This article considers the possibilities of ecriture feminine in Peter Manson’s translations of Mallarme, particularly focussing on the use of colour in Herodiade, ‘Don du Poeme’, and ‘Les Fenetres’. In this work, I firstly trace an association between colour and the erotic in feminist theory and art, which can be seen in works such as Audre Lorde’s ‘Uses of the Erotic: The Erotic as Power’ (1978), Pipilotti Rist’s ‘Ever is Over All’ (1997), and in Meiling Cheng’s ‘The Unbearable Lightness of Sight’ (2003), in which she writes: 'the image seized for view, however deliberately designed, exists in a state of indifference, whereas the viewer is most likely already overdetermined by his/her interpretive desire. Perhaps the best we can do is to bypass the conundrum by pursuing the liberating potential of that discrepancy, recognizing the being of an image as light/intangible and the core of desire as heavy/matter-producing'. In translation, the translator negotiates with their source text, and with the sensual dimensions of the source language, in a manner that is comparable to this interpretation of colour vision. Julia Kristeva argues that Mallarme’s work exemplifies ecriture feminine because it draws the reader into a state anterior to language, which she compares to the pre-linguistic communion between mother and infant. In Mallarme’s work, colour reveals the materiality of light, transforming it into a bodily force that Mallarme initially codes (perhaps too simplistically) as feminine. I begin by reading reds and purples in Herodiade as allusions to blood, then the golds of coloured glass in ‘Les Fenetres’ and ‘Don du Poeme’ as a way of making conflicts between bodily abjection and transcendence visible (the pane of glass becoming a coloured body between the lyric ‘I’ and the sky). I finally consider Mallarme’s use of the word ‘Azur’ as a metaphor for virginity (azure being associated, through lapis lazuli, with the blue of the Virgin Mary). Manson’s translations are particularly attuned to Mallarme’s combinations of the ‘heavy/matter-producing’ and the ‘light/intangible’, and I argue that Manson’s word choices emphasise an erotic force in Mallarme’s use of azure, treating this colour as a reservoir that, in Manson’s translation, threatens to ‘drown’ the ‘self-coloured cinders’ of Mallarme’s speaker, colouring symbolic boundaries between languages and genders, and between self and other.
本文考虑了彼得·曼森翻译马拉美作品中女性化的可能性，特别关注了《希罗底亚德》、《唐·杜·诗》和《Les Fenetres》中的色彩使用。在这部作品中，我首先追溯了女性主义理论和艺术中色彩与情色之间的联系，这可以在奥德丽·洛德的作品《情色的使用:情色作为力量》(1978)、皮皮罗蒂·里斯特的《永远是压倒一切》(1997)和程美玲的《无法承受的视觉之轻》(2003)中看到:被捕捉到观看的图像，无论如何刻意设计，都处于一种冷漠的状态，而观看者很可能已经被他/她的解释欲望过度决定了。也许我们能做的最好的事情就是通过追求这种差异的解放潜力来绕过这个难题，认识到图像的存在是轻的/无形的，而欲望的核心是重的/物质生产的。在翻译中，译者以一种类似于对色彩视觉的解释的方式，与他们的源文本和源语言的感官维度进行协商。茱莉亚·克里斯蒂娃认为马拉梅的作品是女性化文学的典范，因为它把读者带入了一种语言之前的状态，她把这种状态比作母亲和婴儿之间的前语言交流。在Mallarme的作品中，颜色揭示了光的物质性，将其转化为一种身体力量，Mallarme最初将其编码为女性(可能过于简单)。我开始读《希律底》中的红色和紫色作为对血的暗示，然后读《Fenetres》和《Don du Poeme》中彩色玻璃的金色，作为一种使身体的堕落和超越之间的冲突可见的方式(玻璃窗格在抒情的“我”和天空之间变成了一个彩色的身体)。最后，我认为Mallarme使用“Azur”这个词是作为童贞的隐喻(通过青金石，蓝色与圣母玛利亚的蓝色联系在一起)。曼森的翻译特别适合马拉美对“重/物质产生”和“轻/无形”的组合，我认为曼森的词汇选择强调了马拉美对天蓝色的使用中的一种色情力量，将这种颜色视为一个水库，在曼森的翻译中，它威胁要“淹没”马拉美说话者的“自我着色的灰烬”，在语言和性别之间，在自我和他者之间着色象征性边界。
{"title":"Colouring écriture féminine in Peter Manson's translations of Mallarmé","authors":"Rebecca Varley-Winter","doi":"10.16995/BIP.758","DOIUrl":"https://doi.org/10.16995/BIP.758","url":null,"abstract":"This article considers the possibilities of ecriture feminine in Peter Manson’s translations of Mallarme, particularly focussing on the use of colour in Herodiade, ‘Don du Poeme’, and ‘Les Fenetres’. In this work, I firstly trace an association between colour and the erotic in feminist theory and art, which can be seen in works such as Audre Lorde’s ‘Uses of the Erotic: The Erotic as Power’ (1978), Pipilotti Rist’s ‘Ever is Over All’ (1997), and in Meiling Cheng’s ‘The Unbearable Lightness of Sight’ (2003), in which she writes: 'the image seized for view, however deliberately designed, exists in a state of indifference, whereas the viewer is most likely already overdetermined by his/her interpretive desire. Perhaps the best we can do is to bypass the conundrum by pursuing the liberating potential of that discrepancy, recognizing the being of an image as light/intangible and the core of desire as heavy/matter-producing'. In translation, the translator negotiates with their source text, and with the sensual dimensions of the source language, in a manner that is comparable to this interpretation of colour vision. Julia Kristeva argues that