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Sarah Lee, Sze Wah. "Anglo-French Poetic Exchanges in the Little Magazines, 1908–1914". Modernist Cultures 16, nr 3 (sierpień 2021): 340–66. http://dx.doi.org/10.3366/mod.2021.0338.
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This article demonstrates the extent and significance of exchange between English and French poets in the years leading up to World War I, a crucial period for the development of modern Anglophone poetry. Through archival research, I trace the growing interest in French poetry of Imagist poets F. S. Flint, Ezra Pound and Richard Aldington, exhibited in various little magazines including the New Age, Poetry Review, Poetry and Drama, Poetry, the New Freewoman and the Egoist. Moreover, I show that such interest was reciprocated by contemporary French poets, notably Henri-Martin Barzun and Guillaume Apollinaire, who published works by English poets in their respective little magazines Poème et Drame and Les Soirées de Paris. This suggests that not only were modern English poets influenced by their French counterparts, but they were also given a voice in the Francophone artistic world, resulting in a unique moment of cross-channel poetic exchange before the war.
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VELYCHKO, M., i O. BRATEL. "The role of Andaluzian poetry in the formation and development of the lyrics of the Provencal troubadours". Bulletin of Taras Shevchenko National University of Kyiv. Oriental Languages and Literatures, nr 26 (2020): 45–48. http://dx.doi.org/10.17721/1728-242x.2020.26.45-48.
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In the review article the theories of the Arabic origin of West European chivalrous poetry were analyzed. The article deals with the problem of the direct interaction between Arabic and European literary traditions, in particular, the probability of the impact of the Arab-Spanish strophic poetry on Provencal troubadour's lyrics and the possibility of the influence of Andalusian poetry on Spanish and Provencal. So that it is established that al-Andalus was a multilingual society in which the Andalusi Romance dialects were spoken and written alongside Arabic. In Europe, and from scholars working in departments of modern national languages, this usually means the discussion of what it means to write in Middle English, or German, or French instead of Latin. The Andalusian poets could easily convey in Romance the motives and themes inherent in Arabic classical literature, and with the help of the Arabic language they expressed elements of Roman folk poetry. The analysis of various researches showed that the issue of the historical and geographical formation and development of Arab-Spanish poetry during the Middle Ages were studied by Arab and European sceintists of past centuries, as well as by the modern literary scientists. Modern studies of the Arab-Spanish medieval stanza do not deny the existence of an interaction between European and Arabic lyrics, but the role of this interaction on the scale of the history of world literature remains unclear. Lyrics of the troubadours of the 11th–14th centuries was a unique synthesis of many literary elements of church Latin poetry, folk poetry and Arab influences, and strongly influenced on the history of Italian, Spanish, English, Portuguese, German literature.
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Sokolova, Alla. "The Court Culture in France, Italy and England in 16-17th Centuries: Interaction and Mutual Influence". Journal of History Culture and Art Research 9, nr 4 (24.12.2020): 134. http://dx.doi.org/10.7596/taksad.v9i4.2958.
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<p>The article examines the traditions of French court ballet, which are rooted in early medieval Italian musical and theatrical performances, as well as the traditions of the medieval carnival. The functional features of the French court ballet are revealed. French ballet is viewed through the prism of a synthesized art form: dance, music, poetry and complex scenography. It is specified that French ballet as an independent genre was formed in the era of Queen Catherine de Medici.</p><p>It was revealed that thanks to the skill and professionalism of choreographers of both French and Italian descent, the French court ballet reached its peak in the first half of the seventeenth century.</p><p>It was determined that the court ballet was becoming a cultural and political instrument that raised the status of France in Europe, served to strengthen the authority of the French monarch, and was a means of uniting the French monarchy and the people. Despite significant financial costs, the political and cultural feasibility of staging court ballets exceeded the economic feasibility.</p><p>An analogy is drawn with the English court Мasque. It is substantiated that the English court Masque was based on the traditions of Italian intermedio and French court ballet. Thus, English stage designers adopted the experience of Italian stage designers. Dances of Italian origin were an integral part of Masque in England. Choreography in Masque was created by French and Italian choreographers.</p><p>It has been proven that English culture was influenced by continental culture, which contributed to the formation of a common cultural space.</p><p>It is substantiated that the genre of French ballet, Italian intermedio and English Masque were not a high art, but over time, having undergone a transformation, they evolved into new forms and genres.</p>
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Van der Mescht, H. "Die agtergrond en ontstaansgeskiedenis van Hubert du Plessis se Duitse en Franse liedere". Literator 24, nr 2 (1.08.2003): 125–44. http://dx.doi.org/10.4102/lit.v24i2.294.
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The background and genesis of Hubert du Plessis’s German and French songs On 7 June 2002 the South African composer Hubert du Plessis turned 80. Among his 77 art songs there are (apart from songs in Afrikaans, Dutch and English) eleven on German texts and one on a French text. The aim of this article is to investigate the genesis of these German and French songs. Du Plessis was influenced by his second cousin, the Afrikaans poet Barend J. Toerien, who lived in the same residence as Du Plessis at the University of Stellenbosch where they studied in the early 1940s. Toerien introduced Du Plessis to the work of Rilke, of whose poetry Du Plessis later set to music “Herbst”. Du Plessis’s ten Morgenstern songs were inspired by a chance gift of a Morgenstern volume from Susanne Stark-Schwietering, a student in Grahamstown where Du Plessis taught at Rhodes University College (1944-1951). During his studies in London (1951-1954) Du Plessis also received a volume of Morgenstern poetry from Howard Ferguson in 1951. The choice of French verses from Solomon’s Song of Songs was influenced by the advice of Hilda de Wet (Stellenbosch, 1966). It is notable that Du Plessis’s main composition teachers, William Bell, Friedrich Hartmann and Alan Bush, had practically no influence on the choice of the texts of his German and French songs.
