So in the clan she appeared in the role of a widow and it made her shudder. He stepped into the first shelf of the cupboard, reached up to the top shelf and groped around. From the fish salad with coconut to the vegetable macédoine, a complete range of salads was prepared.
Her sisters and nieces followed her, but she locked herself in the toilet with him. All night she went over and over this whimsical thought in her mind, but in the morning she knew that she would go to the specified address. The doctor spoke of the necessity of hospitalization, of a forced detoxification; she would follow his advice to the letter.
The Beggars (“Les Mendiants”) by Emile Verhaeren
TRANSLATED BY WILL STONE
Avec leurs vêtements et leurs haillons Et leur marche qui les disloque, L'été, parmi les nouveaux champs, ils effraient les oiseaux. Et quand enfin ils tombent, secs de soif, transpercés de faim, et s'enfouissent comme des loups, au fond d'un trou. Avec leur dos comme un fardeau et leurs chapeaux comme de la suie, ils habitent l'intersection du vent et de la pluie.
They are the monotonous step – that which always comes and goes the same and never tires – from horizon to horizon.
Reminiscing about Antiquity at Red Cliff (“Chibi Huaigu”) by Su Shi
TRANSLATED BY LI WANG
To the west of the ancient wall, it is called the Red Cliff of the Three Kingdoms battlefield, which is remembered by the name of General Zhou. Jagged rocks pierce the clouds, Stormy waves crash against the shore, whip thousands of layers of snow.
The Centrality of a Translator’s Culture
Fernando de Rojas’s Celestina and the Creation of Style in Translation
PETER BUSH
In 1492, Granada, the last Arab kingdom, fell, ending seven centuries of Muslim rule in some part of the peninsula. De Rojas belonged to a converso family that converted at the end of the fourteenth century. Old Castile would soon be one of the centers of the comunero peasant rebellions.
First, I would get rid of the frame of the humanistic comedy and restore for the English reader a narrative that came closer to the voice of a single professional "performance" reader in the inflections of the performing translator. Be that as it may, the language of the translation could not be soft and should be guided by a strong sense of orality. The art is holistically informed by the history, experience, knowledge, subjectivity of the translator: everything that can be extracted rationally and irrationally while rewriting and moving back and forth in the sense of the original Spanish.
The translation is in fact ignited in the translator's consciousness as a writer to the point that it takes on an existence independent of the original, and the translator must free himself from the latter, let himself go into writing: the unique form of writing that constitutes literary translation . John Clifford's translation is an example of many translations for the stage that start from the premise that the "play" is not feasible and must be cut until it is. The PBs are radically different in some respects, aiming to create an English that reflects the old woman's chatter as she hurries along.
Obviously, it stands out in this focus on one of Celestina's monologues and is less noticeable in a one-time reading of the entire book. 5 I will see to it that you are the downfall of the female dedalus copy editor: by the girl who refused. In general, the sayings become snappier and their humor increases (elsewhere, Celestina laments "A house without men fades" and here also reinforces the sense of the confident old woman who quickly goes to her appointment with Calisto.
The development of the English for "quien las sabe, las tañe", a proverb from the music world - "he who knows how to, plays good" - is instructive.
Translation and Dictatorship
PETER MORGAN
Translation allowed Kadare to stay in touch with the world of imagination (beyond the borders of Albania) from the world of the dead letter (of Albanian communism). Translation became part of the game of chess, the battle of the mind to speak on behalf of its country to its fellow countrymen and to the world. In the small, closed Albanian environment, translation was part of a huge literary-political undertaking to convince the world of the truth of Enverism, the dictator's personal mixture of communism and nationalism.
The publication of The General in France in 1970 made Kadare a name on the world stage of Eastern European dissidents. Kadare claimed that the manuscript of his 1975 dissident poem Red Pasha, for example, disappeared from security police vaults after it was submitted for publication. The poem was discovered in the vaults of the Albanian National Archives in 2002 by the (former) director Shaban Sinani.4 The controversy surrounding this work reveals the extent to which the lyrics were vulnerable in an environment of secrecy, seizures and confiscations.
