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Sadowski, Witold. "A Brief History of O!" Poetics Today 43, n.º 1 (1 de março de 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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Pusztai-Varga, Ildikó. "Cultural Dimensions of Poetry Translation". Acta Universitatis Sapientiae, Philologica 8, n.º 3 (1 de dezembro de 2016): 17–29. http://dx.doi.org/10.1515/ausp-2016-0028.
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Abstract The present research analyses Hungarian and English target-language translations of contemporary Finnish poems. The translation solutions of culturally-bound lexical elements are compared in both Finnish-Hungarian and Finnish-English translation directions. The analysis is carried out using a text corpus comprising Hungarian and English translations of Finnish poems published after 1950. The text corpus consists of 160 Finnish source poems and their 160 Hungarian and 160 English target-language translations. The objective of the research is to reveal the cultural aspects of the translation of poetry and to answer the question as to what types of translation solutions literary translators use when translating culturally-bound lexical elements in Finnish poems into Hungarian and English. Results show that English-language translators of contemporary Finnish poems more frequently use translation solutions which are less creative and do not stray far from the original source language text. Hungarian translators, on the other hand, are more courageous in deviating from the source text and adapting their translations to the target language. This can be explained by reference to the two translation contexts or as a result of genre-specific reasons.
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JABAK, Omar. "Contrastive Analysis of Two English Translations of an Old Arabic Poem". Journal of Translation and Language Studies 4, n.º 1 (19 de março de 2023): 36–48. http://dx.doi.org/10.48185/jtls.v4i1.565.
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The present study aimed to provide a contrastive analysis of two English translations of the famous Arabic poem known in English as “Let days do what they will” by Mohammad ibn Idris al-Shafi’i. The two English translations were produced by two different translation scholars in the language pair Arabic and English. The analysis focused on how the translators dealt with the most important features of poetry when translating the Arabic poem into English. Such features included form, meaning, sound and imagery. The findings revealed some similarities and differences in both translations with reference to the above-mentioned features. It is recommended that more research be conducted on either Arabic-English translation of poetry or English-Arabic translation of poetry as this kind of research seems to be relatively scarce.
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Sukmajati, Bintang, e Patricia Angelina. "POETRY TRANSLATION ACCEPTABILITY ON THE TRIALS OF APOLLO: THE HIDDEN ORACLE NOVEL". International Journal of Humanity Studies (IJHS) 3, n.º 1 (29 de agosto de 2019): 76–83. http://dx.doi.org/10.24071/ijhs.v3i1.2016.
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This study aims to find out the extent of the acceptability of the poetry translation in the novel. One research question is formulated: To what extent is the poetry translations in The Trials of Apollo: The Hidden Oracle acceptable based on Larsons criteria of an acceptable translation. Qualitative research by using the text analysis was conducted. The data of this research were taken from both the English and Indonesian version of The Trials of Apollo: The Hidden Oracle novel. In order to answer the research question, the researchers compared the translation between the English and Indonesian poetry using the theory of acceptability by Larson. The results show that there are 36 poetry translations which are categorized as acceptable and three poetry translation which are unacceptable. The 36 poetry translations incorporate at least two out of the three poetry translations acceptability criteria, while the three poetry only fulfil one poetry translation acceptability criterion.DOI: 10.24071/ijhs.2019.030107
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Piątkowska, Józefina. "The lyric present in English translations of Russian poetry". Translation and Interpreting Studies 15, n.º 2 (12 de julho de 2019): 183–202. http://dx.doi.org/10.1075/tis.19032.pia.
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Abstract Taking English translations of Anna Akhmatova’s poems as a case study, this article investigates whether the lyric present (a specific use of simple present forms in poetry) is the preferred present tense in poetic translations from Russian into English. Akhmatova’s verbal craft is remarkably relevant for the issue at hand because of her extensive exploration of temporal levels. The article examines what stylistic effects stem from a translator’s choice between the lyric present and the present progressive. In order to provide a more general view of English translations, the study includes data concerning the frequency of progressives contained in two different English editions of Akhmatova’s poetry. These data are presented in the comparative perspective, together with data collected from English and American poetry and from English renditions of several Russian poets.
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Sycheva, Anastasia V. "Peculiarities of Reconstructing Russian Rhyme in English Translations". Polylinguality and Transcultural Practices 17, n.º 1 (15 de dezembro de 2020): 59–64. http://dx.doi.org/10.22363/2618-897x-2020-17-1-59-64.
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The article deals with the problem of preserving the rhyme traditional for Russian poetry in translations into English. A brief analysis of Russian and foreign linguists’ works on the theory and practice of poetic translation shows that rhyme in English poetry does not play such a significant role as it does in Russian poetry. Opinions of English-speaking readers coincide with the opinion of translators. However, adequate versions of Russian poems in English with preservation of rhymes of original verses are the preferred type of poetic translation. The article deals with the problem of preserving the rhyme, characteristic of Russian poetry, in translations into English. The purpose of this scientific research is to conduct a brief analysis of the works of Russian and foreign linguists on the theory and practice of poetic translation to reveal the role and significance of the category of rhyme in English and Russian poetry. The author pays special attention to the opinion of translators of Russian poetry into English and English-speaking readers of translated Russian lyrics in the context of preserving rhyme or deviation from it. As a result of the conducted research, the author comes to the conclusion that rhyme does not play such a significant role for foreign linguists and translators as it does for their Russian-speaking counterparts. A more attractive form of poetry for them is vers libre. Consequently, the issues of rhyme reproduction for English translators are not of paramount importance. The main emphasis is on the meaning of the translated text, not its form. Opinions of English-speaking readers coincide with the opinion of translators. In addition, the article presents summary information of the conducted comparative linguistic analysis of 275 poems by B. Okudzhava and their originals. The analysis shows that in percentage terms the number of rhymed translations from the total number of translated texts is about 40%. However, the overwhelming number of English translations of poems Okudzhava - about 60% - belongs to unrhymed translations. Nevertheless, the author of the article emphasizes the need to preserve rhyme in translations as an integral part of the Russian classical verse and believes that adequate versions of Russian poems in English with preservation of original rhyme are the preferred type of poetic translation.