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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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Mathur, Manisha. "WILLIAM BLAKE- AN ENLIGHTENED VISIONARY". International Journal of Research -GRANTHAALAYAH 2, nr 3SE (31.12.2014): 1–4. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3538.
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William Blake an English painter poet and printmaker is considered as a seminal figure in the history of poetry and visual arts of the Romantic age. In the realm of imaginative painting Blake stands quite alone, and to find any real parallel to this extraordinary man of genius one must go back to the illuminators and sculptors of the twelfth century. Born out of time, with no tradition of imaginative painting to guide him, the intense flame if his genius burns fitfully blazing with an unbearable brilliance. Blake, for his idiosyncratic views is held in high regard by critics for his expressiveness and creativity, and for the philosophical and mystical undercurrents within his work. His paintings and poetry have been characterized as part of the Romantic movement are Pre-Romantic for its large appearance in the 18th C. Reverent of the bible but hostile to the Church of England, Blake was influenced by the ideals and ambitions of the French and American Revolutions.
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Шмігер, Тарас. "Review Article. How Poetry is Translated…". East European Journal of Psycholinguistics 4, nr 2 (28.12.2017): 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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Srebotnjak, Vanda. "Giuseppe Ungaretti Reading of the Correspondence with Pea, Prezzolini, Soffici and Papini from a New Perspective". ATHENS JOURNAL OF HUMANITIES & ARTS 8, nr 1 (11.01.2021): 81–106. http://dx.doi.org/10.30958/ajha.8-1-4.
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Giuseppe Ungaretti is one of the major representatives of 20th century Italian poetry. He was born in Alexandria, Egypt in 1888, where he also pursued his first studies. Our claim, which is in contrast with what has been argued so far by literary critics, is that the Egyptian environment in which he grew up and formed his personality played a role in shaping the author’s ‘colonialist’ attitude. This emerges in a more detailed reading of his correspondence from the decade between 1909 and 1919. The main goal of this study is therefore to analyse a selection of these letters in order to highlight how the period in Egypt deeply influenced the author, leading him to internalize French and English colonial culture. We argue that this later induced the poet to make particular political choices such as backing Italian participation in the First World War and supporting Fascism.
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Srebotnjak, Vanda. "Giuseppe Ungaretti Reading of the Correspondence with Pea, Prezzolini, Soffici and Papini from a New Perspective". ATHENS JOURNAL OF HUMANITIES & ARTS 8, nr 1 (11.01.2021): 81–106. http://dx.doi.org/10.30958/ajha.8-1-4.
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Giuseppe Ungaretti is one of the major representatives of 20th century Italian poetry. He was born in Alexandria, Egypt in 1888, where he also pursued his first studies. Our claim, which is in contrast with what has been argued so far by literary critics, is that the Egyptian environment in which he grew up and formed his personality played a role in shaping the author’s ‘colonialist’ attitude. This emerges in a more detailed reading of his correspondence from the decade between 1909 and 1919. The main goal of this study is therefore to analyse a selection of these letters in order to highlight how the period in Egypt deeply influenced the author, leading him to internalize French and English colonial culture. We argue that this later induced the poet to make particular political choices such as backing Italian participation in the First World War and supporting Fascism.
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Zasada, Olga. "Nostalgia, Depression and Suicide as the Consequence of Acquired and Inherited Trauma in Amelia Rosselli’s Poetry". Jednak Książki. Gdańskie Czasopismo Humanistyczne, nr 13 (14.12.2021): 89–98. http://dx.doi.org/10.26881/jk.2021.13.08.
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In one of her many poetic motivation descriptions included in her literary works and comments, Amelia Rosselli points to tough-life experience as a factor influencing her artistic creativity. The Italian twentieth-century poet repeatedly emphasizes a direct impact of mental well-being as the driving force of her writing process. A gloomy flashback, hand in hand with a concept, experience, and fantasy, influence the expression of her pieces and structures the literary space. A minor overtoned reference to the grievous reality of Fascist Italy connected with the murder-for-hire of family members, sudden and premature death of her sweetheart and brother, mental illness in the context of the DNA memory, and, finally, the promise of suicide had all impacted noticeably upon the verses of her poems. Another thing worth mentioning is the issue of stress and hardships lived through by Amelia Rosselli’s mother and her immediate relatives just prior to the poet’s birth. According to the latest developments in medicine and cognitive sciences, any psychical damage influences bodily and mental functioning of persons not only directly affected by them, but also their descendants. The linguistic terms applied in the pieces of the Italian poet provoke a discussion of the phenomenon of post-memory. The term, which was proposed by Marianne Hirsch to refer to collective trauma inheritance, has been recently broadened by psychologists to encompass individual memory as well. The fragments written in four language codes (Italian, French, English, and music notation) offer hints to be used in the psycho-emotional analysis of the poet. Additionally, scrutinizing Amelia Rosselli’s nostalgic lyrical pieces, we can discern, by referring to psychological sciences, how the composition-making can constitute an auto-psychotherapy procedure. In terms of interdisciplinarity, the experience of melancholy and nostalgia in Amelia Rosselli’s artistic creativity covers the psychological, social, historical, cultural, political, and artistic areas.