While some works could be superficially altered for the literal-minded dogmatists of the regime without substantially altering their critical content, others could not. Die Groot Winter, Kadare's controversial socialist realist novel of 1973, has undergone numerous readings and revisions by members of the highest ranks. One of the keys to understanding Kadare is to accept that on some level he enjoyed the battle of wits.
According to Claude Durand, Kadare did not believe that he would see the end of the regime. His friend, a talented writer who is kept at a distance by the Party because of the brilliance and independence of his work, plays an important role as a narrative alter ego.
Hermann Lenz’s novel Der Kutscher und der Wappenmaler
Translator’s Note
EDUARD STOKLOSINSKI
In the following years, as far as literary life in West Germany was concerned, Lenz existed obscurely as a writer and part-time secretary of the South German Writers' Association, although, thanks to the support of the publisher Paul Hegemann in Cologne, he managed to publish small editions of both shorter prose (e.g. Der Kutscher und der Wappenmaler, 1972). It was only after Peter Handke published in the Süddeutsche Zeitung in 1973 an invitation to read Hermann Lenz ("Tage wie ausgeblasene Eier") that he gained wider recognition, a belated recognition that culminated in the Georg Büchner Award, Germany's most prestigious literary award, in 1978. It was a season like being on an ice surface, bottomless and dark all around, sometimes I panicked, when I passed empty spaces my ears tingled, but as soon as I read Der Kutscher und der Wappenmaler, the objects around me stopped being a precursor terrifying and standing steadfast in the friendly electric light that I could look at again.
By the time of Der Kutscher und der Wappenmaler in 1972, Lenz had written the first two parts of his so-called 'Swabian Chronicle', the Eugen Rapp novels, a quasi-autobiographical memory project that begins with the lives of his grandparents in Künzelsau on the early twentieth century in Verlassene Zimmer (Abandoned Rooms) and ends with Freunde (Friends) in the early 1990s, a total of nine books, published between 1966 and 1993. His wife placed a new mantle in the gas lamp that hung above the oval table where the poet from Warmbronn, a farmer, occasionally sat. In Der Kutscher and the Wappenmaler, fantasies and memories come together as still lifes, images pass by, illuminated by a tint, a touch of air, both sound and light.
He turned and drove along Friedrichsstraße to Alleenstraße, where the green in front of the yard and the leaves on the trees showed a trace of evening. Schlant (147) noted that "in this landscape of mind and memory, narrated events emerge like islands in a sea of silence, but at their bottom are connected by a memory that opposes the surface." Lenz's prose, especially in the novels of Eugene Rapp, works not primarily through plot or structure, but rather through observation, through subtle exploration.
Working from the first language seems to facilitate a pause in the insignificant space, an awareness of the instability and potential of the text. In the space between languages, the foreign translator tends to drift back towards the source; the translation language does not so easily develop its own momentum, i.e. its own banalities, for the sake of fluency.
REVIEWS
It targets mainstream commercial publishers for their reluctance to publish translations despite the commercial success and cultural package enjoyed by titles such as Umberto Eco's The Name of the Rose and anything by Roberto Bolaño. The cultural importance of translation, as the circulation system of world literature, cannot be overestimated. Grossman is most eloquent when she discusses, based on her own practice, what a translator does (or should do) and communicates some of the joy of that experience.
One of the smartest students in a seminar I taught recently asked whether, in The Autumn of the Patriarch, we read [translator Gregory] Rabassa or Garcia Marquez. One way to correct negative or naïve views of translation is to promote a clearer understanding of the fact that every translation of a text, as Grossman and Manheim argue, is a performance of that text as reflected in the selection and order of words on a page. A proper consideration of the art of literary translation is therefore a claim to the value of literature itself.
The theoretical part of Eco's book contributes little to the discussion of issues affecting translation in recent decades. Therefore, translation is not only related to linguistic competence, but to intertextual, psychological and narrative competence.'' about the same text. Treating the translator's work as seriously as the best criticism treats untranslated literature, he argues, will rescue translators from invisibility and give them the recognition they deserve.
For translators in practice, her views on fidelity are equally important: "the translator's fidelity is not to lexical images, but to the context - the implications and echoes of the tone, intent, and level of discourse of the first author." She has one of the longest professional careers in which she has encountered countless dilemmas and complexities and bears Why Translation Matters.
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