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Hao, Fu. "On English Translations of Classical Chinese Poetry". Babel. Revue internationale de la traduction / International Journal of Translation 45, n.º 3 (15 de novembro de 1999): 227–43. http://dx.doi.org/10.1075/babel.45.3.05hao.
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Abstract There have been numerous classical Chinese poems translated into English since the 18th century, and many of them enjoy more than one version. This article discusses some prominent aspects of English translation of classical Chinese poetry, such as choice of words, syntax, metre and form, and allusion, based on comparative analysis of different versions. In the language of classical Chinese poetry, the prevailing monosyllabic word often tends to be polysemous and the grammatical function of a word more flexible. There are also many grammatical ellipses in its syntax. How does a translator choose the right word and decipher the sentence? In addition, classical Chinese poetry enjoys strict verse forms and rhyme schemes, and has a tradition to employ literary allusions. How can an English version achieve an equivalent effect? To solve such problems, translators in different times and places have made various experiments. But the swing of the pendulum seems not to go beyond the two extremes, rigidly imitating the original form or freely rewriting in another language. Under proper modulation, both methods may score some points. Résumé Il y a eu de nombreux poèmes classiques en langue chinoise traduits vers la langue anglaise depuis le 18ème siècle, et plusieurs d'entre eux ont plus d'une version. Cet article discute de certains aspects particuliers de la traduction anglaise de la poésie classique chinoise tels que le choix des mots, la syntaxe, la versification et la forme ainsi que les allusions, basées sur l'analyse comparative des différentes versions. Dans le langage de la poésie classique chinoise, le mot monosyllabique qui prévaut tend à avoir plusieurs significations et la fonction grammaticale du mot à être plus souple. Il existe aussi beaucoup d'ellipses grammaticales dans sa syntaxe. Comment un traducteur choisit-il le mot exact et décompose-t-il la phrase? En outre. la poésie classique chinoise nous offre une structure en vers et un agencement de rimes très strictes et possède une tradition de l'emploi d'allusions littéraires. Comment une version anglaise peut-elle atteindre un effet équivalent? Pour résoudre ce type de problèmes, les traducteurs à différentes époques et lieux ont effectué des expériences différentes. Mais le pendule ne balance pas en dehors des deux extrêmes, l'imitation rigide de la forme originale ou sa réécriture libre dans une autre langue. Selon la modulation appropriée, chacune des deux méthodes pourrait présenter certains avantages.
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ZHU, Sizhe. "An Alternative Approach to the Translation of Poems in Political Texts: Take Xi Jinping: The Governance of China as an example". Asia-Pacific Journal of Humanities and Social Sciences 3, n.º 1 (15 de março de 2023): 150–58. http://dx.doi.org/10.53789/j.1653-0465.2023.0301.016.p.
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Chinese poetry translation is currently dominated by the rhymed translations of poetry represented by Xu Yuanchong and the unrhymed translations of poetry represented by Weng Xianliang. Both of these poetry translation methods have provided us with valuable practical experience. However, volumes 1 to 3 of Xi Jinping: The Governance of China, as authoritative interpretations of Chinese wisdom, Chinese plans, and Chinese theories, contain a large number of ancient Chinese poems. However, in the English version of the three volumes, the English translations of the relevant verses do not copy the existing translations, of famous translators, but instead, use the paraphrasing method to render these verses. By collecting representative verses on different topics and comparing the similarities and differences between translators’ translations of the same poems in the three volumes, the author summarizes the different paths of poetry translation, explores the feasibility and merits of the paraphrasing method as the main path of translating poetry in political texts, and provides a practical basis for promoting the paraphrasing method of poetry translation.
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Low, Graham D. "Evaluating translations of surrealist poetry". Target. International Journal of Translation Studies 14, n.º 1 (31 de dezembro de 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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Cao, Rangju. "The Comparative Study on the English Translations of Du Fu's Poems from the Perspective of Steiner's Hermeneutic Motion". Journal of Education and Educational Research 8, n.º 2 (8 de maio de 2024): 371–75. http://dx.doi.org/10.54097/ryh1ae38.
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Du Fu's influence in Chinese classical poetry is very far-reaching, and he is honored as the "Sage of Poetry" by later generations, and his poems are also known as the "History of Poetry". As a typical representative of traditional Chinese culture, Du fu's poems are loved by the public, and different translations have made the world better understand the culture of ancient Chinese poems. Based on the hermeneutic motion of George Steiner, this paper selects two English translations of Du Fu's poems by Mr. Xu Yuanchong, a domestic translator, and Mr. Watson, a foreign sinologist as the objects. Through the comparative study of the two translations, this paper explores how the four hermeneutic steps of “trust”, “aggression”, “incorporation” and “compensation” in Steiner’s hermeneutic motion are represented in their translations. It provides a new perspective for the study of Du Fu’s poetry translation into English and promotes the dissemination of ancient Chinese poems.
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Maryniak, Julia. "Miłosz as a Translator of Literary Roughness in Herbert’s Poetry". Crossroads. A Journal of English Studies, n.º 44(1) (2024): 119–36. http://dx.doi.org/10.15290/cr.2024.44.1.08.
