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1
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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Pose-Fernández, Coralia. "The universalization of the poetry of George Seferis: the significance of English translations." Byzantine and Modern Greek Studies 41, no. 1 (March 16, 2017): 138–54. http://dx.doi.org/10.1017/byz.2016.33.
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The English socio-cultural context was crucial to the dissemination of the work of George Seferis in Europe. Early translations appeared in both French and English, but it was the English versions that propelled Seferis toward international recognition and the Nobel Prize, and gave rise to translations into more peripheral literatures such as Spanish. The wide social circle Seferis enjoyed in the English-speaking world was a key factor in his early success in the United Kingdom. Other determinants were British intellectuals’ empathy for the Greeks during the Colonels’ dictatorship and their liking for modern poetry similar to that of T. S. Eliot.
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Ekman, Gabriella. "Gifts from Utopia: The Travels of Toru Dutt's Poetry." Victoriographies 3, no. 1 (May 2013): 23–45. http://dx.doi.org/10.3366/vic.2013.0104.
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Born in Calcutta in 1856 and dying only twenty-one years later of tuberculosis, the young Bengali writer Toru Dutt wrote novels and poems in English and French, translated French poetry into English, and toward the end of her life revisited Bengali myths and tales from the Ramayana in her poetry. Her multilingual poems and translations have traditionally been interpreted as seeking to dissolve or fragment cultural differences. This essay instead argues for Dutt seeking to consolidate difference, reconceived as possibility: by distributing her poems to friends in England and receiving gifts of poems in return, Dutt sought to create a transnational friendship economy involving the material exchange of poetic texts. She then theorises this exchange in the work itself, arguing in novels, poems and inexact translations for regarding the resistant materiality of poetry and language both as imperfect tools that can nonetheless be utilised to forge community and understanding – however utopian, however fragile and temporary – across seemingly incommensurable cultural differences, perhaps even across the inequities of imperial history.
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Шмігер, Тарас. "Review Article. How Poetry is Translated…" East European Journal of Psycholinguistics 4, no. 2 (December 28, 2017): 95–96. http://dx.doi.org/10.29038/eejpl.2017.4.2.shm.
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James W. Underhill. Voice and Versification in Translating Poems. University of Ottawa Press, 2016. xiii, 333 p.
After its very strong stance in the 19th century, the versification part of translation scholarship was gradually declining during the 20th century, substituted by the innovative searches for semasiology, culture and society in text. The studies of structural and cognitive approaches to writing, its postcolonial identity or gender-based essence uncovered a lot of issues of the informational essence of texts, but overshadowed the meaning of their formal structures. The book ‘Voice and Versification in Translating Poems’ welcomes us to the reconsideration of what formal structures in poetry can mean.
James William Underhill, a native of Scotland and a graduate of Hull University, got Master’s and PhD degrees from Université de Paris VIII (1994 and 1999 respectively). He has translated from French, German and Czech into English, and now, he is full professor of poetics and translation at the English Department of Rouen University as well as the director of the Rouen Ethnolinguistics Project. His scholarly activities focused on the subject of metaphor, versification, cultural linguistics and translation. He also authored ‘Humboldt, Worldview, and Language’ (Edinburgh University Press, 2009), ‘Creating Worldviews: Ideology, Metaphor and Language’ (Edinburgh University Press, 2011), and ‘Ethnolinguistics and Cultural Concepts: Truth, Love, Hate and War’ (Cambridge University Press, 2012).
the belief of the impossibility of translating poems, poems are translated and sometimes translated quite successfully. In contemporary literary criticism, one observes the contradiction that despiteJames W. Underhill investigates this fascinating observable fact by deploying the theory of voice.
The first part of the book, ‘Versification’, is more theoretical as the researcher is to summarizes the existing views and introduce fundamental terms and guidelines. The book is strongly influenced by the French theoretician Henri Meschonnic, but other academic traditions of researching verse are also present. This part includes four chapters where the author discusses recent scholarship in the subject-matter (‘Form’), theories of verse structure (‘Comparative Versification’), rhythm and stress systems (‘Meter and Language’), and the issues of patterning and repetition (‘Beyond Metrics’). The author shapes the key principle of his views that ‘[v]oice represents the lyrical subject of the poem, the “I” that creates it, but that is also created in and by the poem’ (p. 44). This stipulation drives him to the analysis of five facets in poetry translation: 1) the voice of a language; 2) the voice of an era; 3) the voice of a literary movement or context of influence; 4) the voice of a poet; 5) the voice of the particular poem.
Part 2, ‘Form and Meaning in Poetry Translation’, offers more theorizing on how we can (or should) translate form. The triple typology of main approaches – (translating form blindly; translating a poem with a poem; translating form meaningfully) – sounds like a truism. The generic approach might be more beneficial, as the variety of terms applied in poetry translation and applicable to the idea of the book – (poetic transfusion, adaptation, version, variant) – would widen and deepen the range of questions trying to disclose the magic of transformations while rendering poetry of a source author and culture to the target reader as an individual and a community. The experience of a reader (individual and cultural personality) could be a verifying criterion for translating strategies shaped the translator’s experience.
In Part 3, ‘Case Studies’, the author explores the English translations of Charles Baudelaire’s poetry and the French and German translations of Emily Dickinson’s poems. All translations theoreticians and practitioners will agree with the researcher’s statement that “[t]ranslating that simplicity is inevitably arduous” (p. 187). Balancing between slavery-like formalist operations and free transcreations, translators experiment on strategies of how to reproduce the original author’s voice and versification successfully enough. The longing categorically pushes us to the necessity of understanding what is in language but communication, how a nation’s emotionality is built linguistically, and why a language applies certain meters for specific emotional articulation.
‘Glossary’ (p. 297-319), compiled on the basis of theoretical reflections in the main text on the book, is of significant practical value. This could really become a good sample to follow in any academic book.
This book takes us closer to the questions ‘How can a form mean something?’ and ‘How can we verify this meaning?’, though further research merged in ethnolingual, ethnopoetic and ethnomusical studies still promises to be extremely rich.
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Studzińska, Joanna. "Przekładanie poezji lingwistycznej: Rendicción Mario Martína Gijóna w tłumaczeniach na polski, angielski i francuski." Przekładaniec, no. 43 (December 31, 2021): 122–43. http://dx.doi.org/10.4467/16891864pc.21.032.15146.