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Sokolova, Alla. "The Origins of the Genre of the English Masque". Culturology Ideas, nr 17 (1'2020) (2020): 89–98. http://dx.doi.org/10.37627/2311-9489-17-2020-1.89-98.
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This paper aims to analyze the scientific works of leading British researchers to identify the origins of the stages of the formation of the English Masques genre, the influence of continental culture on the Masques genre, understanding the specific features of the first prototypes of the Masques, as well as the “early” Tudor Masques, including the Masques of the times of Henry VIII and Elizabeth І. Research methodology. Twenty-one publications by leading English scholars on this subject are considered, including archival data and historical choirs. The materials of the scientific literature are studied using logical, historical, chronological, problem-chronological and historical-retrospective methods. Results. It has been revealed that Masque is a musical-theatrical performance, a stylized hybrid, where acting, dancing, chorus, musical interlude, poetry, masquerade costume, and stage design are closely intertwined and interact with each other. The origins of English Masques date back to the folk traditions and customs of England, the traditions of Christmas or seasonal festivals, and the development and formation of Masques was influenced directly by Italian and French culture. However, the English Masques had specific genre peculiarities inherent in the exclusively English version of the musicaltheatrical performance. The masques become a key pastime in the Tudor royal court, where the royal court play an important role. Novelty. In this paper, an attempt has been made to comprehensively investigate the origins of the English Masque genre, as well as to characterize the influence of continental European culture on the development of early English Masques. The practical significance. The materials of this study can be used at lectures and seminars on the history of foreign culture, theory and history of culture in secondary and higher education institutions.
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Ogundeji, Adedotun. "The Exordium of Adébáyọ̀ Fálétí’s Poetry". Yoruba Studies Review 3, nr 2 (21.12.2021): 1–10. http://dx.doi.org/10.32473/ysr.v3i2.129985.
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The background of Adébáyọ̀ Fálétí (1921 – 2017) was steeped in the Ọyọ̀ ́ Yorùbá culture. He had a princely connection to the throne of Ọyọ̀ ́ having been born by Dúrówadé Àyìnkẹ, a granddaughter of Prince Adé ́ ṣọ̀kàn, Bàbá Ìdódẹ, Aláàfin Àtìbà’s son, to Àkànbí Fálétí. Àkànbí Fálétí was a royal oral artist in the palace of Aláàfin Ṣiyanbọ́lá Oníkẹẹ̀ pé Ládìgbòlù (1911 – ́ 1944). He later practiced outside the palace, leading his own band, going about Ìlọrin and its environs and parts of Northern Yorùbáland. The late Pa David Adéníji of Ìwó, we reliably learnt, was one of his followers. Adébáyọ̀ Fálétí spent his early life in Ọyọ̀ ́ villages such as Àgbóóyè, Ọbanàǹkò and Kúrańgà (Ọlátúnji 1982a). Adébáyọ Fálétí learnt many Yorùbá tales and garnered other ̀ native wisdom from his father and other relations. Such relations include Jímọ̀ Ọládẹ̀jọ, who was adept in proverbs, and his childless aunt, an oríkì (charcterizational) poetry exponent. The western education he acquired and the Christianity he embraced were also part and parcel of his background. His primary school education was at Ọyọ̀ ́ (1939 – 1945), his secondary school education at Ìbàdàn Boys High school, Ìbàdàn, (1951 – 1955) and his University education at the University of Ìbàdàn (1965 – 1968). He took a bachelor’s degree in English with a subsidiary in French. There is no doubt that Adébáyọ̀ Fálétí would have been influenced by Yorùbá literary artists of his time, all of whom he studied in school. Among such Yorùbá literary precursors were A. K. Ajíṣafẹ, D. A. Ọbasá and D. ́ O. Fágúnwà. Adébáyọ Fálétí collected and transcribed oral poetic forms such ̀ as proverbs and oríkì following Obasá’s example before venturing into writing 110 Adedotun Ogundeji his own compositions. Though he had been writing before 1955, he did not come into the limelight until 1955, when his 719 lines long poem, “Ẹ̀dá Kò Láròpin” won the Festival of Arts award. This time may conveniently be considered the beginning of his poetic career. The poem also marked the direction which Adébáyọ̀ Fálétí’s important contributions to Yorùbá poetry was leaning. He adapted many traditional stories for his poetic compositions. There are 35 poems in the two collections of Adébáyọ̀ Fálétí’s Yorùbá poems (Ọlátúnjí 1984 b & 1984c), 13 in the first and 22 in the second. Adébáyọ̀ Fálétí’s poems, can conveniently be classified into two: the narrative and non-narrative. The narratives tell interesting stories, some of which are adapted from the Ifá corpus and other stories collected from his father, co-hunters and other sources. The non-narrative ones are made up of poetic discourses on various social and philosophical topics. There are eleven narrative poems in the two collections. The first contains ten, the second only one. It could therefore be safely concluded that the first is dedicated to narrative poems because only four of the thirteen poems in it are non-narrative. Since there is also only one narrative poem in the second, one could also assert that it is dedicated to non-narrative poems. Four of the eleven narrative poems, (‘Ẹ̀là Lọrọ̀ ’, ‘̀ Ṣàṣọrẹ’, ‘Alágbára Ilé àti Alágbára Oko’, and ‘Agbódóro ́ - gun’) are adapted from the Ifá corpus and there are strong evidences that ìjálá (Ogun poetry/hunter’s) is the original source of the story retold in ‘Adébímpé Ojẹ̀dòkun’. The poet was reported to have collected it from his father who informed him it was a true-life story (Ọlátúnjí 1982a). In our examination of the exordiums of Adébáyọ̀ Fálétí’s poems, we shall dwell more on his narrative poems than on his non-narrative poems and limit ourselves to the aforementioned two collections (Olatunji 1982b & 1982c).