Mallarme’s work exemplifies ecriture feminine because it draws the reader into a state anterior to language, which she compares to the pre-linguistic communion between mother and infant. In Mallarme’s work, colour reveals the materiality of light, transforming it into a bodily force that Mallarme initially codes (perhaps too simplistically) as feminine. I begin by reading reds and purples in Herodiade as allusions to blood, then the golds of coloured glass in ‘Les Fenetres’ and ‘Don du Poeme’ as a way of making conflicts between bodily abjection and transcendence visible (the pane of glass becoming a coloured body between the lyric ‘I’ and the sky). I finally consider Mallarme’s use of the word ‘Azur’ as a metaphor for virginity (azure being associated, through lapis lazuli, with the blue of the Virgin Mary). Manson’s translations are particularly attuned to Mallarme’s combinations of the ‘heavy/matter-producing’ and the ‘light/intangible’, and I argue that Manson’s word choices emphasise an erotic force in Mallarme’s use of azure, treating this colour as a reservoir that, in Manson’s translation, threatens to ‘drown’ the ‘self-coloured cinders’ of Mallarme’s speaker, colouring symbolic boundaries between languages and genders, and between self and other.","PeriodicalId":40210,"journal":{"name":"Journal of British and Irish Innovative Poetry","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-04-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41864732","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 essay surveys a range of different kinds of writing by Peter Manson over a span of twenty years, from the image-poem ‘Fungus Chicken’, published by Writers Forum in 1997, to work from the recent booklet, Factitious Airs (2016). Themes discussed include: the significance of the proper name; the attempted negation of nouns; and the ingestion of hallucinogenic substances to facilitate the recovery of scenes from early childhood related to the death of a parent.
{"title":"Peter Manson Fungus Chicken","authors":"R. Purves","doi":"10.16995/BIP.760","DOIUrl":"https://doi.org/10.16995/BIP.760","url":null,"abstract":"This essay surveys a range of different kinds of writing by Peter Manson over a span of twenty years, from the image-poem ‘Fungus Chicken’, published by Writers Forum in 1997, to work from the recent booklet, Factitious Airs (2016). Themes discussed include: the significance of the proper name; the attempted negation of nouns; and the ingestion of hallucinogenic substances to facilitate the recovery of scenes from early childhood related to the death of a parent.","PeriodicalId":40210,"journal":{"name":"Journal of British and Irish Innovative Poetry","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46681978","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}
Conference Report for the Peter Manson Symposium, organised by Ellen Dillon, Tom Betteridge, Colin Herd and Nicky Melville, which consisted of an informal evening of performances, and a day of panels and discussions in response to Manson's work. This report accompanies our special issue of articles based on the proceedings.
{"title":"'Allowing one's metaphors to mix': Performances and Perspectives at the Peter Manson Symposium","authors":"Denise Bonetti, Maria Sledmere","doi":"10.16995/BIP.759","DOIUrl":"https://doi.org/10.16995/BIP.759","url":null,"abstract":"Conference Report for the Peter Manson Symposium, organised by Ellen Dillon, Tom Betteridge, Colin Herd and Nicky Melville, which consisted of an informal evening of performances, and a day of panels and discussions in response to Manson's work. This report accompanies our special issue of articles based on the proceedings.","PeriodicalId":40210,"journal":{"name":"Journal of British and Irish Innovative Poetry","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-02-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43579653","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 article explores themes of secrecy and monitoring in three works of experimental poetry published since the millennium: Redell Olsen's Secure Portable Space (2004), Who Not to Speak To by Marianne Morris, and Zoe Skoulding’s The Museum of Disappearing Sounds (2013). My analysis draws on Zygmunt Bauman and David Lyon’s discussion of secrecy in Liquid Surveillance, along with theories of “data doubles" and “everyday” ubiquity of surveillance technologies, to show how these poets use innovative lyric forms to negotiate contemporary expectations of “public” and “private” communicative spaces.