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Translating Linguistic Poetry: Mario Martín Gijón’s Rendicción in Polish, English, and French The lyrical work of Spanish poet Mario Martín Gijón is linguistic in the extreme. Not only does he juxtapose similar-sounding words, but he fuses them graphically into one, with parentheses containing a word fragment [me(re)ce, entreg(u)arme] or two fragments separated by a slash [conju(r/nt)os, in(v/f)ierno]; he also uses enjambment within words (cor / reo, tarde / seosa). These techniques result in a multiplication of readings, which constitutes a major challenge for translators. Terence Dooley, Miguel Ángel Real and the author of this essay (here in the dual role of translator and researcher) translated Martín Gijón’s poetry into English, French and Polish, respectively. Each translator had at their disposal language matter of very distinct properties. The translator into French was able to take advantage of the largely convergent Romance roots, which made it possible to recreate many word games on a one-to-one scale or with only minimal changes. English offered such a possibility much less frequently; Polish – only once. Therefore, the English and Polish translations are re-creations to a much larger extent than the French one. However, the significant differences between each of the versions stem not only from the properties of the target languages, but also from the different approaches of the translators.
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Schabert, Ina. "Regendered in Translation: From ‘Lyric I’ to Je lyrique." Translation and Literature 33, no. 2 (July 2024): 177–97. http://dx.doi.org/10.3366/tal.2024.0586.
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Whereas first-person speech is not marked for the speaker’s gender in English, in French particular linguistic forms identify a speaker as female. This conflicts with the intention of those female authors, poets in particular, who want to speak not from a gendered point of view but as human beings. A similar problem arises in translations of anglophone poetry by women into French. The routine method of rendering the generic ‘lyric I’ by a female ‘je lyrique’ does not reflect the implicit claim women poets often make to universal relevance. With regard to French versions of texts ranging in time from Emily Brontë to the present, this contribution shows how the original meaning of a poem can be narrowed or distorted by grammatical feminization. In some cases, however, the gender ambivalence of the English source texts has been successfully recreated in translation, and the spirit of egalitarian feminism thus kept alive.
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Ismail, Ismail. "A Rhetorical, Stylistic and Translation Quality Assessment Based -Study of English and French Translations of Al-Sayyab's Poem (Lianni Ghareeb- For I'm Stranger - (لأني غريب." Al-Adab Journal, no. 145 (June 14, 2023): 1–20. http://dx.doi.org/10.31973/aj.v1i145.3886.
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Arabic Poetry in general and Iraqi Modern Poetry in particular are abundant in emotional, nationalistic and political attitudes. Iraqi poets express their devotion and loyalty to their homeland profoundly and figuratively. Badr Shaker Al-Sayyab is an Iraqi pioneering figure in modern Arabic poetry. His poem (For I'm Stranger) is one of his powerful and effective literary works in which he draws magnificent images of the strong psychological bond with his homeland Iraq. This poem is a challenging task for translators (from Arabic into any other language). So, this paper focuses on how to render the meter and the rhyme of the source Arabic poem which has unique stylistic and prosaic structures into the TL concerned? The study includes an analysis of the English and French versions of "Liaani Ghareeb لأني غريب" poem. The analysis is made by comparing musical, rhetorical and figurative structures of the two versions to see which version is closer to the Arabic SL poem. This study comes up with the conclusion that the metrical and prosodic structures of the French version are more harmonic in terms of musicality. The English version on the other hand seems acceptable but lacks the rhetorical compatibility in the light of the adopted theories of translation.
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Luboń, Arkadiusz. "Brutalne wersy. Przemiany norm gatunkowych literackiego horroru a translatorskie strategie polskich popularyzatorów poezji grozy – przypadek antologii Roberta Stillera i Leszka Lachowieckiego." Przekładaniec, no. 46 (2023): 123–44. http://dx.doi.org/10.4467/16891864pc.23.008.17972.
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Violent Verses. Transformations of Horror Fiction and Translational Strategies of Polish Popularizers of Gothic Poetry – the Case Study of Anthologies by Robert Stiller and Leszek Lachowiecki The article discusses strategies used in translation of horror poetry in Polish anthologies of this genre in late 1980s and early 1990s when, thanks to political and social transformation, Western popculture with some of its characteristic features became available and popular in Poland. Comparative analysis of the selected translations collected in the volume Danse macabre (1993) by Leszek Lachowiecki, compared to their English, French or German originals (by Howard Phillips Lovecraft, Robert Frost, Richard Wilbur, Vachel Lindsay, Charles Baudelaire and Georg Heym) and earlier Polish versions by Robert Stiller (published in 1986), proves that the later variants amplify and/or introduce numerous lexical items denoting or connotating violence, fear and disgust. Thus, the techniques used by Lachowiecki – aimed at a brutalization of language and emphasising the themes of cruelty, terror and dread – can be perceived as an application of old-fashion style and means (typical for modernist or “Young Poland” literature) in order to adjust aesthetic standards used in poetry to broader cultural trends dominating in contemporary horror fiction.
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REYNOLDS, MATTHEW. "Translation – Theory and Practice: A Historical Reader. Edited by Daniel Weissbort and Astradur Eysteinsson. Pp. 672. Oxford: Oxford University Press, 2006. Hb. £65. An Anthology of Chinese Discourse on Translation. Edited by Martha P. Y. Cheung. Vol. 1: From the Earliest Times to the Buddhist Project. Pp. 300. Manchester: St Jerome Publishing, 2006. Hb. £45." Translation and Literature 17, no. 1 (March 2008): 85–93. http://dx.doi.org/10.3366/e0968136108000083.