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The aim of the work is the analysis of translations of Herbert’s poems into English by Miłosz with a focus on preserving the so-called roughness of his style. This term encompasses non-obvious and awkward structures, which, according to Miłosz, were one of the most important elements of Herbert’s style and, therefore, needed to be present in the English versions. The text contains a comparative analysis of two poems by Herbert: “Elegy of Fortinbras” and “Apollo and Marsyas,” with their translations into English. The translations were compared with the originals, taking into account their general form, the vocabulary, and the syntax. The analysis of vocabulary and syntax showed that to maintain the style of the original, the translator changed places where literary roughness was present. The translations into English were also more conventional and rooted more in European culture (while Polish contexts were moved to the background). One can thus conclude that the idea of spreading Polish literature across other cultures was more important for Miłosz than the translation of literary roughness.
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Pidopryhora, Svitlana, e Victoria Kysil. "POETRY AND FICTION BY MYKOLA VINGRANOVSKYJ IN ENGLISH TRANSLATIONS". Bulletin of Taras Shevchenko National University of Kyiv. Literary Studies. Linguistics. Folklore Studies, n.º 32 (2022): 58–62. http://dx.doi.org/10.17721/1728-2659.2022.32.11.
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The article examines the poetry and fiction by Mykola Vingranovskyj in English translations. Attention is paid to the chronological sequence of translations, the figures of translators and the works selected for translation, their equivalence to the original. The first translation of M. Vingranovskyj's fiction (the short story "White Flowers") appeared with the assistance of Yu. Lutsky in Canada and aimed at popularizing Ukrainian literature among students. The short story opens the extremely lyrical world of Mykola Vingranovskyj, where the story revolves not around the event, but around the feelings, which brings the short story closer to poetry. The novella was included to the anthology (Modern Ukrainian Short Stories, 1973) as the example of the prose of the sixties (shistdesyatnyky), which departed from socialist-realist ideological canons and turned to the emotional and expressive potential of artistic language. The translation of Yuri and Moira Lutsky is marked by the desire to convey as fully as possible the author's individual style, including figurative metaphor, to create a text equivalent to the original in communicative orientation. The collection Summer Evening (1987), translated by Anatoliy Bilenko, was published after M. Vingranovskyj was awarded the Taras Shevchenko National Prize of Ukraine (1984). The collection includes stories for children's audiences, conveying children's perception of the world: Chest, Shaggi, The Gosling, Good Night, What Makes the World Spin, Summer Evening. A. Bilenko's translations are notable for the adequacy of the reproduction of artistic and stylistic features of the original, semantic equivalence. Some translated poems, which emphasize the civic component (Sistine Madonna, To My Sea, On the Golden Table, The First Lullaby, Star Prelude) were included to the anthology of Ukrainian poetry (Anthology of Soviet Ukrainian Poetry, 1982), and Russian translators were involved in translating the poems (Dorian Rottenberg, Michael McGreg), which significantly reduced the artistic value of poetry. During the times of independent Ukraine, competitions for translations to the writer's anniversaries were initiated. However, translated works have not been published in collections and anthologies. Active work on translations of M. Vingranovskyj's works is still ahead.
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Ivashkiv, Roman. "Translating Ukrainian War Poetry into English: Why It Is Relevant". East/West: Journal of Ukrainian Studies 9, n.º 1 (30 de março de 2022): 37–65. http://dx.doi.org/10.21226/ewjus707.
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This article explores the English translations of contemporary Ukrainian war poetry featured in the two anthologies Lysty z Ukrainy (Letters from Ukraine, 2016) and Words for War: New Poems from Ukraine (2017), through the prism of Jacques Derrida’s concept of “relevant.” It argues that although the economy of the original poems could not always be sustained, these translations nonetheless remain relevant primarily thanks to what they do rather than what they say. After contextualizing the recent (re)emergence of war poems as a genre of Ukrainian literature and providing an overview of the two translation anthologies, the article compares the Ukrainian originals with their English translations and discusses the various translation challenges. It then returns to Derrida’s own case study to extend the modifier “relevant” beyond its “economic” parameters to apply it more broadly to translation’s socio-political significance. It concludes with a discussion of how the two anthologies in question reflect the state of the reception of contemporary Ukrainian literature in the English-speaking world and how the translations they feature inform our understanding of the (un)translatability of poetry.
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Orsini, Francesca. "From Eastern Love to Eastern Song: Re-translating Asian Poetry". Comparative Critical Studies 17, n.º 2 (junho de 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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Edwards, A. S. G. "Gavin Bone and his Old English Translations". Translation and Literature 30, n.º 2 (julho de 2021): 147–69. http://dx.doi.org/10.3366/tal.2021.0461.
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This article examines the verse translations of various shorter Old English poems and of Beowulf by the Oxford scholar Gavin Bone (1907–1942), mainly published posthumously. It provides a biographical account of him, before going on assess his introductions to Anglo-Saxon Poetry (1943) and Beowulf (1945). It further describes the various techniques Bone used in his translations, the lexical and metrical forms he employed, and their relative degrees of success. The article also considers the illustrations Bone created to accompany his Beowulf translation. It concludes with an examination of the afterlife and subsequent neglect of Bone's translations.
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Paden, William D., e Frances Freeman Paden. "Swollen Woman, Shifting Canon: A Midwife's Charm and the Birth of Secular Romance Lyric". PMLA/Publications of the Modern Language Association of America 125, n.º 2 (março de 2010): 306–21. http://dx.doi.org/10.1632/pmla.2010.125.2.306.
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In “Tomida femina” (“A swollen woman”), a tenth-century charm written in Occitan, the vernacular of the south of France, a birthing woman and her helpers intone magical language during the most intense moments of childbirth. The poem permits us, with brief but uncommon intimacy, to imagine the lives of women long ago. It takes its place in a European tradition of birthing charms, including others written in Latin, German, and English. These charms, and in particular “Tomida femina,” provide an image of vigorous medieval women in childbirth that precedes the images of women in other secular Romance lyrics—young girls in love in the Mozarabic kharjas, idealized ladies in troubadour songs, and passionate aristocratic women in the poetry of the Occitan trobairitz.
