This essay explores possibilities for translating the Scots language poetry of 20th cenury poet, Hugh MacDiarmid. Mirroring MacDiarmid’s propensity to draw on and recontextualise other sources of poetry and to create new poetic language, the essay illustrates options of translation as (i) repurposing the ideas of the poem, and (ii) reworking events associated with the poem. Two examples are contextualised in an overview of MacDiarmid’s prolific and intellectual Scots and English language poetry. MacDiarmid drew on both languages to create what he called synthetic Scots and synthetic English. This allowed him to explore Scottish cultural, social and political identity, in part to promote Scottish independence and autonomy, and in part to stimulate a new Scottish intellectual and literary tradition. His work typified what is known as Caledonian antisyzygy. Antisyzygy allows for borrowing, appropriation, reworking and decontextualisation of language, ideas and other writers’ work. The essay describes my own appropriation of one poem, On a Raised Beach, to inform a discussion of future education (translation as repurposing). It closes on a contemporary retelling of the construction of the book-length poem, A Drunk Man Looks at the Thistle (translation as reworking).
{"title":"Accompanying a drunk man from “coupin’ gless for gless” to silence – An es-say in translating Hugh MacDiarmid","authors":"Bill Boyd","doi":"10.1344/CO202130146-157","DOIUrl":"https://doi.org/10.1344/CO202130146-157","url":null,"abstract":"This essay explores possibilities for translating the Scots language poetry of 20th cenury poet, Hugh MacDiarmid. Mirroring MacDiarmid’s propensity to draw on and recontextualise other sources of poetry and to create new poetic language, the essay illustrates options of translation as (i) repurposing the ideas of the poem, and (ii) reworking events associated with the poem. Two examples are contextualised in an overview of MacDiarmid’s prolific and intellectual Scots and English language poetry. MacDiarmid drew on both languages to create what he called synthetic Scots and synthetic English. This allowed him to explore Scottish cultural, social and political identity, in part to promote Scottish independence and autonomy, and in part to stimulate a new Scottish intellectual and literary tradition. His work typified what is known as Caledonian antisyzygy. Antisyzygy allows for borrowing, appropriation, reworking and decontextualisation of language, ideas and other writers’ work. The essay describes my own appropriation of one poem, On a Raised Beach, to inform a discussion of future education (translation as repurposing). It closes on a contemporary retelling of the construction of the book-length poem, A Drunk Man Looks at the Thistle (translation as reworking).","PeriodicalId":10741,"journal":{"name":"Coolabah","volume":"1 1","pages":"146-157"},"PeriodicalIF":0.0,"publicationDate":"2021-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85604009","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Translation theorist Laurence Venuti has written how a translator, in “a Romantic transcendence” can lose “his national self through a strong identification with a cultural other.” TS Reader , 20) Australian twentieth-century poet James McAuley’s reading and translation of the early twentieth-century Austrian poet Georg Trakl presents a significant literary encounter. Cosmopolitan by nature, McAuley, as a young poet, had been drawn to, and translated, the German language lyric poet Rainer Maria Rilke (1875-1926). Few of McAuley’s translations of Trakl are included in his Collected Poems (1971 and 1994); they appear in a separate posthumous collection (1982) and in his essay “The Poetry of Georg Trakl” (1975). This article offers a literary appreciation of McAuley’s translations and his commentary on Trakl’s imagery, prosody, symbolism and world view which McAuley described, borrowing Baudelaire’s term, as “a landscape of the soul.” It considers the hypothesis of translation as travel. Drawing on Harold Bloom’s theory of influence it examines McAuley’s encounter with Trakl in his late work, translations and poetic dedication (“Trakl: Salzburg,” 1976) written after visiting Salzburg in 1973. A comparatist approach traces Trakl’s influence, the discovery of affinities or parallel paths with the earlier poet who might be considered, in Bloomian terms, to be McAuley’s “gnostic double.”