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Aka, Pınar. "Yahya Kemal’de yolculuk ve şiirin varoluş serüveni". Göç Dergisi 2, nr 1 (1.05.2015): 146–58. http://dx.doi.org/10.33182/gd.v2i1.542.
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Yahya Kemal 1903-1912 yılları arasında dokuz sene boyunca ülkesinden uzakta, Paris’te yaşamıştır. O yıllarda Türk entelektüellerinin gitmeye can attığı bir kenttir Paris. Yahya Kemal için de bu yolculuk, her şeyden önce kültürel bir zorunluluktur. Ancak o, Fransız kültüründen ve genel anlamda Batı medeniyetinden etkilenmekle birlikte, kendi kültürel mirasını gözardı etmeyecek ve Paris’te Osmanlı şiirini ve tarihini inceleyecek, kültürel kimlik meseleleri üzerinde derinden düşünecektir. Diğer taraftan, Yahya Kemal’in yolculuğunun kişisel ve psikolojik bir boyutu da vardır. Bu boyutun en önemli bileşenini şairin henüz on üç yaşındayken kaybettiği annesi oluşturur. Bu yazıda, Yahya Kemal’in yolculuğunun nasıl şiirsel bir yolculuğa dönüştüğü, metaforlar üzerinden gösterilmeye çalışılacaktır. ENGLISH ABSTRACTJourney and poetry’s existential adventure in Yahya KemalYahya Kemal has lived far from his country, in Paris, between 1903 and 1912. In those years Turkish intellectuals are longing to go to this town. For Yahya Kemal, this journey is above all, a cultural necessity. Although he is influenced by French culture and by Occidental civilization, he will not neglect his cultural heritage and will study Ottoman poetry and history and will meditate on cultural identity issues during his stay in Paris. In addition, Yahya Kemal’s journey has also a personal and psychological aspect. His mother whom he has lost when he was only thirteen years old constitutes the main component of this aspect. This article aims to show, by way of keeping track of metaphors, how Yahya Kemal’s journey is transformed to a poetic journey.
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Firoze Basu. "Goethe’s “Welt” poet in Bengal: The Influence of World Literature on Jibanananda Das and other Bengali Poets of the 1930s-40s". Creative Launcher 6, nr 3 (30.08.2021): 1–8. http://dx.doi.org/10.53032/tcl.2021.6.3.01.
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This study aims to establish a link between the concept of “Weltliteratur” or World Literature, in terms of the free movement of literary themes and ideas between nations in original form or translation, and the Bengali poets of the thirties and forties who actively translated French and German poets. It identifies Johann Wolfgang von Goethe's (1749-1832) concept of World Literature as a vehicle for the Kallol Jug poets. Johann Wolfgang von Goethe introduced the concept of “Weltliteratur” in a few of his essays in the first half of the nineteenth century to describe the international circulation and reception of literary works in Europe, including works of non-Western origin. My emphasis will be on Jibanananda Das (1899-1954) arguably the most celebrated poet in Bengali literature who was well versed in the contemporary Western Canons of Poetry. Jibanananda’s defamiliarization of the rural Bengal Landscape, his use of exotic foreign images owe a debt to contemporary European poets. Interestingly, Jibanananda had reviewed an English translation of German author Thomas Mann’s novel “Dr Faustus’ for a Bengali magazine “Chaturanga”. In the Bengali review he states that despite prevalent misconceptions (some critics considering the novel to be superior to the original Faust epic by Goethe) Goethe’s Faust was the first text to capture the hope, despair and crisis in the modern world and articulate it in such a manner that “true” literature of the age was created in its new light. In Jibanananda’s estimation, Thomas Mann deserves credit for treating the Faust legend in a unique and creative way.
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Shafiqul Islam, Mohammad. "Influences and Individualities:". Crossings: A Journal of English Studies 11 (1.09.2020): 70–85. http://dx.doi.org/10.59817/cjes.v11i.48.
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Nissim Ezekiel, recognized as the pioneering figure of Indian poetry in English, was influenced by a great many poets of the western literary tradition, subsequently influencing numerous poets of his succeeding generations. Having brought modernity into the literary scene of the Indian subcontinent, he made an immense contribution to English writing, initiating a new poetic trend in this region. Before him, Indian poetry had been charged with high romantic and mystic ideals, but he first began to present everyday life in poetry, abandoning the past trend. Well informed of the western tradition of the twentieth-century poetry, Ezekiel brought something new to Indian poetry in English. In his formative years, several poetic voices of the west and their works made an impact on his work, but like great poets of the world, he was able to set a new trend, create an individual style, and become influential to later generations of poets in India and beyond. This paper, therefore, explores how western tradition of modern and romantic poetry contributed to the shaping of Ezekiel’s poetic world. The paper also argues that Ezekiel’s arrival in the realm of Indian poetry in English gives birth to a new era of poetic tradition in India in particular and the whole subcontinent in general.
