This essay will criticize Peter Lamarque’s claim in The Opacity of Narrative that reading for ‘opacity’ is the way to read literature as literature. I will summarize the idea of ‘opacity’ and consider the plausibility of this claim through an examination of Lamarque’s related comments on translation. The argument for ‘opacity’, although it insists on the importance of attention to a work’s form in the apprehension of its content, involves, at the same time, a certain obliviousness to form, indicated (...) in the first instance by an unpersuasive conflation of lyric poetry and prose fiction. Through a comparison of opposing approaches to the translation of a novel written in verse, and an analysis of why the translation of poetry is generally understood to be more challenging than the translation of prose, I will argue that reading for ‘opacity’ does not adequately capture what it means to read literature as literature. (shrink)

Name der Zeitschrift: Semiotica Jahrgang: 2018 Heft: 224 Seiten: 19-44.

Equimetrical translation of verse, which conveys the metre of the source text, should be distinguished from equiprosodic translation of verse, which conveys theversification system of the source text. Equiprosodic translation of verse can rely on the possibilities of natural language (for instance, when presumably Publius Baebius Italicus created the Ilias Latina, he made use of the quantitative structure in Latin), but it can also employ an artificial system (cf., for example, the quantitative verse in Church Slavonic or (...) English). The Estonian language makes it possible to convey the syllabic (based on the number of syllables), accentual (based on the number and configuration of accents) and quantitative (based on the configuration of durations) versification systems. In practice, combined types are most frequent, for instance, the ones in which both the syllable count and the configuration of accents is relevant; in Estonian, versification systems with theparticipation of all three principles are possible as well. Despite the contrast of quantity in Estonian, the transmission of the quantitative structure of ancient metrics still involves a number of difficulties which result from differences in the prosodic structures. The transmission of purely syllabic versification system has also been problematic: it is hard to perceive such structure as verse in Estonian and therefore it has often been conveyed with the help of different syllabic-accentual or accentual-syllabic verse metres. Although equiprosodic translation is not necessarily equimetrical, in actual translation practice it usually is so. (shrink)

Traditionally, comparative literature has focused on the study of influences between texts and it is only recent work that has explored the analogies and affinitiesof historically independent cultures. In this spirit, this paper develops methods for a structured poetic analysis and applies them to a systematic comparison of thepoem “Niǎo Mǐng Jiàn” from the 8th-century Chinese poet Wáng Wéi and the program piece of Paul Celan’s Atemwende: “Du Darfst,” based upon a detailed analysis of their poetics. The analysis and (...) class='Hi'>translation reveals how both poems employ words and images as signs without reference, and create dialogical gaps through ambiguity and impersonality. Thus, despite their cultural and historical separation, both poetic texts become “hermetic,” and both poets apply the “hermetic” as a method of inquiry into truth, a truth that cannot be simply pronounced, but needs to be cowitnessed, or heard in silence. It is through this meaningful “silence” that their poetry invites readers and translators all the more perceptively to engage in meaningful conversations. These results entail encouraging perspectives for the question of the limits of translation, especially with regard to east-western studies and for crosscultural comparative literature. Thus, the paper supports Prof. Li Qingben’s and Prof. Guo Jinghua’s claim for a multi-dimensional framework in the study of East-West cultural influences. (shrink)

The Rigveda: The Earliest Religious Poetry of India. Translated by Stephanie W. Jamison and Joel P. Brereton. South Asia Research. New York. Oxford University Press, 2014. 3 vols. Pp. 1693. $420.

This article argues that a recent wave of creative self-translations by Latinx poets marks a significant turn in Latinx literary history. In contrast to the conventional view of translation as a derivative, subsidiary craft, these self-translations serve as a creative practice (for composing innovative literature), a trope (for cultural and linguistic multiplicity and self-decolonization), and a theoretical framing (attuned to colonial relationships and power differentials between languages and cultures). What does this reconceptualization of self-translation mean for Latinx (...) class='Hi'>poetry and for translation studies? What are its contexts and antecedents, its aesthetic forms and modes of inventiveness, its social and theoretical implications? I consider these questions in relation to the work of two Puerto Rican poets, Urayoán Noel and Raquel Salas Rivera, arguing that their practices are illuminated by the decolonial theory of “transcreation,” or creative translation, developed by Haroldo de Campos. Their poetry is related to but distinct from the tradition of Spanglish and code-switching in Latinx poetry, for English and Spanish coexist in their self-translations in novel ways that do not necessarily correspond to ordinary speech patterns. At the same time, traditional values in translation are supplanted by an emphasis on creativity, criticality, and the translator’s discernable presence. I contend that transcreative self-translation reflects, critiques, and queers the process of transculturation ongoing in the US and its colonies on linguistic, cultural, and social levels. (shrink)

For some Western translators before the twentieth century, domestication was their strategy to translate the classical Chinese poetry into English. But the consequence of this strategy was the sacrifice of the ideogrammatic nature of these poems. The translators in the twentieth century, especially the Imagist poets and translators in the 1930s, overcame the problems of their predecessors by developing their translation theory and practice in ways that are close to those of many contemporary semiotic translators. But both Imagist (...) translators and contemporary semiotic translators have the problem of indifference to the feeling of the original in their translations. For the problem of translating the classical Chinese poetry by the Westerners before the twentieth century and the Imagist poets and translators of the twentieth century, see Zhao and Flotow 2018. This paper attempts to set up an aesthetic-semiotic approach to the translation of the iconicity of classical Chinese poetry on the basis of the examination of both Eastern and Western translation studies. (shrink)

An exact reprint of the fourth edition of Butcher's famous commentary on the Poetics, together with his Greek text and English translation. Includes a helpful introductory essay, written especially for this edition, on "Aristotelian Literary Criticism".--V. C. C.