{"title":"Translating Trakl: James McAuley’s Encounter with the Cultural Other","authors":"Jean Page","doi":"10.1344/CO20213055-72","DOIUrl":"https://doi.org/10.1344/CO20213055-72","url":null,"abstract":"Translation theorist Laurence Venuti has written how a translator, in “a Romantic transcendence” can lose “his national self through a strong identification with a cultural other.” TS Reader , 20) Australian twentieth-century poet James McAuley’s reading and translation of the early twentieth-century Austrian poet Georg Trakl presents a significant literary encounter. Cosmopolitan by nature, McAuley, as a young poet, had been drawn to, and translated, the German language lyric poet Rainer Maria Rilke (1875-1926). Few of McAuley’s translations of Trakl are included in his Collected Poems (1971 and 1994); they appear in a separate posthumous collection (1982) and in his essay “The Poetry of Georg Trakl” (1975). This article offers a literary appreciation of McAuley’s translations and his commentary on Trakl’s imagery, prosody, symbolism and world view which McAuley described, borrowing Baudelaire’s term, as “a landscape of the soul.” It considers the hypothesis of translation as travel. Drawing on Harold Bloom’s theory of influence it examines McAuley’s encounter with Trakl in his late work, translations and poetic dedication (“Trakl: Salzburg,” 1976) written after visiting Salzburg in 1973. A comparatist approach traces Trakl’s influence, the discovery of affinities or parallel paths with the earlier poet who might be considered, in Bloomian terms, to be McAuley’s “gnostic double.”","PeriodicalId":10741,"journal":{"name":"Coolabah","volume":"25 1","pages":"55-72"},"PeriodicalIF":0.0,"publicationDate":"2021-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85387020","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The translation I am presenting here is particularly complex because the poem, by the former poet laureate of Friesland, Eeltsje Hettinga, is about the German-language poet Paul Celan, his life and work, his relationship with the Austrian poet Ingeborg Bachmann, and his death in Paris in 1970. All too often there is a tendency to see the literature of minor languages as interesting only inasmuch as it fills the gaps in the canon by concentrating on its own provincial, often rural, backward-looking reality, as if the interconnectedness of the twenty-first century doesn’t extend across the whole planet or as if languages that are being pushed back into the private, familial sphere can’t be used to reflect on the literary and political world that impinges on that sphere.
{"title":"From the Germanic Soup","authors":"David Colmer","doi":"10.1344/CO20213047-54","DOIUrl":"https://doi.org/10.1344/CO20213047-54","url":null,"abstract":"The translation I am presenting here is particularly complex because the poem, by the former poet laureate of Friesland, Eeltsje Hettinga, is about the German-language poet Paul Celan, his life and work, his relationship with the Austrian poet Ingeborg Bachmann, and his death in Paris in 1970. All too often there is a tendency to see the literature of minor languages as interesting only inasmuch as it fills the gaps in the canon by concentrating on its own provincial, often rural, backward-looking reality, as if the interconnectedness of the twenty-first century doesn’t extend across the whole planet or as if languages that are being pushed back into the private, familial sphere can’t be used to reflect on the literary and political world that impinges on that sphere.","PeriodicalId":10741,"journal":{"name":"Coolabah","volume":"25 1","pages":"47-54"},"PeriodicalIF":0.0,"publicationDate":"2021-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89504627","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The majority of Japanese poetry currently reaches a limited readership outside of Japan. As a result, many contemporary Japanese poets are searching for ways to have their poems translated into English and published in English-language journals. Achieving satisfactory translation results, however, is considerably more complicated than switching words from one language into another and scholarship on the subject of translating Japanese poetry is often vexed. This scholarship frequently traverses much of the same ground as the debate about Japanese prose translation where, depending on their approach, translators may be labelled ‘literalists’ or ‘libertines’. This paper argues that co-translating Japanese poetry may be as much about sharing ideas and ideologies as about lineation, cadence or word choice. Co-translating Japanese poetry has the power to build cross-cultural understandings and to explore and promote ways of understanding Japanese identity. We argue that while translation is often undertaken by the translators in their country of residence, the experience of genius loci and undertaking co-translation in situ may best accommodate such a cross-cultural synergy.This paper draws on our collective experiences in a series of translation workshops at Meiji University. These were organised by Rina Kikuchi, a literary scholar and translator from Japan. Among other Australian poets and scholars, Paul Hetherington and Cassandra Atherton were paired with Japanese poets for co-translation purposes. They co-translated Japanese poetry into English and had their own poems translated into Japanese with the assistance of Kikuchi who acted as the lynchpin for the workshops. The experience was celebrated in a series of poetry readings in Tokyo and Nara. Significantly, although neither Hetherington nor Atherton is fluent in Japanese, they found the process of co-translation to include what one may call an attentive cosmopolitanism, incorporating respect and understanding for different cultural assumptions and poetic ideas.