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Both these anthologies fence in new territory for thoughts about translation to roam. Volume 1 of Martha Cheung's Anthology of Chinese Discourse on Translation – compiled with the help of a large advisory board of Chinese scholars – ranges from Laozi in the sixth century BC to the mid Song dynasty in the twelfth century. Almost all this material is brought into English for the first time. Daniel Weissbort and Astradur Eysteinsson's Historical Reader, again edited with the help of other experts, reaches out to include snippets of ethnography and life-writing alongside the familiar core of St Jerome, Dryden, Pound, Benjamin, et al. Though focused on translation into English, it gives space to German romantic arguments and to French views from the Renaissance and eighteenth century. And, though most concerned with the translation of literature, especially poetry, it also samples the counterpoint tradition of Bible translation, into German as well as English. Best of all, it is truly – as its title announces – an anthology of both Theory and Practice. Many translations (and some of their source texts) are included, in recognition of the obvious but neglected fact that translations themselves often resist or elude the statements criticism and theory make about them; that they are themselves instances of thinking through translation, not just raw material to be thought about. It is a magnificently compendious volume.
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Studzińska, Joanna. "Translating Linguistic Poetry: Mario Martín Gijón’s Rendicción in Polish, English and French." Experimental Translation, no. 47 (December 20, 2023): 113–35. http://dx.doi.org/10.4467/16891864epc.23.012.18091.
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The lyrical work of Spanish poet Mario Martín Gijón is linguistic in the extreme. Not only does he juxtapose similar-sounding words, but he fuses them graphically into one, with parentheses containing a word fragment [me(re)ce, entreg(u)arme] or two fragments separated by a slash [conju(r/nt)os, in(v/f)ierno]; he also uses enjambment within words (cor / reo, tarde / seosa). These techniques result in a multiplication of readings, which constitutes a major challenge for translators. Terence Dooley, Miguel Ángel Real and the author of this essay (here in the dual role of translator and researcher) translated Martín Gijón’s poetry into English, French and Polish, respectively. Each translator had at their disposal language matter with very distinctive characteristics. The translator into French was able to take advantage of the largely convergent Romance roots, which made it possible to recreate many word games on a one-to-one scale or with only minimal changes. The English language afforded such a possibility much less frequently, and Polish, just once. As a result, the English and Polish translations are re-creations to a much larger extent than the French one. However, the significant differences between each of the versions stem not only from the properties of the target languages, but also from the different approaches of the translators.
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TSUCHIDA, K., and D. ANDRIANOV. "Features of Ukrainian translation of the 469th waka poem from the Japanese anthology "Kokin Wakashū" (following the results of the academic conference "Waka poetry around the world")." Bulletin of Taras Shevchenko National University of Kyiv. Oriental Languages and Literatures, no. 28 (2022): 38–42. http://dx.doi.org/10.17721/1728-242x.2022.28.38-42.
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According to the results of the online academic conference "Waka poetry around the world: Viewing reception and transformation of Japanese culture through multilingual translation", an analysis of the Ukrainian translation of the 469th waka poem from the poetic anthology "Kokin Wakashū" (the Collection of Japanese Poetry Ancient and Modern) by I. P. Bondarenko was carried out. It is this translation that is the subject of the presented study. The goal, which was to reveal the peculiarities of the Ukrainian version of the mentioned poem, was achieved due to its comparison with Chinese, English, French, German, Hungarian, Italian, and Spanish translations. It was found that the Ukrainian translation of the waka poem No. 469 from the anthology "Kokin Wakashū" is characterized by common features that are typical for a number of translations into European languages. In particular, the syllabic structure of the original (a waka poem is composed of 5-7-5-7-7 syllables) has not been preserved in the Ukrainian translation, as well as in the other translations, and these translations themselves are written in five lines. Such common features also include lexical-semantic transformations caused by the difficulties of translating Japanese realia into European languages. For example, such nominations from the original work as "hototogisu" and "ayame" in many multilingual translation versions, including the studied Ukrainian one, are translated with the help of the words "cuckoo" and "iris", respectively, instead of their exact analogues – "lesser cuckoo" and "iris sanguinea". At the same time, there are foreign language versions with observance of the original syllabic verse and an accurate translation of the mentioned realia. Along with the common features, some features that make the translation of the 469th waka verse into Ukrainian unique were also revealed. Among those the translation of the original "satsuki" (the fifth month according to the old calendar and approximately June according to the modern one) as the season of the growth of herbs through the Ukrainian equivalent to "May" (the fifth month according to the modern calendar) literally meaning the "month of herbs", as well as the combination of the first and the second part of the poem through an emotional connection can be named.
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Xu, Qin. "Xu Yuanchong’s Theory of “Three Beauties” and His Poetry Translation Practice." Journal of Education and Educational Research 8, no. 2 (May 8, 2024): 272–76. http://dx.doi.org/10.54097/a2vmkm45.
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Xu Yuanchong is a master of English translation of ancient Chinese poetry. In the long translation practice, Xu Yuanchong has formed his own unique translation style. He applied Lu Xun’s theory of “three beauties” to English and French translation of classical Chinese poetry, and put forward the theory of “three beauties” in poetry translation, that is, translation of poetry should convey the beauty of meaning, beauty of sound and beauty of form of the original poem as far as possible. At the same time, he pointed out that among the three beauties, beauty of meaning is the most important, beauty of sound is the second, followed by beauty of the form. However, a general survey of Xu Yuanchong’s poetry translation practice showed that in the specific process of poetry translation, Xu started more from the beauty of form, and then to the beauty of sound and beauty of sense, and gradually achieved the perfect state of “three beauties” in poetry translation.
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Markova, M. V. "Golubkov, A., Ershova, I. and Chekalov, K., eds. (2021). Ad virum illustrem: In honour of Mikhail Leonidovich Andreev’s 70th birthday: A festschrift. Moscow: Delo. (In Russ.)." Voprosy literatury, no. 1 (April 5, 2022): 276–81. http://dx.doi.org/10.31425/0042-8795-2022-1-276-281.
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The review considers the festschrift celebrating the 70th birthday of the scholar M. Andreev. His colleagues and followers have co-authored a summary of his scholarship that showcases the body of knowledge of the contemporary humanities, where Andreev’s achievements feature prominently. The division of the monograph into sections entitled ‘The Theatre and the Theatrical,’ ‘Italy and Italian Studies,’ ‘Translation and Translators: Practice and Theory,’ and ‘The Poetics of Text’ is inspired by the academic interests of the renowned scholar — the book’s dedicatee, with whom every contributor engages, directly or indirectly, in an intellectual dialogue. The festschrift shows exceptional thematic diversity and richness, and covers purely theoretical as well as practical aspects of scholarly research. For example, the section on translation contains both theoretical studies and actual translations — in poetry and prose, from the Italian, English and French languages — supplied with detailed notes.