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Conde Silvestre, Juan Camilo. "New Verse Translations of Old English Poetry into Spanish". Atlantis. Journal of the Spanish Association for Anglo-American Studies 42, n.º 1 (28 de junho de 2020): 235–47. http://dx.doi.org/10.28914/atlantis-2020-42.1.12.
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Lootens, Tricia. "BENGAL, BRITAIN, FRANCE: THE LOCATIONS AND TRANSLATIONS OF TORU DUTT". Victorian Literature and Culture 34, n.º 2 (25 de agosto de 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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Pose-Fernández, Coralia. "The universalization of the poetry of George Seferis: the significance of English translations". Byzantine and Modern Greek Studies 41, n.º 1 (16 de março de 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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Mozetič, Uroš. "Selected Poems". ELOPE: English Language Overseas Perspectives and Enquiries 13, n.º 2 (16 de dezembro de 2016): 19–26. http://dx.doi.org/10.4312/elope.13.2.19-26.
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The selection of English translations of Mozetič' poetry includes poems from the cycles Gallery of Discarded Things, Lošinj, The Cloud of Knowing, De-dications: Pax de deux, and The Way of the Cross for the Blind. Translations by Nada Grošelj and Uroš Mozetič.
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Bruno, Cosima. "The public life of contemporary Chinese poetry in English translation". Target. International Journal of Translation Studies 24, n.º 2 (31 de dezembro de 2012): 253–85. http://dx.doi.org/10.1075/target.24.2.03bru.
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This essay is an exploration of some of the social and cultural factors that have played a role in the production, publication and reception of English translations of contemporary Chinese poetry, from the beginning of the 1980s to today. The aim is to link translations to the broader context, highlighting modalities and expectations of reception that have evolved within the social structures through which the translation of contemporary Chinese poetry has been circulating: the publishing industry, universities, the periodical press, public intellectual debates, and the market. The article does not try to establish if this or that expectation are either real or perceived features of the source texts. Nor does it deal with translators’ individual interpretations, their private readings. Instead, adopting a wider sociocultural approach, the analysis proposes to shed light on the industrial and commercial dimension—the public life—of contemporary Chinese poetry in English translation.
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Görtschacher, Wolfgang, e David Malcolm. "On Translating Ilse Aichinger’s Poetry into English". Tekstualia 1, n.º 36 (1 de abril de 2014): 97–104. http://dx.doi.org/10.5604/01.3001.0013.4574.
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The article juxtaposes three different English translations of two Ilse Aichinger’s poems – prepared by Michael Hamburger, James C. Alldridge and by the authors of the article, Wolfgang Görtschacher and David Malcolm. Görtschacher and Malcolm draw our attention to a special feature of Aichinger’s poems – their conciseness, and to the problems this quality may pose to the process of translation. The article examines predominantly semantic, syntactic, and cultural differences between German and English equivalents proposed by the three (four) translators, but also emphasizes the fact that translation is never fi nished, only published.
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LI, CHONGYUE. "A Corpus-based Study of Gaoxin Huang’s Poetry Translation Style". Translation Today 16, n.º 2 (1 de setembro de 2022): 1–21. http://dx.doi.org/10.46623/tt/2022.16.2.ar1.
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Though he himself is not a poet, Gaoxin Huang (1936-) has published a dozen of translated poetry collections. Huang has further developed the poetry translation strategy of “yidun daibu” (substituting pause for foot) on the basis of his predecessors and proposed quantitative standards of poetic meter and the “Emulation Method”. This study attempts to examine Huang’s poetry translation style with a corpus-based quantitative and qualitative study. For the study two corpora are constructed: a bilingual parallel corpus of 100 English poems with their Chinese translations and a monolingual comparable corpus of Chinese translations of 100 English poems and 280 original Chinese poems. Data on lexicon, syntax and phonology are collected from the two corpora to address the stylistic characteristics of Huang’s poetry translation at the lexical, syntactic and phonological levels. Huang’s translation employs a richer vocabulary than the original English poems, and the choice of words is more akin to the original Chinese poems. Huang does not replicate the original poem, but preserves the original poem’s harmony of structure, rhythm, and word count by substituting the Chinese pause for the English foot and making full use of the Chinese conjunctions.
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Zhang, Shirui, e Jindi Jiang. "A Study of Conversion in the Translation of Chinese Classical Poetry by Xu Yuanchong". Yixin Publisher 1, n.º 1 (31 de julho de 2023): 37–48. http://dx.doi.org/10.59825/jhss.2023.1.1.37.
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Classical Chinese poetry has become a brilliant jewel in the history of Chinese literature due to its unique beauty of rhythm and rich ideological connotations, and has become an indispensable part of Chinese civilization. High-quality English translations of poetry can help the world to better understand Chinese literature and gain a more comprehensive understanding of Chinese civilization, thereby promoting cultural exchanges between countries. Translation transformation theory was proposed by John Catford in the 1960s, who divided it into hierarchical transformation and categorical transformation, and systematically expounded the rationale for transformation phenomena in The Linguistic Theory of Translation. Practice has proved that translation transformation theory has important guiding significance for the translation process. This article takes Mr. Xu Yuanchong’s translation of classical Chinese poetry into English as an example to explore the transformation phenomenon in the process of text translation and the guiding significance of translation transformation theory for the translation of classical Chinese poetry, attempting to provide some reference for excellent English translations of traditional Chinese culture.
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Bollig, Ben. "Recent English Translations of Poetry from Argentina: Contexts and Strategies". Translation and Literature 25, n.º 1 (março de 2016): 107–30. http://dx.doi.org/10.3366/tal.2016.0239.
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Poetry features prominently amongst the works published with the support of the Argentine Foreign Ministry's ‘Programa Sur de apoyo a las traducciones’, including collections by internationally feted writers such as Jorge Luis Borges, as well as what might be called ‘semi-canonical’ authors such as Alejandra Pizarnik and Juan Gelman, and contemporary poets, including Tamara Kamenszain and Mori Ponsowy. The article explores the roles that these publications suggest for the translator of poetry, from within the ‘Sur’ programme and beyond. The article asks, further, whether the differing circumstances of translation and publication are reflected in the translation strategies on display.