{"title":"Poetry co-translation and an attentive cosmopolitanism: internationalising contemporary Japanese poetry","authors":"C. Atherton, P. Hetherington, R. Kikuchi","doi":"10.1344/CO2021304-22","DOIUrl":"https://doi.org/10.1344/CO2021304-22","url":null,"abstract":"The majority of Japanese poetry currently reaches a limited readership outside of Japan. As a result, many contemporary Japanese poets are searching for ways to have their poems translated into English and published in English-language journals. Achieving satisfactory translation results, however, is considerably more complicated than switching words from one language into another and scholarship on the subject of translating Japanese poetry is often vexed. This scholarship frequently traverses much of the same ground as the debate about Japanese prose translation where, depending on their approach, translators may be labelled ‘literalists’ or ‘libertines’. This paper argues that co-translating Japanese poetry may be as much about sharing ideas and ideologies as about lineation, cadence or word choice. Co-translating Japanese poetry has the power to build cross-cultural understandings and to explore and promote ways of understanding Japanese identity. We argue that while translation is often undertaken by the translators in their country of residence, the experience of genius loci and undertaking co-translation in situ may best accommodate such a cross-cultural synergy.This paper draws on our collective experiences in a series of translation workshops at Meiji University. These were organised by Rina Kikuchi, a literary scholar and translator from Japan. Among other Australian poets and scholars, Paul Hetherington and Cassandra Atherton were paired with Japanese poets for co-translation purposes. They co-translated Japanese poetry into English and had their own poems translated into Japanese with the assistance of Kikuchi who acted as the lynchpin for the workshops. The experience was celebrated in a series of poetry readings in Tokyo and Nara. Significantly, although neither Hetherington nor Atherton is fluent in Japanese, they found the process of co-translation to include what one may call an attentive cosmopolitanism, incorporating respect and understanding for different cultural assumptions and poetic ideas.","PeriodicalId":10741,"journal":{"name":"Coolabah","volume":"80 1","pages":"4-22"},"PeriodicalIF":0.0,"publicationDate":"2021-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83832580","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Multilingual poetry, which weaves together multiple languages, necessarily straddles multiple cultural contexts. This raises the question of how poets who write multilingually negotiate and deploy their cultural knowledges, who they write for, and how their audiences receive them. Using Suresh Canagarajah’s Negotiation Model to examine poets’ linguistic choices, including whether and when to provide translations, and Mendieta-Lombardo and Cintron’s adaptation of the Myers-Scotton Markedness Model to consider audience and context, this paper will examine examples of contemporary bilingual and multilingual poetry published in Australia and Canada to identify the many conversations and negotiations that must take place between language-cultures as well as between multilingual poets and audiences for these poems to ‘work’.