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Pratt, T. M., i Patrick Brady. "Rococo Poetry in English, French, German, Italian: An Introduction". Modern Language Review 90, nr 3 (lipiec 1995): 722. http://dx.doi.org/10.2307/3734327.
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Korchagin, Kirill M. "Bureau “Transatlantic”: French and US Poets on Rendezvous". Literature of the Americas, nr 12 (2022): 261–73. http://dx.doi.org/10.22455/2541-7894-2022-12-261-273.
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Since the middle of the 19th century, American literature has been perceived by French poets as a kind of Other, at the same time alien and attractive, capable of teaching the experience of liberation, which the French poets themselves lack. Nevertheless, the situation is more familiar when other poets of the world are looking for inspiration in French poetry. French poetry for American modernists of the first quarter of the 20th century was synonymous with everything that expands the horizons of literature. At the same time, the reverse situation, when French poetry is saturated with outside influences, in particular, American ones, is studied much worse. Abigail Lang's book tries to fill this gap, considering the transformations that the new, “post-Surrealist” French poetry is experiencing under the impression of the new American poetry. The book is divided into three chapters: the first one deals with the reception of objectivism since the 1970s to the present, the second one deals with the problem of the “transatlantic” poetic community, which manifests itself in various forms and genres, and, finally, the third one tells about the “speech turn,” which, from the author's point of view, takes place in French poetry of recent decades.
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Prevots, Aaron. "English Responses to French Poetry 1880–1940: Translation and Mediation". Modern & Contemporary France 20, nr 2 (maj 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, nr 4 (1.10.2012): 572. http://dx.doi.org/10.1093/fs/kns177.
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Pensom, Roger, i Clive Scott. "Channel Crossings: French and English Poetry in Dialogue 1550-2000". Modern Language Review 99, nr 1 (styczeń 2004): 281. http://dx.doi.org/10.2307/3738981.
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McIlfatrick-Ksenofontov, Miriam. "Fetching Poems from Elsewhere: Ciaran Carson’s Translations of French Poetry". Interlitteraria 21, nr 1 (4.07.2016): 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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LAFRANCE, ADÈLE, i ALEXANDRA GOTTARDO. "A longitudinal study of phonological processing skills and reading in bilingual children". Applied Psycholinguistics 26, nr 4 (październik 2005): 559–78. http://dx.doi.org/10.1017/s0142716405050307.
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French/English bilingual children (N=40) in French language schools participated in an 8-month longitudinal study of the relation between phonological processing skills and reading in French and English. Participants were administered measures of phonological awareness, working memory, naming speed, and reading in both languages. The results of the concurrent analyses show that phonological awareness skills in both French and English were uniquely predictive of reading performance in both languages after accounting for the influences of cognitive ability, reading ability, working memory, and naming speed. These findings support the hypothesis that phonological awareness is strongly related to beginning word reading skill in an alphabetic orthography. The results of the longitudinal analyses also suggest that orthographic depth influences phonological factors related to reading.
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Lootens, Tricia. "BENGAL, BRITAIN, FRANCE: THE LOCATIONS AND TRANSLATIONS OF TORU DUTT". Victorian Literature and Culture 34, nr 2 (25.08.2006): 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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McGuinness, P. "Review: Channel Crossings: French and English Poetry in Dialogue, 1550-2000". French Studies 58, nr 3 (1.07.2004): 446–47. http://dx.doi.org/10.1093/fs/58.3.446.
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van Tessel, Evi, i Marco Bril. "French as a foreign language in the Netherlands". Linguistics in the Netherlands 38 (29.10.2021): 114–27. http://dx.doi.org/10.1075/avt.00056.tes.
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Abstract Exposure to English is more extensive in today’s society than to French. In this study we investigated crosslinguistic influences from Dutch and/or English to language performances in French as a foreign language, while controlling for language proficiency in French, English and Dutch, and exposure to English. We tested Dutch learners of French (n = 65) with respect to the acceptability of reduced relative clauses and attachment preferences in full relative clauses. The results showed crosslinguistic influence in the acceptability task and the preference task from English and Dutch respectively. Furthermore, language proficiency in English seems to affect attachment preferences in French. We concluded that these findings support the Linguistic Proximity Model (Westergaard et al. 2017) and that French in Dutch secondary education might be a third language, instead of a second language.
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Studzińska, Joanna. "Przekładanie poezji lingwistycznej: Rendicción Mario Martína Gijóna w tłumaczeniach na polski, angielski i francuski". Przekładaniec, nr 43 (31.12.2021): 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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Xu, Qin. "Xu Yuanchong’s Theory of “Three Beauties” and His Poetry Translation Practice". Journal of Education and Educational Research 8, nr 2 (8.05.2024): 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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Giovine Yánez, María Andrea. "Traducir el silencio (...)". TRANSFER 4, nr 1 (25.09.2017): 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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Ivanova, Tetiana. "GENRE PECULIARITIES OF THE LITERATURE OF THE NORMAN PERIOD (12TH 13TH CENTURIES)". Scientific Journal of Polonia University 56, nr 1 (1.06.2023): 63–68. http://dx.doi.org/10.23856/5610.