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Bhattacharya, Dr Abhisek. "Reading Creative Translations of Jibanananda Das’s Bengali Poetry into English: A Journey across the Frontiers of Experiences". ENSEMBLE 3, n.º 1 (20 de agosto de 2021): 129–35. http://dx.doi.org/10.37948/ensemble-2021-0301-a016.
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Indian English literature generally refers to that body of writing, which is produced in the English language by the litterateurs of an Indian origin. It is however, understandable that creative translations should also be located into the corpus of Indian English literature. Historically speaking, what gave the first solid footing to Indian English poetry was Rabindranath Tagore’s Gitanjali, and this came in the form of creative translation. After Rabindranath we find another accomplished poet of twentieth century Bengal to practice creative translation of his Bengali poetry into English. This poet is Jibanananda Das, whose English- language poetry in the form of creative translation is yet to receive a broader audience. The present paper seeks to study three of these creative translations titled Meditations (Manosarani in Bengali), Darkness (Andhakar in Bengali) and Sailor (Nabik in Bengali), which seem to form a complex sequel in respect of Jibanananda’s deep concern for the socio-cultural unrest that characterized the general fabrics of life in Bengal after the Partition of 1947. Moreover, these poems appear equally contemporary in the twenty first century, when the disruptive forces of corruption, falsehood, debauchery, political coercion and cultural denigration are more severely at work to corrode and annihilate the cultural roots of Bengal. So, the purpose of the present study is two-fold: first, to show how the creative translations of Jibanananda continue to strike the note of a universal humanity in the present times, and second, to voice for their inclusion in forthcoming anthologies of Indian English poetry. For, these poems composed by one of the greatest poets of modern Bengal would make room for readers from all over India to savour the taste of a fine artistry that transcends the limits of every ideological bias.
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Liu, Wenqian. "Comparative Study of English Translations of Tang Poetry "Shu Xiang" from the Perspective of Eco-Translatology: Illustrated with the Versions by Xu Yuanchong and Stephen Owen". Journal of Education and Educational Research 7, n.º 2 (29 de fevereiro de 2024): 248–50. http://dx.doi.org/10.54097/w3fsk483.
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As one of the valuable literary legacies of China, Tang poetry contains rich linguistic and cultural knowledge. Translating it into English not only helps spread the excellent traditional culture of China to the outside world, but also promotes people to delve into and re-experience its profound meaning, thus making it last forever. This study explores the two English translations of "Shu Xiang" from the perspective of Eco-Translatology, evaluating the advantages and disadvantages of each translation in terms of "three-dimensional" transformation. Feeling the uniqueness of language through comparison and understanding the profoundness of culture through analysis, thereby enhancing cultural confidence. It provides reference for the translation of Chinese literary classics into English, and promotes the research on relevant models for the internationalization of Chinese literature and culture. The research results indicate that Xu Yuanchong's translation has the highest degree of integrated adaptive selection. The study also demonstrates that the theory of Eco-Translatology can be used to analyze English translations of poetry and provide a new perspective for the translation of poetry.
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Lobejón Santos, Sergio. "Translations of English-language poetry in post-war Spain (1939-1983)". Translation Matters 2, n.º 2 (2020): 113–30. http://dx.doi.org/10.21747/21844585/tm2_2a7.
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In the years immediately following the Spanish Civil War, the domestic poetry market underwent a lengthy and traumatic transformation stemming directly from the conflict and the Francoist regime’s implementation of systematic censorship. The death and exile of many of the preeminent poets from previous generations, along with the closure and relocation to Latin America of many publishing houses, left a considerable cultural void which would be partly filled with translated texts, most of them from authors writing in English. This article outlines some of the main results of a comprehensive study into the impact of censorship on the Spanish translations of English-language poetry between 1939 and 1983. Although the quantitative data point to a high authorisation rate for translated poetry, the regime used several mechanisms to curb the public’s exposure to ideas deemed harmful which profoundly impacted the translation and reception of those texts.
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Wenxuan, Li, e Wang Feng. "A Comparative Study on the Tang Poetry Translation in the Perspective of ‘Harmony-Guided Three-Level Poetry Translation Criteria’—A Case Study of Li Bai's Invitation to Wine". IRA International Journal of Education and Multidisciplinary Studies 16, n.º 3 (14 de agosto de 2020): 128. http://dx.doi.org/10.21013/jems.v16.n3.p1.
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There are many English versions of poems on the market with different styles, but the quality of the translated poems is quite different. This paper mainly makes a comparative analysis of English translations of Li Bai's "Invitation to Wine" by using Dr Wang Feng's "Harmony-Guided Three-Level Poetry Translation Criteria" and concludes that when translating poems into English, we should not only achieve harmony at the macro level, and the similar style and artistic conception at the meso-level, but pay attention to the representation of various beauties at the micro-level. Through the analysis, the authors hope to verify the guiding role of "Harmony-Guided Three-Level Poetry Translation Criteria" in poetry translation and promote the English translation of Chinese poetry.
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ВАСИЛЕНКО, ГАЛИНА. "THE SEA IMAGE IN UKRAINIAN POETRY AND ITS ENGLISH TRANSLATIONS". Scientific papers of Berdiansk State Pedagogical University. Series: Philological sciences 19 (10 de outubro de 2019): 28–36. http://dx.doi.org/10.31494/2412-933x-2019-1-9-28-36.
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Xu, Zan, e Juan Wang. "A Comparative Analysis of Liu Bei's Image in the English Versions of Sanguo Yanyi: A Perspective on Poetry Translation". IRA International Journal of Education and Multidisciplinary Studies 19, n.º 4 (11 de outubro de 2023): 209. http://dx.doi.org/10.21013/jems.v19.n4.p1.
