It's cold,” he said, immediately biting his tongue and turning his back on his father. Sam hid in the corner among the leaves, longing for the protection of the pack. He would rather stay in the middle of the ocean, under the sky, looking at the shore and breathing the wind.
They remembered the summer and the trees they had at the end of the farm.
Vimala Devi
These men will learn it too one day.” He smiled softly and reflected on the incalculable progress of man, the sad but wise ape. It was lung trouble…” He turned on his side to face the doctor, making the sheets of the makeshift bed groan in the process.
TRANSLATED BY REBECCA GOULD
Landslide” (conversation with the daughter and granddaughter of the Georgian modernist poet and contemporary of Samedashvili, Titsian Tabidze, d. 1937, moderated by Rebecca Gould) Guernica: Journal of Art and Politics. The Twilight of Georgian Literary Modernism. Metamorphoses: Journal of Five School Seminars on Literary Translation.
Mohamed Choukri’s Preface to Al-Khbuz Al- Hafi / ﻲﻓﺎ ﺤﻟا ﺰﺒ ﺨﻟا
TRANSLATED BY MAHMOUD GEWAILY
ΔѧѧѧϤϠϛ!
Painter of Arms” by Herman Lenz
TRANSLATED BY EDUARD STOKLOSINSKI
The Coachman and the Painter of Arms (pp.7-16)
On the drive back to his stand opposite the train station and in the shadow of the white Hotel Royal, he thought of him. His colleague Egelhaf, who had folded a blanket on the velvet upholstery of his carriage beside him, said: "Now our Kandel looks human again." They laughed and Egelhaf added, "The way you used to look, I wouldn't want to run into you in the dark." He was a big fellow with a saddle nose, mustache and a gray chin strap, while Kandel was clean shaven. Now he said: "You know, last night the wife of König Karl drank water again at Jacob's well" and he praised the Gaisburger water as a rare gift from God.
He said of him that he was hard to get along with and was a hot-headed and quick fellow; it was not for nothing that he spent three years in Asperg Prison. He was imprisoned there because he participated in the revolution as a Freischärler2, in the year eighteen forty-eight. To Egelhaf he says: "So long, Louis", gets on the box seat and snaps the reins on the horse's back: "Let's go, Hansel." He turned and drove down Friedrichsstraße to Alleenstraße, where the green in the front gardens and the foliage in the trees had a hint of evening.
Then he turned, rode in the yard, and let the horse drag himself into the stable. And he remembered that in winter he always had to light the stove in the church; it was easy because he did it for young Fräulein von Leutrum, daughter of Count Leutrum, who owned Nippenburg. Because something that was unattainable must have stood in the distance; otherwise it would turn to stone, it would not remain as illuminated as seen from afar.
Literature and Globalization
Some Thoughts on Translation and the Transnational
Literature and the Academy
The cultural and communicative turn of literary studies certainly corresponds to the globalizing imperative of the university. We cannot blame writers and readers for the artificial boundaries that have defined the study of literature within the borders of the national basin. We must therefore distinguish between our practice as readers and our practice as professionals of the segregation of literary studies into "national" containers.
While comparative literature may be the bad conscience of the national paradigm, translation is and remains the blind spot of the study of literature in its nationally or comparatively institutionalized forms. Susan Sontag is right to remind us that translation is "the circulation system of the world's literature" (177). Moreover, we must be careful not to place geographical, political and cultural identities under the one heading of the national.
Orsini is right to favor the interactive two-way traffic model of appropriation over the center-periphery model. The institutionalization of the study of literature in separate departments is therefore necessarily blind, for without this blindness we might determine a national corpus of works in English in the UK, in French in France, and so on. Visual arts or music departments are as common as literature departments are unusual.
Literature in Translation
That is, regional, national and international constitute different but not necessarily exclusive frames of reference, as each of the terms is comparative. Esther Allen has drawn attention to an excellent example of the deep-seated nature of this view of translation as loss: the current Wikipedia article for George Steiner's book on translation, After Babel. Despite the multicultural reality of the contemporary world, the statement reflects a kind of nostalgia for the monolingual unity that preceded Babel, and a certain frustration with the linguistic diversity and the humiliating deception of translation that results from it.