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The period of French domination left an important mark on the later history of English literature, which, in some cases, is more common with the artistic devices and style of French literature of the Norman period than with the study of Anglo-Saxon literature, from which it was artificially divorced. The Norman conquest conditioned certain specific features of language development. The main one was the spread of three languages in the Kingdom of England – French among the ruling class, English among the broad masses of the population, and Latin in church affairs and administration. This affected the linguistic and genre character of English medieval literature.Methods used in the study: general scientific (analysis and synthesis, induction and deduction), methods of theoretical research (from abstract to concrete), historical method Among the feudal lords, the most popular genre was chivalric poetry, which was brought from France by trouver singer-poets. The most common manifestation of chivalric poetry was the rhyming chivalric novel, which reflected the customs of the upper feudal class, promoted heroic deeds, the code of chivalric morality, and examples of human virtues. The novels about King Arthur and the Knights of the Round Table became the most popular.
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Erbentraut, Philipp. "English and French Influences on German Party Theory Before 1848". Redescriptions: Political Thought, Conceptual History and Feminist Theory 20, nr 2 (1.09.2017): 159. http://dx.doi.org/10.7227/r.20.2.2.
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Studzińska, Joanna. "Translating Linguistic Poetry: Mario Martín Gijón’s Rendicción in Polish, English and French". Experimental Translation, nr 47 (20.12.2023): 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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Ekman, Gabriella. "Gifts from Utopia: The Travels of Toru Dutt's Poetry". Victoriographies 3, nr 1 (maj 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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Rossiter, Caroline. "Early French Caricature (1795-1830) and English Influence". European Comic Art 2, nr 1 (1.01.2009): 41–64. http://dx.doi.org/10.3828/eca.2.1.4.
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This article analyses the production of caricatures in post-revolutionary Paris, specifically the role of publishers and artists and the constraints of censorship within society of that time. By considering such factors in the light of English caricature production, we will outline the exchanges that took place between London and Paris at the turn of the nineteenth century and demonstrate that the two cities' comic print productions were subject to reciprocal influences.
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Poe, George. "Rococo Poetry in English, French, German, Italian: An Introduction by Patrick Brady". L'Esprit Créateur 33, nr 3 (1993): 116–17. http://dx.doi.org/10.1353/esp.1993.0013.
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Hamilton, Clive, i Shirley Carter-Thomas. "Competing influences: the impact of mode and language on verb type and density in French and English scientific discourse". CHIMERA: Revista de Corpus de Lenguas Romances y Estudios Lingüísticos 4, nr 1 (29.05.2017): 13–34. http://dx.doi.org/10.15366/chimera2017.4.1.001.
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This paper proposes a contrastive analysis of lexical verbs in English and French academic discourse. The EIIDA corpus enables us to adopt a doubly contrastive viewpoint, comparing the frequency and types of verbs used both in research articles and oral presentations in the two languages. The results indicate that mode differences are less distinct in French and that overall lexical and verbal density is higher in English (46% the English oral mode and 61% in the written mode, whereas it is 42% and 47% in the French oral and written mode). In contrast, the French articles and presentations sub-corpora display greater lexical variation, suggesting that information is densely packed in English and the same lexical items are often reused, whereas information is less dense in French but is accompanied by greater lexical diversity and less reuse.Keywords: written and oral academic discourse, lexical density, lexical variation, verbal density
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Emirkanian, Louisette, Leslie Redmond i Adel Jebali. "Maîtrise des clitiques datifs dans les structures bitransitives en français L2 par des apprenants anglophones : influence de la structure argumentale de la L1". Canadian Journal of Applied Linguistics 24, nr 3 (26.11.2021): 30–60. http://dx.doi.org/10.37213/cjal.2021.26419.
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The objective of this study is to measure the influence of L1 verb argument structure, as well as verb meaning, on the mastery of dative clitics in French as a second language for a group of Anglophone learners. More specifically, we focus on ditransitive structures. While French and English share the V NP PP structure, English also has a double-object structure, V NP NP, for a subset of verbs. The results of our study show that L1 argument structure influences the mastery of dative clitics in French, especially for verbs that only accept the double-object structure in English. Further, the behaviour of our participants with verbs that accept the dative alternation led us to conduct a follow-up study. The findings show that verb meaning also influences performance with dative clitics, but this effect cannot be explained by L1 influence.
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Waldinger, Albert. "The Remnant Word". Babel. Revue internationale de la traduction / International Journal of Translation 47, nr 1 (31.12.2001): 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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Pose-Fernández, Coralia. "The universalization of the poetry of George Seferis: the significance of English translations". Byzantine and Modern Greek Studies 41, nr 1 (16.03.2017): 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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Bezrukov, Andriy. "Hedonist and Theologist Narratives in French Baroque Poetry and Spiritual Verses by the English Metaphysicals: Poetising Author’s Experience vs Sacralising Privy Feelings". Studia Philologica, nr 22 (2024): 227–42. http://dx.doi.org/10.28925/2412-2491.2024.2216.