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Klein, Lucas. "Inside the History of the World: Syntheses of Literary Form between Prose Poetry and China." PMLA/Publications of the Modern Language Association of America 138, no. 3 (May 2023): 666–81. http://dx.doi.org/10.1632/s0030812923000469.
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AbstractWhat is the international literary history behind Xi Chuan's Chinese prose poems, and what is the literary history behind translating them into English as prose poems? Did Hegel's belief that poetry can be “translated into other languages without essential detriment to its value” contribute to the birth of prose poetry, through a synthesis with poetic form? If so, what does this notion say about Hegel's idea that China lies “outside the World's History”? In the light of the historical association between China and prose poetry in the literary history of French (Judith Gautier, Victor Segalen, Henri Michaux) and English (Allen Upward, Nathaniel Tarn, Ron Silliman, Bob Perelman, Joan Retallack, Mei-mei Berssenbrugge, Tammy Lai-Ming Ho, Sarah Howe, Ken Chen, Cathy Park Hong, Eleanor Goodman, Jennifer Kronovet, and Nick Admussen), I discuss prose poetry as an outcome of what Joyelle McSweeney and Johannes Göransson call a translational “deformation zone,” to argue that translating Chinese prose poetry demonstrates China to be inside, not outside, the history of the world.
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Prevots, Aaron. "English Responses to French Poetry 1880–1940: Translation and Mediation." Modern & Contemporary France 20, no. 2 (May 2012): 260–61. http://dx.doi.org/10.1080/09639489.2012.662481.
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Kelly, M. G. "English Responses to French Poetry 1880-1940: Translation and Mediation." French Studies 66, no. 4 (October 1, 2012): 572. http://dx.doi.org/10.1093/fs/kns177.
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Giovine Yánez, María Andrea. "Traducir el silencio (...)." TRANSFER 4, no. 1 (September 25, 2017): 36–48. http://dx.doi.org/10.1344/transfer.2009.4.36-48.
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This paper analyses some of the basic elements concerning the translation of poetry from the perspective of Wolfgang Iser’s phenomenological approach in the reading process. After considering key concepts of phenomenology, this paper studies some examples of poems translated from English and French into Spanish, always emphasizing the idea that, even though it is a difficult task, the translation of poetry is possible.
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Lahiani, Raja. "The relevance of the glance of the roe of Wajra." Discourse Analysis and Translation Studies 4, no. 1 (June 5, 2009): 31–46. http://dx.doi.org/10.1075/tis.4.1.02lah.
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This article tests the workability of the principle of relevance at the heart of relevance theory by evaluating a corpus of eighteen English and French translations of verse 33 of the Mu‘allaqa of Imru’ al-Qays. This verse embodies a conventional metaphor reflecting a stereotyped image in Arabic poetry, which communicates its ground to the source language (SL) reader by means of inference. The verse challenges the translator to render the metaphor into an equivalent trope and to reflect the ground of the comparison, either by inference or by reference. By comparing the translations in the corpus to the source text (ST) and to each other, this study draws conclusions as to the translatability of a conventional metaphor. Chronology and mode of discourse are taken into account in the evaluation process so as to categorize the translations and the shifts exercised in them. This evaluative yardstick is used to measure resemblance and relevance by taking into account both the ST and the target text (TT) contexts
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Lappo-Danilevskii, Konstantin Yu. "N. M. Karamzin’s Literary Transfer." Slovene 10, no. 2 (2021): 353–66. http://dx.doi.org/10.31168/2305-6754.2021.10.2.15.
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[Rev. of: Kafanova O. B., Perevody N. M. Karamzina kak kul’turnyi universum. St. Petersburg: Aleteiia, 2020. 356 p. (in Russian)] O. B. Kafanova’s monograph «N. M. Karamzin’s translations as a cultural universe» (2020) is the result of many years of comparative studies. Numerous articles on the topic preceded this book, which covers the period from 1783 to 1800. In the beginning Karamzin had good knowledge of French and German only so that he used numerous intermediaries in these languages to acquaint the Russian audience with world literature (ancient and eastern poetry, dramas of Shakespeare, Ossian etc.). Only in the final decade of the eighteenth century did Karamzin begin to draw on texts in English and Italian for these purposes. Among other things, the review establishes some previously unknown sources of Karamzin’s translations. V. I. Simankov’s supplemental list pursues the same objective.
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Tengour, Habib, and Teresa Villa-Ignacio. "The Mediator Serving Two Mistresses." Romanic Review 115, no. 1 (May 1, 2024): 110–14. http://dx.doi.org/10.1215/00358118-11012041.
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Abstract This essay is an Algerian-French poet-translator’s personal reflection on the indispensable role that translation has played in his poetic creativity. Emphasizing in particular his bilingual education in the colonial Algerian context, he observes that his translation of poets from English, Arabic, and German into French is thus “doubly foreign” because his French is steeped in his Arabic culture and language. The essay advocates for the peaceful coexistence of any two languages, and especially the postcolonial coexistence of Arabic and French, as one of mutual enrichment. Tengour shows how this inclusive translational approach to Algerian bilinguality informs not only his creative process but also his editorial work, including Diwân ifriqiya, volume 4 of the Poems for the Millennium series from the University of California Press, and Poèmes du monde, a series of poetry in translation from Éditions Apic in Algeria, which has published over twenty poets from at least a dozen countries.
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Egorova, L. V. "John Donne. A growing love: A hundred and twenty best poems translated and retold by Yury Klyuchnikov." Voprosy literatury, no. 6 (December 27, 2022): 264–69. http://dx.doi.org/10.31425/0042-8795-2022-6-264-269.
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Yury Klyuchnikov is a prolifc author who has published a series of translations of French, Suf, Chinese, Indian, and English poetry into Russian. To Donne’s hundred and twenty ‘best’ poems, selected as such by the volume’s compilers, the book does little justice. The review points out the flaws of the dilettante approach adopted by the translator and the authors of the foreword and aferword alike. The loose retellings of the poems in the book hardly merit the term ‘translations.’ Indeed, Klyuchnikov does not pretend to try to be faithful to the original. The notes and comments in the volume leave the impression of shoddy work. The aferword entitled ‘John Donne — A great English poet and spirit seer’ is authored by S. Klyuchnikov, the translator’s son. His essay reeks of unprofessionalism in the treatment of critical works and various misrepresentations. The book’s co-creators show reluctance in pondering the metaphysical complexity of Donne’s legacy and the multiple levels of meaning contained in his works, compounded by their open mistrust of professional scholars and commentators.