One way to correct the view of translation as inherently inadequate is to promote a clearer understanding of the fact that every translation of a text is a performance of that text as reflected in the selection and order of words on ' a page An encouraging sign in recent years is that re-translations of Proust, Tolstoy, Cervantes and other classics have provoked extensive and sometimes heated debate about the competence (or otherwise) of the translators. To hear the other person's voice deeply, viscerally and to summon an answering voice from the depths is the joy of the [translator's] work.” Our invocation of Julie Rose leads us to another point about translation: the desirability of the translator's empowerment.
The essential argument of her lecture was that a proper consideration of the art of literary translation involves a claim for the value of literature itself. My sense of what literature can be, my reverence for the practice of literature as a vocation, and my identification of the writer with the exercise of freedom – all these constituent elements of my sensibility are inconceivable without the books I have translated from an early age. have read. age. In many ways, Bush has shown the dangers of being cut off from the rest of the world.
World literature
The translation method involves a more mutual estrangement of horizons, an enrichment of the tension of the distant and the near, which is inherent in the two-way traffic of translation. Everything and nothing changes in the light of world literature, which can be beautifully illustrated in the coexistence of capital and the metropolis. This faith in the power of the original, not lost but betrayed, drives today's religious fundamentalisms.).
Nor should we confuse the protection of indigenous peoples with contemporary national, racial or religious fundamentalisms. Critical Translation Workshops - What could better describe the contribution of world literature to the understanding of globalization. In other words, world literature requires a different way of reading and a transformation of the study of literature in the academy.
Contemporary language would have set expectations deeply at odds with the style, the themes, the entire content of the novel. Translating this brought home to me some of the complexities behind the need to "update". Today, our idea of such language is probably a version of the kind of language Arnold himself wrote.
Valéry’s “Fragments of the ‘Narcissus’”: A Case Study for Translators
DAVID ELDER
In the case of the line above, we need to concentrate on the richness of this event boundary, detached from the rest of the poem. By doing so, they eliminate the essential ambiguity of the first words of the text. From the very beginning of "Fragments of 'Narcissus'" «je» ("I") is absent.
In the second "Fragment" it only appears in the last part of the text to become the subject of the (un)divided self. The only exception in Charms is « Le vin perdu » [“The lost wine”] – and even then the presence of the “I” is softened and limited. David Paul and Peter Dale's translations of the first line of this “Fragments of the.
The end of the 'course' calls for the 'source' in the form of a rhyme in the second line. However, the manuscripts of the “Finale” amply justify maintaining “flight” as an echo of “night.” Yet it is a different scene that takes place in Valéry's 'Finale' of the 'Narcissus' as it moves from 'flight' to 'night' – from an action to a state.
ANNA COLOMBI
Another reason why the "first Travis" of the Italian dubbed version is a very different character than the original is the inappropriately extensive use of the Italian form "lei" in the Italian version of the film. The fact that Travis uses this form of address throughout most of the film and with most of the characters makes him seem friendlier than he actually is in the original version. In the original dialogue there are neither vocatives nor any other type of formal verbal markers.
In the original, Betsy is also somewhat vulgar in the language she uses in this last part of the dialogue. Thus, in Travis and Betsy's first and second dates, there are neither verbal nor nonverbal markers that could justify the use of the “lei” form in the translation. Naturally, the language of the characters in the original reflects this microcosm, and vulgarity plays a key role in establishing the film's mood and meaning.
Both allocation and vulgarity help to make the scene in the Italian less harsh. All the imagery related to sewers and garbage, expressed in the original dialogue through various similes, does not even appear in Italian. Translating much of the coarse language of the original film with dialogue free of vulgarisms, and using the "lei" form in most of Travis' dialogue, results in a different and less realistic view of this microcosm of vulgarity and violence, a microcosm which both Shrader and Scorsese wanted to be as realistic as possible.