Resumen Este trabajo intenta esbozar ciertas reflexiones en torno al papel de los afectos en la práctica de la autotraducción en la poesía mapuches. Vemos en el “giro afectivo” una posibilidad de comprender la producción literaria bilingüe de autores mapuches como un proyecto ético de reapropiación lingüística y de transgresión de límites culturales originado en afectos de “pulsión genealógica” que ponen en cuestión la autoridad de la lengua del colonizador, a la vez que resultan en la generación de los llamados (...) “afectos activos”, propios de un aumento del grado de potencia expresiva y de agenciamiento de los sujetos. Para ello trazaremos una cartografía de conceptos de distintos pensadores que han reflexionado acerca de los afectos y la lengua, desde Jacques Derrida a Gloria Anzaldúa, pasando por el ineludible Gilles Deleuze en su estudio de los afectos en la Ética de Baruch Spinoza. Asimismo, pondremos estos conceptos en diálogo con las propias reflexiones de varios de autores mapuches: Liliana Ancalao, Adriana Paredes Pinda, María Teresa Panchillo, Leonel Lienlaf y Elicura Chihuailaf.In this work we wish to analyze the role of affects in self-translation in Mapuche poetry. We see in the “affective turn” a possibility to understand the bilingual literary production of Mapuche authors as an ethical project of linguistic reappropriation and transgression of cultural limits originated in affects of “genealogical drive” that question the authority of the language of the colonizer, as well as resulting in the generation of “active affects”, inherent to the increase of the degree of expressive potency of the subjects. For this purpose, we set out to trace a cartography of concepts by different thinkers who have reflected upon the relationship between affects and language, from Jacques Derrida to Gloria Anzaldúa, as well as the inescapable contributions of Gilles Deleuze on the study of affects in Spinoza’s Ethics. Also, we will link such concepts with the reflections of five Mapuche poets, Liliana Ancalao, Adriana Paredes Pinda, María Teresa Panchillo, Leonel Lienlaf and Elicura Chihuailaf. (shrink)

An important Belgian avant-garde poet, Daive's investigations alternate between poetry, narration and reflective prose. In addition to translations of Daive's poetry, van Gerven Oei offers a lush presentation of Daive's poetry and its relationship to the production-analysis of signification.

Abú Hayyán al-Tawhidi (d. 414/1023) actively contributed to the rich and diverse debate that took place in all fields of adab in the middle Abbasid period. In the 251h night of this Kitab al-imta wal-l-ma ánasa, al-Tawhidi talks about the respective virtues of poetry and prose. This highly entertaining debate where jest and earnest (jidd wa-hazl) are skillfully interwoven, also stands under the influence of Aristotelian ideas that were applied lo literary theory. The article offer> a commented translation (...) with references to other contemporary sources. (shrink)

This article examines the contribution that poetry written over the last fifty years might make to the established and burgeoning field of Medical Humanities. It takes poems by women about cancer and depression as a case study of how they can offer insight into the impact of these conditions on the sufferer. Collectively, the poems document and effect shifts in knowledge about, and the associated stigmas concerning, illnesses that carry secrecy and shame, specifically cancer and depression. Additionally, drawing on (...) Virginia Woolf’s remarkable essay “On Being Ill”, we see how the non-verbal features of poems, particularly metaphors and symbols, mark the space of what a patient cannot fully articulate. Accordingly, the poems discussed illuminate how literature can express human interiority but at the same time remind the reader – or health professional – that interiority can never be fully presented. Thus, poetry both contributes to and also checks the ways in which literature is appropriated by the biomedical sciences. The poets included are Eavan Boland, Julia Darling, U.A. Fanthorpe, Jackie Kay, Gwyneth Lewis, Carol Satyamurti and Jo Shapcott. Some poems specify a female subjectivity, some express agency as autonomous individuals, while others presume to speak of common human experience. (shrink)

“Poetry, Animality, Derrida”: this title is traced by a play of the letter, by the chance of an acronym: “pad.” This pad – the random drawing up of these three letters, p, a, d – is perhaps untranslatable. As such, it might bear witness to Jacques Derrida's memorable remark about poetry, translation, and the materiality of words: “The materiality of a word cannot be translated or carried over into another language. Apocalypse distracted: deranged, absent‐minded, diverted apocalypse. Not (...) in some merely maniacal or else nihilistic manner: it is necessary to reckon, as always in Derrida's writing, with the workings of deconstruction as what he calls a “strange strategy without finality”, with “distracted apocalypse” as a figure of that. Derrida's commentary on Lawrence's poem is too rich and suggestive to be readily summarized. (shrink)