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<em>Sanguo Yanyi</em>, a Chinese classical historical novel, contains a total of 207 poems. This paper presents a comparative analysis of the portrayal of Liu Bei in the English translations of the novel from the perspective of poetry translation. By examining the translations by Brewitt-Taylor and Moss Roberts, we aim to explore the nuances and variations in Liu Bei's image as portrayed in the poems. Selected examples are analyzed to highlight Liu Bei's image characteristics, including his adeptness, benevolent nature, and ambitious demeanor. The translations are compared in terms of their focus on readability versus fidelity to the original text. The findings contribute to a deeper understanding of the interpretation and representation of Liu Bei's character in English-language adaptations of Sanguo Yanyi, shedding light on the challenges and possibilities of poetry translation in a historical and cultural context.
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Milton, John. "Translated Poetry in Brazil 1965-2004". Revista Brasileira de Linguística Aplicada 4, n.º 1 (2004): 173–93. http://dx.doi.org/10.1590/s1984-63982004000100010.
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Through a quantitative survey, this paper will examine the translation of poetry in Brazil in the last forty years, comparing poetry translated from English with poetry translated from other languages, showing the considerable growth in this area, and demonstrating that translated poetry can be considered a new genre in Brazilian literature. In order to do this, I attempted to discover translations of poetry published between 1965 and 2004, including reeditions of previously published works.
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Gillespie, Stuart. "Manuscript Translations of Italian Poetry, c.1650–1825: A Miscellany". Translation and Literature 28, n.º 1 (março de 2019): 44–67. http://dx.doi.org/10.3366/tal.2019.0369.
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This is a presentation of fourteen English verse translations which have never previously been printed, transcribed from a range of extant manuscripts. The translators are mainly little-known figures. Italian authors translated include Dante, Petrarch, Tasso, Guarini, Metastasio, and Manfredi. The selection is intended to suggest how further archival research might make more visible the extensive history of amateur translation of classic and contemporary Italian poetry in English, and how far from routine its products can be.
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WALSH, ANDREW SAMUEL. "Who Translated Lorca into English First? An Analysis of the 1929 New York Translations and their Possible Authorship". Bulletin of Hispanic Studies: Volume 98, Issue 7 98, n.º 7 (1 de julho de 2021): 661–77. http://dx.doi.org/10.3828/bhs.2021.39.
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This article analyses the disputed and currently unresolved issue of who was responsible for the first translations into English of the work of Federico García Lorca. These were versions of two of the Gypsy Ballads, which were published anonymously in August 1929 in the New York based Hispanic journal Alhambra, shortly after Lorca’s arrival in the city. The article first presents the background to these translations and the publication in which they appeared, and examines the respective biographical merits and circumstantial claims of the two candidates to be Lorca’s first translators into English, Philip Cummings and Ángel Flores. The article then analyses the textual characteristics of the translations, compares and contrasts them with the translational styles of both candidates in their other Spanish-English poetry translations, and offers some conclusions as to who was most likely to have been Lorca’s first translator into English.
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Gillespie, Stuart. "John Polwhele's Horatian Translations". Translation and Literature 30, n.º 1 (março de 2021): 52–71. http://dx.doi.org/10.3366/tal.2021.0445.
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The poems and translations of John Polwhele ( c.1606–1672) are preserved in a single autograph manuscript, Bodleian MS English poetry f. 16. Some have received intermittent scholarly attention in recent times, often on account of Polwhele's admiration for and emulation of Ben Jonson. As well as other classical translations, Polwhele's manuscript includes eleven poems and passages from Horace, nearly all of them versions of odes and epodes. A handful have been printed or partially printed before. The purpose of this contribution is to provide transcribed texts of the complete set in a uniform way in a single document. As well as the Jonsonian connections of Polwhele's Horatian writings, they are of scholarly interest because they use Horace as a vehicle for comment on the translator's own times, including events of the English civil war period such as the regicide of 1649.
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Zhou, Zijun. "Ezra Pound: Merits and Defects in Approaching Eastern Poetry". Communications in Humanities Research 20, n.º 1 (7 de dezembro de 2023): 285–98. http://dx.doi.org/10.54254/2753-7064/20/20231389.
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Many literati consensually consider Ezra Pound a very significant figure in bringing Eastern poetry into the English world. His Cathay and In A Station of the Metro manifest his engagement in Chinese and Japanese poetry respectively. Rarely have scholars systematically discussed and evaluated the interconnection between the three languages poetry displayed in Pounds work. Therefore, this article aims to provide a comparative and comprehensive analysis of Pounds works, Chinese ancient poems and haikus. It begins with an overview of poetry and then moves to introducing how English and Eastern poetry differ. In the discussion, Chinese and Japanese poetry have been explored respectively and jointly. This article, from the perspective of one with mastery or intermediacy in all three languages, aims to provide some more accurate and aesthetic translations of Chinese poems by poets including Wang Wei, and haikus by haijins such as Bash. These translations (unless specified, original) better serve to compare and contrast Pounds poems and their Eastern counterparts. A series of close, dialectic analyses demonstrate that Pound both possessed merits and defects in approaching Eastern Poetry. This study provides a more thorough account of this significant literary crossover, from which it is hoped that future studies discover how Pound developed and/or popularised certain styles in this process.
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Wen, Shirui. "The Operation of Language in Poetry Translation". Communications in Humanities Research 14, n.º 1 (20 de novembro de 2023): 299–304. http://dx.doi.org/10.54254/2753-7064/14/20230504.