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Medvedeva, Diana Igorevna. "VARIATION IN PORTRAYING THE MAIN CHARACTER OF CH. BRONTЁ’S NOVEL “JANE EYRE” (BASED ON TWO RUSSIAN TRANSLATIONS)." Russian Journal of Multilingualism and Education 13 (December 28, 2021): 106–16. http://dx.doi.org/10.35634/2500-0748-2021-13-106-116.
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Ch. Bronte‟s novel “Jane Eyre” keeps drawing the attention of readers, scholars of literature, translators and translation researchers for many years. Several translators and translation theorists have already devoted their studies to the comparative analysis of some aspects of the existing Russian translations of the novel. However, the variations in portraying the main character - Mr Rochester - become the focus of a study for the first time, which makes the present paper relevant. The study aims at comparing two translations made by V. Stanevich and I. Gurova from the point of view of the linguistic means employed by translators to reconstruct the image of the main character. An attempt is made to describe the differences in translations and explain their reasons. The study shows that the translations discussed differ in the following aspects: portraying of the character‟s appearance, reproduction of his speech style, description of the man‟s emotions, reactions, and evaluative statements about the people surrounding him. The conducted comparative analysis allows to conclude that in V. Stanevich‟s translation the hero seems to be more attractive both in appearance and in his inner world. Mr Rochester in I. Gurova‟s translation is not so handsome, he is more critical of others; the range of his negative characteristics is much wider. The quotations from the English poetry and the French language elements in Mr Rochester‟s speech are fully represented in I. Gurova‟s translation, while in V. Stanevich‟s translation they are partly omitted. The study also revealed some other differences. Both translators sometimes resort to literal translation; however, I. Gurova is more likely to emphasize negative connotations, while V. Stanevich prefers a more positive colouring. Both translators sometimes deviate from the original in conveying either the denotative meaning of words or their connotations. There are instances of choosing different meanings of polysemantic words. In our view, the comparative analysis of two or more translations of the same work of literature may contribute to translation theory and present an interesting linguistic material for teaching literary translation.
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Waldinger, Albert. "The Remnant Word." Babel. Revue internationale de la traduction / International Journal of Translation 47, no. 1 (December 31, 2001): 49–74. http://dx.doi.org/10.1075/babel.47.1.06wal.
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This article deals with the meaning of contemporary Yiddish poetry and its translation into several non-Jewish languages — French, German and English — stressing the perfected realization of this meaning through educated insight into a completely different culture and language. Also discussed are the contributions of Hasidism, Expressionism and Yiddish Introspectivism as well as the fact that both poetry and language are in the process of disappearing and thus require special care.
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Dieiu-Donné Yédia, Dadjo Servais. "Investigating Translation Strategies of Lyrics: A Case Study of English and French Versions of the Song Unstoppable by Sia and Sara’h." Traduction et Langues 22, no. 1 (June 30, 2023): 276–95. http://dx.doi.org/10.52919/translang.v22i1.941.
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This paper investigates the translation strategies used while translating Sia’s lyrics intitled Unstoppable into French. It aims at identifying the translation strategies used while translating the selected lyrics into French in order to determine the most suitable strategies for lyrics translation on the one hand and provide a new interpretation for the selected lyrics on the other hand. The theories that underpin this work are Levefere (1975)’s strategies of poetry translation and Baker (1992)’s strategies for non-equivalence at word level. A mixed method has helped the researcher identify and analyze the translation strategies used in the French version of the selected lyrics. The study reveals different proportions of translation strategies: metrical translation 42%, interpretation 38%, rhymed translation 8%, phonemic translation 8% and literal translation 4% following Levefere (1975)’ theory on the one hand. On the other hand, the study reveals following Baker (1992)’s theory, paraphrase using related words 58%, paraphrase using unrelated words 25% and omission 17%. It has been observed that metrical translation strategy is the most suitable for song translation since the translator needs to respect not only the original meter and rhythm but also the melody. This explains the high use of metrical translation strategy. The strategy of interpretation helps the translator create new forms in the target language basing on her own understandings, cultures and styles for the purpose of conveying adapted meanings from the original ones.
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Arindam Roy, Et al. "Neural Machine Translation from Bengali Language to English language and vice-versa." International Journal on Recent and Innovation Trends in Computing and Communication 11, no. 9 (November 5, 2023): 3823–30. http://dx.doi.org/10.17762/ijritcc.v11i9.9635.
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Bengali ranks among the first ten spoken languages in the world with a native speaker numbering about 230 million people. With UNESCO declaring 21st February as International Mother Language Day to commemorate the laying down of lives by five Bangladeshi students for the cause of their mother tongue, Bengali has come into the radar of worldwide attention . Though significant amount of prose, poetry have been written in Bengali language and large number of newspapers in Bengali get published daily, technically it is still considered a Low Resource Language (LRL) unlike English or French which are High Resource Language (HRL). The reason is not far to seek as corpora in varied domains such as short stories, sports, politics, agriculture etc is less in number and even when they are available, the size is less. Machine translation (MT) is difficult to perform in Bengali as parallel corpora from Bengali to other languages and vice versa is few and far between and when they are available they suffer from the problems of size and quality. This work is aimed at implementing one state of the art model in Neural Machine Translation (NMT) which is called the self-attention transformer model to perform translation from English to Bengali and vice versa. Though a couple of research work has been published in the recent years on MT from English to Bengali, they are mostly domain specific. This paper does not focus on any specific domain for NMT from English to Bengali and as such may be conceived as a more of general domain NMT from English to Bengali which is more difficult than domain specific NMT. Performance evaluation of the model was done using BLEU version-4 vis-à-vis translations of well known English-Bengali MTsystems.
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Owoeye, Tuesday. "Traduire la culture poétique du français en anglais." Babel. Revue internationale de la traduction / International Journal of Translation 57, no. 3 (November 10, 2011): 342–53. http://dx.doi.org/10.1075/babel.57.3.06owo.
