur.conf.2023.25.09/kdvn8331.

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This article discusses the principles of creating a perfect Boburnoma corpus. Gathering the achievements in Babur studies, defining the problems, showing its place in the development of world culture, the growing interest in Babur's personality, activities, and creativity on a global scale, and the emergence of new researches in Babur studies require the creation of this corpus.Creating an electronic database on Babur's life and activities, processing texts on the basis of artificial intelligence; Creating a corpus of parallel texts related to the translations of “Baburnama”, conducting a search based on various symbols, explaining the social-political, cultural-educational features of the “Baburnama” text; It was analyzed that the next generation needs to study translations and researches related to Bobur studies in Uzbek, Turkish, Azerbaijani, Kazakh, Kyrgyz, Russian, English, German, and French languages, which is the basis for creating the “Baburnama”corpus.
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AVORNICESEI, Oana-Florina. "JAPANESE PROVERBS BETWEEN EQUIVALENCE AND COMPARATIVE TRANSLATION FROM JAPANESE AND ENGLISH INTO ROMANIAN. AN ANALYSIS FROM THE SEMANTIC AND PRAGMATIC POINT OF VIEW." In Synergies in Communication. Editura ASE, 2022. http://dx.doi.org/10.24818/sic/2021/04.03.

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The current paper takes a comparative look at a selection of Japanese proverbs and their translation into English to their Romanian equivalents. The English translation belongs to David Galeff, the author of the book ‘Japanese Proverbs. Wit and Wisdom’ from which stems the selection of proverbs which are the object of the current analysis. The Romanian translation applies two methods. It tries to find an equivalent in Romanian, both in terms of wit i.e. wording or sense and in terms of wisdom i.e. meaning or reference. As such the two perspectives of analysis are semantic and pragmatic. The aim is firstly to find an equivalent in meaning and reference to a relevant wisdom inspired by reality and life. If such an equivalent is not found, alternative translations are attempted using other translation procedures, such as modulation or even adaptation. The theoretical framework used is the one Vinay and Dalbernet outlined in their ‘Comparative Stylistics of French and English: A Methodology for Translation’. This is a translational attempt to look towards the East and towards the West and see how different and how similar they are in the way they understand life and express that understanding. The aim of the analysis is to see to what extent it can identify corresponding ways of wording or equivalent forms of expression in Romanian for the wit and the wisdom incapsulated in the Japanese proverbs, via the English language
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