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The translation of one literary work from its mother language to a target language is certainly a key area of research in literary studies and comparative literature. The translation of literary works, specifically poetry, is extremely flexible and requires intricate operations of language. Not only do translators have to take into account of the structural elements of a poem, but also more obscure elements such as imagery and theme. This paper will explore the key elements of poetry translation, and the indispensable constituents of a successful translation of poetry, and focus primarily on the comparison of English and Chinese poetry along with their translations. The poetry that will be examined are Sonnet 130 written by Shakespeare and its Chinese translations, The Raven by Edgar Allan Poe, and the famous Chinese poem Yellow Crane Tower. Through the examination and analysis of these poems, a clearer definition of poetry translation can be achieved.
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Pfister, Lauren. "James Legge's metrical Book of Poetry". Bulletin of the School of Oriental and African Studies 60, n.º 1 (fevereiro de 1997): 64–85. http://dx.doi.org/10.1017/s0041977x00029578.
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Few non-Asian sinological scholars would not recognize the name of James Legge (A.D. 1815–97), partly because his voluminous translations of the Confucian canon still continue to be reprinted and used by Western sinological circles 120 years after their first publication. In China itself, Legge has recently received new attention with the republication of bilingual editions of The Four Books and The Book of Changes. Japanese readers have had rather more access to Legge's English translations of The Four Books, beginning with the early Meiji period and continuing into the twentieth century. Unfortunately, none of these Chinese or Japanese editions has included the extensive commentarial notes drawn from Chinese Confucian and early Western sinological sources which earned Legge his reputation as a world-class Chinese scholar in the nineteenth century.
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Iplina, Antonina Alekandrovna. "Reconstruction of Uzbek poetry image system in translation". Interactive science, n.º 10 (44) (19 de outubro de 2019): 30–32. http://dx.doi.org/10.21661/r-508132.
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The article deals with the poetic system of images in the poetic speech of Uzbek lyrics on the material of the poem «Oshi halol» by the modern popular poet and translator Rustam Musurmon in the original language, as well as translations into English and Russian in a comparative aspect.
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Li, Ya. "A Comparative Study of the English Translation Versions of Yu Meiren from the Perspective of the Skopos Theory". International Journal of Education and Humanities 9, n.º 3 (25 de julho de 2023): 174–79. http://dx.doi.org/10.54097/ijeh.v9i3.10508.
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Yu Meiren is a wonderful work of classical Chinese poetry because of the poet’s inexhaustible sadness for the destruction of his country, which is just like a torrent of water. Due to the unique cultural symbols, Chinese poetry has also been given much attention in the study of foreign translations of Chinese culture. With the frequent cultural exchanges between China and other foreign countries, translators for Chinese poetry translation are also becoming more than before. However, the translation of the same poem may have different characteristics because of the different translation views and purposes of translators. Under the guidance of the Skopos Theory, this paper will analyze different versions of translations of Yu Meiren and discuss the translation strategies that should be adopted in the translation of Chinese poems. Thus, the translation of Chinese poetry will be more in line with the reading habits of the target readers and promote the foreign dissemination of China’s excellent traditional culture.
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McIlfatrick-Ksenofontov, Miriam. "Fetching Poems from Elsewhere: Ciaran Carson’s Translations of French Poetry". Interlitteraria 21, n.º 1 (4 de julho de 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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Li, Bingcheng, e Huiqin Tu. "A Study on the Translation Strategy by Comparing the Translation of Reduplications and Image Words: Three English Versions of Sheng Sheng Man as the Case Study". Studies in English Language Teaching 12, n.º 2 (25 de maio de 2024): p110. http://dx.doi.org/10.22158/selt.v12n2p110.
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The study is based on the translators’ respective cultural identities, and compares, evaluates and validates the translation strategies of the three translations in terms of dealing with reduplications and image words in the translations. This study proves that Lin Yutang believes that the most important thing in translating poetry is considering the context, and finally translate the beauty of poetry through the techniques of “using words to convey the spirit” and “using words to condense the poetry”. Xu Yuanchong insists on his own translation ideas: the “Three Beauties Theory”, which contains beauty in sound, beauty in form and beauty in sense. As a result, Xu’s translations have a high degree of unity of “loose in form but not in spirit”, and his translation versions are even more remarkable in terms of “conveying the spirit” of the image in the text. Yang Xianyi & Gladys Yang attach great importance to “fidelity” in translation, giving priority to the strategy of “foreignization” in all matters relating to national cultural characteristics, and translating poetry by means of literal translation, transliteration and paraphrase.
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Mitrea, Alexandra. "A Comparative Analysis of Translations of Lucian Blaga’s Poetry into English". East-West Cultural Passage 20, n.º 1 (1 de junho de 2020): 124–44. http://dx.doi.org/10.2478/ewcp-2020-0007.
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Abstract The complexity of Lucian Blaga’s poetry is a matter of common knowledge. Part of this complexity is related to the elements of prosody that Blaga skilfully employs, to say nothing of the philosophical vein which infuses his writings, and which derives, understandably, from his philosophical work. Mention should also be made of the lyrical character of Blaga’s dramatic works, which adds significantly to the effort of translating his writings into English, or any other language for that matter. In what follows, we intend to offer a bird’s eye view of the volumes that have been translated into English and to analyse a selection of poems comparatively, in order to signal challenges and discrepancies, born in the process of transferring literary material from Romanian to English, and to point out what has been lost, and, if that be the case, what has been gained in the translation process.
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Ireland, Colin. "Journal: Sirena". Frontiers: The Interdisciplinary Journal of Study Abroad 10, n.º 1 (15 de agosto de 2004): 277–78. http://dx.doi.org/10.36366/frontiers.v10i1.146.
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Sirena is a new journal of poetry and criticism published by the department of Spanish and Portuguese at Dickinson College. A major purpose of the journal is to publish all poetry and criticism in the original language. In the case of critical articles, Sirena publishes those articles in the original language only, so an article submitted in Spanish will appear online in Spanish. For poetry, all submissions are published in the original language first and then translated into either English (if the original language was Spanish, or translated into Spanish (if the original language was English). In the case of the original poem being in a language other than Spanish or English, that poem will be translated into both of those languages. In other words, all poetry appears in either bilingual or trilingual translations.