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That literary texts appear to be more difficult to translate than technical ones is no longer a subject of debate. This truth is fundamentally as a result of obvious challenges the literary translator has to face, since he is under the obligation to translate not only the literal meaning of his source text, but also its literary style. Even within the literary field of translation, if the translator of prose or drama rarely has an easy task, the translator of poetry is likely to meet harder obstacles in the course of his exercise. Poetry — especially when it has to do with traditional poems – appears, thus, the most dreaded terrain for the translator.<p>This article presents a comparative study of the poetic culture of French and English with the principal objective of demystifying the theoretical and practical problems associated with poetic translation. Supported by a critical analysis of an English translation of a French sonnet, the paper argues that the work of the poetic translator would be made more simplified if priority is given to the culture of the target language. The article thus recommends faithfulness to the poetic culture of the target language in order to produce a translation that will be acceptable to the reader of that language.<p>
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Dunaway, John Marson. "Michael Edwards: A Poet’s Vision of the Untimely Message of God." Religions 13, no. 10 (September 23, 2022): 895. http://dx.doi.org/10.3390/rel13100895.
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Michael Edwards, professor of English literature at the Collège de France in Paris, poet, critic, and the first British subject to be elected to the French Academy, has turned his attention in recent years to biblical literature. In 2016 he published Bible et poésie (Paris, Fallois). A translation of the sequel, Pour un christianisme intempestif (Paris, Fallois), was released in February of 2022 by Fortress Press under the title, Untimely Christianity. In the same year, the English translation of his 2016 volume, under the title The Bible and Poetry, will be published by New York Review Books. This study examines the poet-scholar’s perspective on scripture, on theology, on the art of translation and his opinions of various modern translations of the Bible and highlights the most useful insights he contributes. The notion of Christianity’s radical alterity is an important key to Edwards’s work. Christianity is foreign to us, it is strange, so the scriptures that reveal it are also radically other. We Christians have been so desensitized to that otherness by our familiarity with the text that we seldom are challenged by it with the force that energized it originally. Its immense countercultural potential for transforming us and our world is blunted so that we don’t truly hear the voice of God in it. Edwards’s essential purpose is to help us reawaken our ability to hear the Bible in its untimely, countercultural power.
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Bernstein, Charles. "NoOnesRose: An Interview with Pierre Joris." boundary 2 50, no. 4 (November 1, 2023): 1–27. http://dx.doi.org/10.1215/01903659-10694127.
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Abstract Pierre Joris discusses his literary journey from Luxembourg to Bard College to Algeria to Paris and London and finally New York. Joris focuses on his translation of Paul Celan, his engagement with the poetry of the Maghreb (culminating in his coediting of The University of California Book of North African Literature, volume 4 of Poems for the Millennium), and the importance of French poet Edmond Jabès. He goes on to address his choice to write in his fourth language, English, and the formative readings of American poetry and his connection to some of the New American Poets of the generation older than him. In the course of the interview, Joris discusses his sense of a nomadic community—or perhaps better to say “negative” or “inoperable” community. Throughout, he comes back to his commitments to writing poetry and to translation as the core the practice of poetry.
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Liao, Ziqian, and Meng Ou. "Brief Analysis of the Beauty of Poetry Translation from the Perspective of Xu Yuanchong’s “Three Beauties Theory”." Journal of Education and Educational Research 7, no. 1 (January 6, 2024): 186–91. http://dx.doi.org/10.54097/mfnbbc51.
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Xu Yuanchong is a well-known translator at domestic and overseas, and is regarded as the first translator of poetry into English and French. As a leading translator of ancient Chinese poetry into English, Xu Yuanchong has a rigorous attitude, inherits the doctrines of his predecessors, collects his lifelong experience, and puts forward his unique translation theory “The three Beauties” - in his more than 60 years of literary translation practice and work, advocating the transmission and preservation of the three aspects of beauty in meaning, sound and form. The theory of “Three Beauties Theory” advocates the transmission and preservation of the metrical rhythm of poems and songs in three aspects: meaning, sound and form, which can perfectly reproduce the unique rhythmic flavor of ancient poems and improve the readability and appreciation of the translation. “Three Beauties Theory” has played an important role in the development of Chinese translation theory. “Three Beauties Theory” provides a theoretical basis for making translated poems more pleasing to the eye and the mind. This study examines Xu Yuanchong’s translation theory and practice from the perspective of his “Three Beauties Theory”, and further analyzes the beauty of his poetry translation from the perspective of his “Three Beauties Theory”.
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Ustinovskaya, Alena. "ПЕРЕВОД КАК ДИАЛОГ ТРАДИЦИЙ И КУЛЬТУР («АНАКРЕОНТИЧЕСКАЯ ПЕСЕНКА» Н. С. ГУМИЛЕВА)." Проблемы исторической поэтики 18, no. 4 (November 2020): 288–305. http://dx.doi.org/10.15393/j9.art.2020.8722.
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The article is devoted to the analysis of the Anacreontic Song by Théophile Gautier, translated by N. S. Gumilev, which is examined against the background of the Russian and global Anacreontic tradition. Imitation of Anacreon is rooted in antiquity: his figure became a symbol of light lyric poetry that glorified sensual pleasures. Anacreon’s own legacy is not as extensive as pseudo-Anacreontic poetry: this tradition is present in English, French, German, Italian and Russian literature. In the process of translating Odelette anacréontique by Théophile Gautier, Gumilev enters into intercultural and inter-traditional communication: his translation is a dialogue with both the French poet and the Anacreontic and pseudo-Anacreontic genre tradition. Despite the statements N. S. Gumilev proposed in his theoretical works on translation issues, which stated that it is necessary to rely on the original text during translation, and that deviations and loose retellings are unacceptable, in some cases he still departs from the original text, deliberately building the subtext of the poem that is absent in the original. Gumilev’s translation makes Gautier’s poem “more Anacreontic” than the original: Gumilev intensifies the motives of love, pleasure, sensual pleasure that are significant for pseudo-Anacreontics, introduces the image of wine as a symbol of love that was absent in the original. Gumilev’s translation solutions considered in the article represent a kind of editing of Gautier’s text that approximated it to the complex of motives traditionally associated with the work of Anacreon.