{"title":"Multilingual negotiations: the place and significance of translation in multilingual poetry","authors":"N. Niaz","doi":"10.1344/CO20213034-46","DOIUrl":"https://doi.org/10.1344/CO20213034-46","url":null,"abstract":"Multilingual poetry, which weaves together multiple languages, necessarily straddles multiple cultural contexts. This raises the question of how poets who write multilingually negotiate and deploy their cultural knowledges, who they write for, and how their audiences receive them. Using Suresh Canagarajah’s Negotiation Model to examine poets’ linguistic choices, including whether and when to provide translations, and Mendieta-Lombardo and Cintron’s adaptation of the Myers-Scotton Markedness Model to consider audience and context, this paper will examine examples of contemporary bilingual and multilingual poetry published in Australia and Canada to identify the many conversations and negotiations that must take place between language-cultures as well as between multilingual poets and audiences for these poems to ‘work’.","PeriodicalId":10741,"journal":{"name":"Coolabah","volume":"9 1","pages":"34-46"},"PeriodicalIF":0.0,"publicationDate":"2021-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89502696","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
If, as Walter Benjamin suggests, a translation must 'lovingly and in detail incorporate the original's mode of signification', translating is an act of creation predicated upon transference – a rewriting that entails a relationship with the other. This is in accordance with Benjamin's proposition that the translator must allow her language to be powerfully affected by the foreign tongue. But what if the foreign tongue is one’s mother tongue? This performative paper explores what is at stake in the act of autotranslation when a writer returns to her mother tongue. I will use my own practice to identify what is recovered in this act, namely, a voice, a word, a letter threaded through the fabric of language. I ask why this act produces a linguistic and subjective destabilisation that opens up translinguistic play and suggest that autotranslation consists of a creation in each language with its own interferences, rhythms and affects. Though the theoretical frame of my investigation touches upon linguistic and translation studies, this paper is essentially underpinned by psychoanalytic concepts and concerns itself with experiential knowledge.
{"title":"The Uncanny Pleasures of Autotranslation","authors":"D. Hecq","doi":"10.1344/CO202130103-119","DOIUrl":"https://doi.org/10.1344/CO202130103-119","url":null,"abstract":"If, as Walter Benjamin suggests, a translation must 'lovingly and in detail incorporate the original's mode of signification', translating is an act of creation predicated upon transference – a rewriting that entails a relationship with the other. This is in accordance with Benjamin's proposition that the translator must allow her language to be powerfully affected by the foreign tongue. But what if the foreign tongue is one’s mother tongue? This performative paper explores what is at stake in the act of autotranslation when a writer returns to her mother tongue. I will use my own practice to identify what is recovered in this act, namely, a voice, a word, a letter threaded through the fabric of language. I ask why this act produces a linguistic and subjective destabilisation that opens up translinguistic play and suggest that autotranslation consists of a creation in each language with its own interferences, rhythms and affects. Though the theoretical frame of my investigation touches upon linguistic and translation studies, this paper is essentially underpinned by psychoanalytic concepts and concerns itself with experiential knowledge.","PeriodicalId":10741,"journal":{"name":"Coolabah","volume":"16 1","pages":"103-119"},"PeriodicalIF":0.0,"publicationDate":"2021-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78467912","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
I stopped writing poetry in favour of prose. I stopped writing in Bikol and Filipino in favour of ‘just English’. I left more than a decade ago. Now I come home stuttering to my old loves that still give this heart an acheful turn. Laid out beside each other, these old and new loves (Bikol, Filipino and English) are contesting-romancing one other. And like in any romance, they surrender pieces of the self. Words, images and metaphors are sacrificed. Time and context are shaken; all must forego precious affinities.