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In the poetic diversity of Western European Baroque, the worldview was dominated by the search for unity in the contradictions of existence, which almost always immersed the man in a theological context. This is especially evident in the works by the seventeenth-century English Metaphysicals, whose unique style is considered from the perspective of the European continental poetic tradition. At the same time, appealing to French Baroque poetry as a specific literary phenomenon compared to Donne’s school in England is determined by the historical and creative process that produces individual strategies of poetising an author`s experience vs sacralising privy feelings. The article discusses the originality of the means of poetic expression of worldview principles in French Baroque poetry and English metaphysical school, which are expressed in close connection with the author’s paradigms of hedonistic-religious vs spiritual vision of reality. These means are actualised at the image-plot and structural levels that determine the methodology based on conceptual approaches to comparative analysis with elements of hermeneutic, imagological, stylistic, and cultural-historical methods. The article emphasises that the profound considerations about the origins of the universe in love poems with hedonistic motives bring the works of the French authors (Théophile de Viau) closer to the verses of the English ones, who discuss serious issues of human existence, religion, world order, etc. (A. Marvell) even in love poems. The religious works of the French poets (d’Aubigné, de Sponde, La Ceppède) contrast with metaphysical ideas about the transcendent world (J. Donne, G. Herbert, F. Quarles, Н. Vaughan) precisely by interpreting the Baroque themes of the transience of earthly existence, imperfection of human being, that are represented defectively from the perspective of style. Metaphysical tension and emotional release of the most secret movements of the soul raise the spiritual verses to the level of contemplative poetry.
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ZHANG, Zhizhong, i Zuyou WANG. "Living for Translation: An Interview with Professor Zhang Zhizhong". Asia-Pacific Journal of Humanities and Social Sciences 3, nr 3 (15.09.2023): 004–11. http://dx.doi.org/10.53789/j.1653-0465.2023.0303.002.
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In his rich career as a translator, Professor Zhang Zhizhong has formed a unique aesthetics on translation based on his own experience: spirit over form, prose enjambment to rewrite Chinese poetry into sterling English poetry. In Professor Zhang’s opinion, the English translation of Chinese poetry, broadly speaking, is divided into two schools: metrical school and liberal school, and there are poems translated in metrical style and liberal style, mixed with both good and bad ones. Being poetic, or poetry itself, is the most important point. In the interview, Professor Zhang expressed his hope to be friends with the students majoring in translation and make joint efforts in the globalization of Chinese culture and literature. It is his belief that the English translation of Chinese poems shall be poems themselves, and excellent poems in the English world, which, ideally, are published by the prestigious publishing houses in Western countries, hopefully, to exert influences on the readers. This is the ultimate goal of the globalization of Chinese culture and literature.
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Orsini, Francesca. "From Eastern Love to Eastern Song: Re-translating Asian Poetry". Comparative Critical Studies 17, nr 2 (czerwiec 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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Li, Jin, Qiuhan Wu i Yihao Luo. "English Translation of Fuzzy Beauty of Classical Chinese Poetry". Journal of Social Science Humanities and Literature 7, nr 2 (25.04.2024): 20–33. http://dx.doi.org/10.53469/jsshl.2024.07(02).03.
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This paper attempts to probe into English translation of fuzzy beauty of classical Chinese poetry via imagery. Classical Chinese poetry is the cream of Chinese culture. It attracts millions of Chinese and western readers with its subtle and profound fuzzy beauty. The ultimate requirement of English translation of classical Chinese poetry lies in transferring its fuzzy beauty. Fuzzy beauty of classical Chinese poetry falls into three categories: fuzzy beauty in form, fuzzy beauty in imagery and fuzzy beauty in artistic conception. Imagery, being the soul of classical Chinese poetry, serves as a communicative and operational medium of transference of fuzzy beauty. The essence of fuzzy beauty consists in "gaps of indeterminacy" which conjures up the reader's unrestrained association. "Gaps of indeterminacy" constitute the "appealing structure" in a text which is subject to the reader's free interpretation according to his own "horizon of expectation". Fuzzy aesthetics sheds light on the aesthetic features of fuzzy beauty, and the hierarchical structure of fuzzy beauty in fuzzy aesthetics corresponds to different layers of fuzzy beauty of classical Chinese poetry. Therefore, both aesthetics of reception and fuzzy aesthetics are of instructive value to English translation of classical Chinese poetry. This paper is composed of five sections. The introductory section is concerned with the significance and purpose of the research. The second section reveals in detail fuzzy beauty in classical Chinese poetry. In the third section, the techniques and principle for translation of poetic fuzzy beauty are put forward in light of aesthetics of reception and fuzzy aesthetics and imagery is recommended as an ideal medium of transference of fuzzy beauty. The fourth section centers on how to transfer fuzzy beauty of classical Chinese poetry using imagery as a medium, analyses and proposals are given from such angles as fuzzy modifiers, syntax, juxtaposition, and cultural influences. A natural conclusion is drawn in the last section.
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So, Connie K., i Catherine T. Best. "PHONETIC INFLUENCES ON ENGLISH AND FRENCH LISTENERS’ ASSIMILATION OF MANDARIN TONES TO NATIVE PROSODIC CATEGORIES". Studies in Second Language Acquisition 36, nr 2 (20.05.2014): 195–221. http://dx.doi.org/10.1017/s0272263114000047.