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Padel, Ruth. "Homer's Reader: A reading of George Seferis." Proceedings of the Cambridge Philological Society 31 (1985): 74–132. http://dx.doi.org/10.1017/s0068673500004764.
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The reader I have in mind is a poet. My immediate interest is the example he provides of a writer's relationship with her or his reading. My aim is double: to suggest both that Homer illuminates the work of the later poet and that the later poetry can function as an interpretation of Homer which offers even to a scholar valuable ways of reading the epics, especially the Odyssey. Accordingly, I shall usually offer translations both of the modern and of the ancient Greek, since not all classicists know modern Greek intimately and those who study modern Greek do not always know the ancient language well.Let us begin by reading one of Seferis' best-known poems. He wrote it in the Thirties and many contemporary poetic influences, both French and English, are at work in it. But I want to read it now from a special perspective, which I shall argue was crucial to Seferis through all his work. I shall read it as a search for a significant but bearable relationship in his own poetry with Homer and, through Homer, with the whole ancient poetic tradition.
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France, Peter. "Scott Moncrieff's First Translation." Translation and Literature 21, no. 3 (November 2012): 364–82. http://dx.doi.org/10.3366/tal.2012.0088.
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C. K. Scott Moncrieff, famous as the translator of Proust, began his translating career in 1918 with La Chanson de Roland. Knowing nothing of Old French, he encountered this classic text while recovering from a war wound; the work of translation was a ‘solace’ in time of war, but also a homage to his friend Wilfred Owen and others who had ‘met their Rencesvals’ as the war drew to a close. Scott Moncrieff was no jingoist, but against the cynicism of Siegfried Sassoon's war poetry, he used the Old French epic to celebrate the positive values embodied in the idea of vassalage. Like his Proust, his Song of Roland sought to bring another world to life in English-speaking culture, in all its specific difference. Here this led him to adopt an archaizing and purportedly oral style, notably in the imitation of the assonanced laisses of the original.
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O'Connor, Clémence. "Poetry as a Foreign Language in Heather Dohollau and André du Bouchet." Nottingham French Studies 56, no. 2 (July 2017): 188–200. http://dx.doi.org/10.3366/nfs.2017.0180.
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This essay focuses on André du Bouchet (1924–2001) and Heather Dohollau (1925–2013), a Welsh poet who lived most of her life in France and is only published in French. Poised as they are between French and English, these poets are uniquely placed to participate in current reassessments of language and bilingualism. Both poets were translators and relied on the experience of linguistic defamiliarization in their poetic practice. They view poetry as the translation of a language into, and out of, itself. By drawing attention to language in its materiality, and to the poem as a visual form, their poetics of ‘difficulty’ (Dohollau) or ‘surprise’ (du Bouchet) compels the Francophone reader to adopt a foreign perspective on his or her own language. Poetry is thus reinvented as the idiome dreamt of by Derrida: a defamiliarizing other language, potentially able to translate otherness in its own terms.
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Sadowski, Witold. "A Brief History of O!" Poetics Today 43, no. 1 (March 1, 2022): 103–25. http://dx.doi.org/10.1215/03335372-9471010.
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Abstract In the poetry of many nations, the interjection O! is a marker of poeticalness, a marker that contributes to the factors distinguishing poetry from colloquial speech. O! is treated not so much as an expression derived from the language in which a given poem was written (i.e., English, Italian, Polish, etc.) as a common lexeme within an international poetic language. In different countries, the interjection O! is understood in similar ways and does not require translation, even if the other parts of the poem are rendered in distinct languages. Despite the importance of the interjection in world literature, research into the semantics of O! has been limited in scope. The aim of this article is to trace the main stages of development that O! has undergone in European poetry from antiquity until the present day. The article initially discusses the semantic variants of the interjection in ancient Greek and Latin poetry. These derive from two functions of O!, functions that are described within the context of the Bakhtinian concepts of the addressee and superaddressee. Subsequently, the process in which the autonomy of this lexeme was shaped with regard to vernacular languages is considered. The examples illustrating this process have been taken from Bulgarian, English, French, German, Italian, Occitan, and Polish poetry.
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Wong, Laurence. "Translating Shakespeare’s imagery for the Chinese audience." Babel. Revue internationale de la traduction / International Journal of Translation 57, no. 2 (July 21, 2011): 204–25. http://dx.doi.org/10.1075/babel.57.2.05won.
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Generally speaking, the message of a poem is conveyed on three levels: the semantic, the syntactic, and the phonological. How translatable each of these levels is to the translator depends on how much cognation there is between source and target language: the more cognation there is, the more translatable each of these levels. Thus, in respect of all three levels, translation between languages of the same family, such as English and French, both of which belong to the Indo-European family, is easier than translation between languages of different families, such as English and Chinese, which belong respectively to the Indo-European and the Sino-Tibetan family. If a further distinction is to be made, one may say that, in translation between Chinese and European languages, the semantic level is less challenging than both the syntactic and the phonological level, since syntactic and phonological features are language-bound, and do not lend themselves readily to translation, whereas language pairs generally have corresponding words and phrases on the semantic level to express similar ideas or to describe similar objects, events, perceptions, and feelings. As an image owes its existence largely to its semantic content, the imagery of a poem is easier to translate than its phonological features. Be that as it may, there is yet another difference: the difference between the imagery of non-dramatic poetry and the imagery of poetic drama when it comes to translation. With reference to Hamlet and its versions in Chinese and in European languages, this paper discusses this difference and the challenges which the translator has to face when translating the imagery of poetic drama from one language into another; it also shows how translating Shakespeare’s imagery from English into Chinese is more formidable than translating it from English into other European languages.
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Ichim-Radu, Mihaela Nicoleta. "Vasile Alecsandri: Unique Aspects of the Biographical Itinerary vs. Recovery of the Writer's Memory." Intertext, no. 1/2 (57/58) (October 2021): 76–81. http://dx.doi.org/10.54481/intertext.2021.1.08.