{"title":"Ménage à Trois of Tongues (A Trilingual Homecoming)","authors":"Merlinda C. Bobis","doi":"10.1344/CO202130128-133","DOIUrl":"https://doi.org/10.1344/CO202130128-133","url":null,"abstract":"I stopped writing poetry in favour of prose. I stopped writing in Bikol and Filipino in favour of ‘just English’. I left more than a decade ago. Now I come home stuttering to my old loves that still give this heart an acheful turn. Laid out beside each other, these old and new loves (Bikol, Filipino and English) are contesting-romancing one other. And like in any romance, they surrender pieces of the self. Words, images and metaphors are sacrificed. Time and context are shaken; all must forego precious affinities.","PeriodicalId":10741,"journal":{"name":"Coolabah","volume":"1 1","pages":"128-133"},"PeriodicalIF":0.0,"publicationDate":"2021-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78638712","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Feeling and Healing in Languages / Sentir y sanar en mis lenguas","authors":"Isabel Alonso-Breto","doi":"10.1344/CO202130120-127","DOIUrl":"https://doi.org/10.1344/CO202130120-127","url":null,"abstract":"This piece presents a number of autotraslations by poet and academic Isabel Alonso-Breto, with acompanying illustrations by Sabrina Atanasiu Alonso.","PeriodicalId":10741,"journal":{"name":"Coolabah","volume":"1 1","pages":"120-127"},"PeriodicalIF":0.0,"publicationDate":"2021-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86510767","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This edition takes a wide understanding of translation, exploring not only translation practices, but also the ways in which translation can be an impetus for thinking and creating for both poets and translators. The edition explores the practice of translation as an encounter with other cultures or as a collaborative act; it unravels the crossdisciplinary associations made when taking words into transit; it investigates the journey into the self as one’s own languages interact and pull against each other.
{"title":"An introduction to Translation, Poetry and Creative Practice","authors":"Claire Wilson","doi":"10.1344/CO2021301-3","DOIUrl":"https://doi.org/10.1344/CO2021301-3","url":null,"abstract":"This edition takes a wide understanding of translation, exploring not only translation practices, but also the ways in which translation can be an impetus for thinking and creating for both poets and translators. The edition explores the practice of translation as an encounter with other cultures or as a collaborative act; it unravels the crossdisciplinary associations made when taking words into transit; it investigates the journey into the self as one’s own languages interact and pull against each other.","PeriodicalId":10741,"journal":{"name":"Coolabah","volume":"39 1","pages":"1-3"},"PeriodicalIF":0.0,"publicationDate":"2021-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85488583","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
As Luise von Flotow already emphasized more than two decades ago in her work Translation and Gender: Translating in the ‘Era of Feminism’ (1997), often times feminist translators try to assume the responsibility of offering a critical reflection to their readers about their process, diverse methods and philosophies of translation. From our stance as feminist translators, we offer here a critical reflection on the process of collectively translating the bilingual anthology of poetry The Sea Needs No Ornament/ El mar no necesita ornamento (2020), accompanied by a sample of four poems by four of the thirty-three contemporary Caribbean women poets included. In this way, this paper contextualizes and offers a glimpse into the bilingual anthology of contemporary Caribbean women poets we have edited and translated from a feminist as well as a postcolonial perspective.
{"title":"On Crossing Barriers: Contemporary Caribbean Women Poets in Translation","authors":"Maria Grau Perejoan, Loretta Collins Klobah","doi":"10.1344/CO20213023-33","DOIUrl":"https://doi.org/10.1344/CO20213023-33","url":null,"abstract":"As Luise von Flotow already emphasized more than two decades ago in her work Translation and Gender: Translating in the ‘Era of Feminism’ (1997), often times feminist translators try to assume the responsibility of offering a critical reflection to their readers about their process, diverse methods and philosophies of translation. From our stance as feminist translators, we offer here a critical reflection on the process of collectively translating the bilingual anthology of poetry The Sea Needs No Ornament/ El mar no necesita ornamento (2020), accompanied by a sample of four poems by four of the thirty-three contemporary Caribbean women poets included. In this way, this paper contextualizes and offers a glimpse into the bilingual anthology of contemporary Caribbean women poets we have edited and translated from a feminist as well as a postcolonial perspective.","PeriodicalId":10741,"journal":{"name":"Coolabah","volume":"62 1","pages":"23-33"},"PeriodicalIF":0.0,"publicationDate":"2021-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86115353","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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