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This study examined how native speakers of Australian English and French, nontone languages with different lexical stress properties, perceived Mandarin tones in a sentence environment according to their native sentence intonation categories (i-Categories) in connected speech. Results showed that both English and French speakers categorized Mandarin tones primarily on the phonetic similarities of the pitch contours between the Mandarin tones and their native i-Categories. Moreover, French but not English speakers were able to detect the fine-detailed phonetic differences between Tone 3 (T3) and Tone 4 (T4; i.e., low or low-falling tone vs. high-falling tone), which suggests that the stress differences between these languages may affect nonnative tone perception: English uses lexical stress, whereas French does not. In the discrimination task, the French listeners’ performance was better than that of the English listeners. For each group, discrimination of the Tone 1 (T1)–T4 and Tone 2 (T2)–T3 pairs was consistently and significantly lower than that of the other tone pairs, and the difference between T1-T4 and T2-T3 was significant. Discrimination of the Mandarin tone pairs was not fully predicted by pairwise categorizations to native i-Categories, however. Some discrimination differences were observed among tone pairs showing the same assimilation patterns. Phonetic overlaps in native i-Category choices for the Mandarin tones, strength of categorization (So, 2012), and tonal coarticulation effects (Xu, 1994, 1997) may offer possible accounts of these discrepancies between categorization and discrimination performance. These findings support the perceptual assimilation model for suprasegmentals (So & Best, 2008, 2010a, 2010b, 2011, 2013), extended to categorization of nonnative tone words within sentence contexts to native i-Categories.
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Low, Graham D. "Evaluating translations of surrealist poetry". Target. International Journal of Translation Studies 14, nr 1 (31.12.2002): 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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Fowler, Carol A., Valery Sramko, David J. Ostry, Sarah A. Rowland i Pierre Hallé. "Cross language phonetic influences on the speech of French–English bilinguals". Journal of Phonetics 36, nr 4 (październik 2008): 649–63. http://dx.doi.org/10.1016/j.wocn.2008.04.001.
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Caldas, Stephen J., i Suzanne Caron‐Caldas. "Cultural influences on French/English language dominance of three Louisiana children". Language, Culture and Curriculum 10, nr 2 (styczeń 1997): 139–55. http://dx.doi.org/10.1080/07908319709525247.
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Jiajing, Song. "Affinity and Influence of Federico García Lorca on the Poetry of Dai Wangshu". Sinología hispánica 7, nr 2 (14.01.2019): 133. http://dx.doi.org/10.18002/sin.v7i2.5734.
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As one of the most representative modern poets in China, Dai Wangshu not only contributs a lot to the development of the modern Chinese poetry, but also plays an important role in introducing western poetics to China. Dai’s translation of western poetry has a profound influence on his poetic creation. Dai, throughout his poetic career, was at first influenced by the French romanticism, then was fascinated by the French symbolism and post-symbolism. The years of Disaster, a collection of poems in his later years, however, demonstrates an inclination to the Spanish modernist poetry, especially to the poems of Federico García Lorca, one of the most representative poets of the Generation of 27. This paper focuses on analyzing the characteristics of the works of these two poets, Dai Wangshu and Lorca, and is intended to make a comparative study of the affinities and similarities in their poetic beliefs and practice and the Lorca’s deep influences on Dai’s poetic creation, thus filling the blank in this field.
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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, nr 3 (maj 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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Freeman, Margaret H. "ON THE MEASURES OF ENGLISH VERSE". MESSENGER of Kyiv National Linguistic University. Series Philology 23, nr 1 (3.07.2020): 8–19. http://dx.doi.org/10.32589/2311-0821.1.2020.207220.
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AbstractThe theory of English verse structure has never been completely formulated. Inheriting the lineage of bothGermanic and Romance traditions, it nevertheless is a system in its own right. This paper explores, with examples from the sixteenth and nineteenth centuries, the problems arising from the traditional attitude of Englishmetrists up to the twentieth century to scan English verse from the viewpoint of Romance syllabotonic. To thecontrary, I argue that English verse is driven, metrically and rhythmically, also by the Germanic accentualstress-timed system.RésuméThis paper is a preliminary sketch toward developing a theory of English verse. By the twentiethcentury, English verse had become so flexible and varied in its forms that the question was evenraised as to the death of the English pentameter. Contemporary poets' responses to that questionreveal that although the English pentameter is very much alive, a complete theory of English verse still has not been written. Historically, English metrical studies have based their theory on the assumptionthat the French Romance tradition of syllable alternation displaced the Germanic stress-timed systemof Old English poetry. As a result, many lines of poetry written in iambic pentameter are consideredunmetrical. The paper explores two examples of English poetry from the sixteenth and nineteenthcenturies to show that, far from being metrically irregular, as claimed by most English metrists, theyreflect a lineage from Old English metrical forms. Using Conceptual Integration Theory (or "blending"as it is commonly known in cognitive linguistics), the paper shows that English verse is the childof two parents, Germanic and Romance, whose emergent structure in the blend exists in neither parent.In analysis of examples from Thomas Wyatt's and Emily Dickinson's poetry, it is evident that the Germanicstress-timed system, modified by Romance syllabotonic, guides the rhythmic beat of the Englishmetrical line. Building on the work of recent scholars in versification studies, the paper notes thata complete theory of the measures of English poetry still needs to be developed.
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Waldinger, Albert. "Survivors : Postholocaust Yiddish Poems in Non-Jewish Language". TTR : traduction, terminologie, rédaction 14, nr 1 (7.07.2003): 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).