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Among the writers of his generation, Alecsandri is the most comprehensive one, expressing not only the patriotic aspirations and desires, but also the discoveries from the universe of the private life and trying to make himself noticed in almost all the main literary genres and species. By different circumstances, Alecsandri gets to travel through Moldavia, Wallachia, Bucovina and Transylvania, to the European part of Turkey, to Italy, Austria, Germany, France, Spain, Great Britain, North of Africa, either for personal pleasure, to accompany Elena Negri, who was trying to find a more favourable climate for her fragile health, or for official business. All these travels and each of them separately are part of the development of his creation, leaving marks in his fiction and poetry and “it is printed on the screen of the human experience which defines his public and private personality”. In one of these travels, Alecsandri will discover the folk poetry, discovery which will profoundly mark his destiny as a writer and it will also have immeasurable consequences on the entire development of the Romanian literature from the last century, but also from the years to follow. As a result of the translations into French, German and English of the folk poems or of some of his original poems, Alecsandri becomes one of our first modern writers who became famous also abroad, being accessible to the foreign world.
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Skibsrud, Johanna. ""If We Dare To": Border Crossings in Erin Mouré’s O Cidadán." Brock Review 11, no. 1 (March 25, 2010): 15–27. http://dx.doi.org/10.26522/br.v11i1.91.
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This essay explores the space of contact between languages–particularly that of French and English–within Erin Mouré’s recent collection of poetry, O Cidadán. The following discussion demonstrates the manner in which a tangible place for each language, without appropriating one into another, is created on the page. Drawing on the writings of Mary Louise Pratt and Jacques Derrida, I argue that instead of defining the language interaction, or translating one language into another, Mouré constructs a "contact zone" where deferring/differing spaces of language intersect and are made "visible" and are "touched."
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MECHAT, Kahina, and Souryana YASSINE. "A Cognitive Analysis of Si Mohand’s Translated Poetry L’Amitié Bafouée." Arab World English Journal For Translation and Literary Studies 5, no. 1 (February 15, 2021): 363–77. http://dx.doi.org/10.24093/awejtls/vol5no1.24.
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Kabyle oral poetry is the spirit of Kabyle literature. Si Mohand’s poetry was and still is the subject of many studies. The current research is Cognitive and analytical and aims to explain the English translated version of poem 16 taken from L’Amitié Bafouée, using schema theory, following Semino’s (2014) proposed approach to poetry analysis. Terminologies advanced by Schank and Abelson (1977), Schank’s Dynamic Memory (1982), and Cook’s Schema Refreshment (1994), will be used in the analysis. The study’s significance is firstly shown through its corpus, i.e. previous works dealing with Si Mohand’s poetry mostly made use of either the French or Kabyle versions. And secondly, through the use of a combination of terminologies advanced by the previously mentioned scholars. The study aims to answer the following main question: what is the main scene projected by the poem? And the following sub-question: what is the impact of culturally translated metaphors on readers? Results show that nine scripts need to be activated to form the betrayal Scene. Moreover, the use of literal translation in cultural metaphors specifically, led to difficulties in activating appropriate scripts in order to allow understanding to take place. In fact, understanding is determined by the reader’s background knowledge. The current analysis can also be used in translation assessment, detecting cultural misunderstandings, comparative studies of poetry, and can even be introduced to teaching.
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Mal Mazou, Oumarou. "Fulani Oral Literature and (Un)translatability: The Case of Northern Cameroon Mbooku Poems." Territoires, histoires, mémoires 28, no. 1-2 (October 23, 2017): 109–31. http://dx.doi.org/10.7202/1041652ar.
Full textAbstract:
This paper sets out to examine the translatability of Fulani oral poetry from Northern Cameroon, especially the mbooku genre, in a literary perspective. The corpus is gathered from selected oral poems that were transcribed and translated into German, English and French by different translators. The study reveals that it is possible to translate Fulani poems into European languages so that the target texts perform the same literary functions as the source texts, in spite of linguistic and cultural difficulties that occur during the transfer process. Thus, the author proposes a retranslation in which the content meets the form, taking into account some patterns of European modern poetry. He therefore advocates for retranslations of these poems from a purely literary perspective and would like to see translation studies focus more on the primary source of African orality.
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Berard, Christopher. "King Arthur’s Charter: A Thirteenth-Century French Satire Against Bretons." Journal of the International Arthurian Society 8, no. 1 (September 1, 2020): 3–37. http://dx.doi.org/10.1515/jias-2020-0002.
Full textAbstract:
AbstractOn the verso of the last leaf of a twelfth-century manuscript containing the poetry of Hilarius, a student of Abelard, appears a faux charter purporting to have been issued by Arthur, king of the Britons, in the hundredth year of his immortality. In the act, Arthur thanks the descendants of his British subjects for their fidelity and grants them an exclusive franchise to fish in secret rivulets. The privilege contains two prohibitions: one prohibiting Britons from wearing shoes and the other prohibiting them from owning cats. This article provides a diplomatic edition, English translation and analysis of King Arthur’s Charter. It identifies the strange stipulations of the charter as tropes of anti-Breton satire, attested also in the Privilège aux Bretons (c. 1240), an Old French song that mocks the customs and occupations of impoverished Breton immigrants to thirteenth-century France.
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Yan, Ruiyu. "The Application and Analysis of Xu Yuanchong's "Three Beauties Theory" in Poetry Translation." Communications in Humanities Research 6, no. 1 (September 14, 2023): 407–14. http://dx.doi.org/10.54254/2753-7064/6/20230331.
Full textAbstract:
Xu Yuanchong is a famous contemporary translator in China, and his literary translation achievements are renowned both at home and abroad. He has published more than 60 books in Chinese, English and French, including "The Book of Songs", "Elegies of the South", "Selected Poems of Li Bai", "Romance in the Western Bower", "The Red and the Black","Vanished springs","Madame Bovary" and "In Search of Lost Time".In 2014, Xu Yuanchong was awarded the "Aurora Borealis Prize" Award for Excellence in Literary Translation, one of the highest awards in the international translation industry.Mr. Qian Jongshu, a literary giant, once said of Mr. Xu Yuanchong: "Mr. Xu has devoted his life to Chinese culture, and has died with all his might. And he opened up a new path for Chinese culture in the world."This article mainly expounds the background, function and significance of Xu Yuanchong's "Three Beauties Theory", and through case analysis, compares Xu Yuanchong's specific application of the "Three Beauties Theory" in Chinese poetry translation with other translators, and analyzes its embodiment in the "Three Beauties Theory".