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Вороневская, Н. В. "On the Typology of Translations of R. M. Rilke's Poetry into English". Иностранные языки в высшей школе, n.º 4(55) (5 de março de 2021): 23–30. http://dx.doi.org/10.37724/rsu.2020.55.4.003.
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В статье рассматриваются разновременные переводы XXI сонета первой части «Сонетов к Орфею» Р. М. Рильке, выполненные британскими и американскими переводчиками. Изучение типологии поэтического перевода на примере лирического цикла Рильке основывается на классификации поэтического перевода, разработанной Р. Р. Чайковским. Проанализированные в статье переводы XXI сонета первой части в интерпретациях американских переводчиков Р. Блая и Л. Норриса (в соавторстве с А. Килом) представлены прозаическим и адекватным переводами соответственно. Британский поэт и переводчик Д. Патерсон использует сонеты Рильке как основу для создания поэтической версии оригинала, навеянной мотивами переводимого произведения. Сравнение трех переводов XXI сонета позволяет сделать выбор в пользу адекватного перевода Л. Норриса и А. Кила, в котором воссозданы не только образы оригинала, но и его уникальная поэтическая форма. В прозаической интерпретации сонета Р. Блая не учтены ни жанровые характеристики сонета, ни индивидуально-авторский стиль Рильке. The article deals with the different-time translations of the XXI sonnet of the first part of “Sonnets to Orpheus” by R. M. Rilke made by British and American translators. The study of the typology of poetic translation with examples drawn fromRilke’s lyric cycle is based on the classification of poetic translation developed by R. R. Tchaikovsky. The analyzed translations of the XXI sonnet of the first part in the interpretations of the American translators R. Bly and L. Norris (co-authored with A. Keel) are presented by prosaic and adequate translations, respectively. Inspired by Rilke’s original, the British poet and translator D. Paterson uses Rilke’s sonnets as a basis for creating his poetic version (i. e. interpretation based on the original) of the German sonnets. Comparing three English translations of the XXI sonnet allows us to make a choice in favor of the adequate translation made by L. Norris and A. Keel, in which not only the images of the original but also its unique poetic form are thoroughly recreated. In the prosaic interpretation of R. Bly’s sonnet, neither the genre characteristics of the original sonnet nor Rilke’s individual style are taken into account.
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Bonaddio, Federico, Vicente Aleixandre e Robert G. Mowry. "Destruction or Love: Poetry of Vicente Aleixandre, English Translations and Illustrations". Modern Language Review 97, n.º 2 (abril de 2002): 466. http://dx.doi.org/10.2307/3736937.
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Skvortsov, А. Е., e А. А. Davletshina. "Features of the style and genre: Translated children’s poetry by M. Boroditskaya". Philology and Culture, n.º 4 (29 de dezembro de 2023): 181–86. http://dx.doi.org/10.26907/2782-4756-2023-74-4-181-186.
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The most influential persons in contemporary Russian poetry belong to the elder generation of authors. It is they who now maintain the entire tradition of Russian poetry, which is being consciously or unconsciously abandoned by many representatives of the younger generations, impoverishing their own verse practice. There are few poets today whose importance is recognized not only by their supporters but also by representatives of other aesthetic groups. Among these persons is the poet and translator Marina Yakovlevna Boroditskaya (b. 1954). Despite the aesthetic importance of her work, which has long been recognized by critics, and her wide popularity among the public, philology has so far hardly studied her poems and translations. Boroditskaya’s position in literature is in many ways unique, as she acts both as a lyric poet for adults, as a children’s poet and as a poetic translator, with all three types of her literary activity mutually enriching each other. The article considers Boroditskaya’s translations from children’s English-language poetry of the twentieth century (Dr. Seuss (USA) and Julia Donaldson (Great Britain)) and the influence of Russian poetic classics of the nineteenth and twentieth centuries on the versioning and stylistic features of the translated texts. The article proves that Boroditskaya actually realizes in her translations an implicit cultural synthesis, masterfully combining English and Russian poetic traditions, and overcomes the artificial barrier between poetry oriented towards adult and children’s audiences, respectively.
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Ekman, Gabriella. "Gifts from Utopia: The Travels of Toru Dutt's Poetry". Victoriographies 3, n.º 1 (maio de 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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Italia, Maddalena. "Eastern Poetry by Western Poets: Powys Mathers’ ‘Translations’ of Sanskrit Erotic Lyrics". Comparative Critical Studies 17, n.º 2 (junho de 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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Osiński, Dawid Maria. "Philology of Impossible: Some Remarks on the Translations of Leśmian's Poetry into English and German". Tekstualia 1, n.º 52 (19 de julho de 2018): 11–42. http://dx.doi.org/10.5604/01.3001.0013.3116.
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The article analyses selected English and German translations of Bolesław Leśmian’s poetry, with a special focus on the solutions regarding versifi cation, rhythm, and language (dialectological structures, syntactical forms and neologisms characteristic of Leśmian’s poetic writing). The translation strategies employed by Sandra Celt, Rochelle Heller Stone, Michael J. Mikoś, David Malcolm, Karl Dedecius, are compared with the solutions used by other translators, including Czesław Miłosz, Janek Langer, Barry Keane, Cathal McCabe, Benjamin Paloff, Anita Jones Dębska, Ryszard J. Reisner, Marcel Weyland, Leo Yankevich, Marek Urban, Marian Polak-Chlabicz, Lorenz Scherlag. The article poses questions about the criteria of effective and congenial translation, and about the methods of domesticating (conventionalizing) translations. Special attention has been paid to the following problems of the translation of Leśmian’s poetry: linguistic innovation, demands of versifi cation, neologisms, references to Polish folklore, intertextual allusions.