{"title":"Secrecy, Surveillance and Poetic “Data-bodies”","authors":"Dorothy Butchard","doi":"10.16995/BIP.731","DOIUrl":"https://doi.org/10.16995/BIP.731","url":null,"abstract":"This article explores themes of secrecy and monitoring in three works of experimental poetry published since the millennium: Redell Olsen's Secure Portable Space (2004), Who Not to Speak To by Marianne Morris, and Zoe Skoulding’s The Museum of Disappearing Sounds (2013). My analysis draws on Zygmunt Bauman and David Lyon’s discussion of secrecy in Liquid Surveillance, along with theories of “data doubles\" and “everyday” ubiquity of surveillance technologies, to show how these poets use innovative lyric forms to negotiate contemporary expectations of “public” and “private” communicative spaces.","PeriodicalId":40210,"journal":{"name":"Journal of British and Irish Innovative Poetry","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-11-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48968263","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":"Projectivisms >> Symposium Way-making the Contemporary Projective, University of Cardiff, 8th–9th May 2018","authors":"A. Jeffrey","doi":"10.16995/BIIP.82","DOIUrl":"https://doi.org/10.16995/BIIP.82","url":null,"abstract":"This is a report detailing the ‘Projectivisms Symposium’ which took place at the University of Cardiff from 18th–19th May 2018.","PeriodicalId":40210,"journal":{"name":"Journal of British and Irish Innovative Poetry","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-09-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41415577","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}
Based on the archival evidence of Veronica Forrest-Thomson’s annotations to Sylvia Plath’s 1971 collection Winter Trees, as well as a 1972 typescript of Forrest-Thomson’s review of Winter Trees, which she never published, this article argues that Forrest-Thomson’s engagement with Plath’s late poetry played a crucial role in the development of her theory of ‘poetic artifice’. Yet I contend that the poems of Winter Trees by no means offer themselves as self-evident exemplars of such a theory, and I explore this disjunction by juxtaposing Forrest-Thomson’s revisionary account of Plath in Poetic Artifice: A Theory of Twentieth-Century Poetry, which posits the poems ‘Daddy’ and ‘Purdah’ as anti-confessional works of art that clearly indicate their own ‘unreality’, against the Winter Trees review, which is more critical of Plath’s ‘compromises’. Because Forrest-Thomson’s aesthetic project is further complicated by her own development as a poet, I also consider a selection of poems published in the 1974 Omens Poetry Pamphlet Cordelia: or ‘A poem should not mean but be’, in order to explore an elided, yet suggestive, relation between feeling and theory in her poetry. Finally, I argue that this relation, which Plath’s ‘Purdah’ would seem to both prefigure and sanction, signals the presence of a reticent ‘linguistic emotionality’ in Forrest-Thomson’s work that not only contests the authority of her male modernist models, but also anticipates contemporary critical discourses in experimental poetry and poetics.
{"title":"‘Linguistically Wounded’: Veronica Forrest-Thomson, Sylvia Plath, and the Limits of Poetic Artifice","authors":"A. Moser","doi":"10.16995/BIIP.44","DOIUrl":"https://doi.org/10.16995/BIIP.44","url":null,"abstract":"Based on the archival evidence of Veronica Forrest-Thomson’s annotations to Sylvia Plath’s 1971 collection Winter Trees, as well as a 1972 typescript of Forrest-Thomson’s review of Winter Trees, which she never published, this article argues that Forrest-Thomson’s engagement with Plath’s late poetry played a crucial role in the development of her theory of ‘poetic artifice’. Yet I contend that the poems of Winter Trees by no means offer themselves as self-evident exemplars of such a theory, and I explore this disjunction by juxtaposing Forrest-Thomson’s revisionary account of Plath in Poetic Artifice: A Theory of Twentieth-Century Poetry, which posits the poems ‘Daddy’ and ‘Purdah’ as anti-confessional works of art that clearly indicate their own ‘unreality’, against the Winter Trees review, which is more critical of Plath’s ‘compromises’. Because Forrest-Thomson’s aesthetic project is further complicated by her own development as a poet, I also consider a selection of poems published in the 1974 Omens Poetry Pamphlet Cordelia: or ‘A poem should not mean but be’, in order to explore an elided, yet suggestive, relation between feeling and theory in her poetry. Finally, I argue that this relation, which Plath’s ‘Purdah’ would seem to both prefigure and sanction, signals the presence of a reticent ‘linguistic emotionality’ in Forrest-Thomson’s work that not only contests the authority of her male modernist models, but also anticipates contemporary critical discourses in experimental poetry and poetics.","PeriodicalId":40210,"journal":{"name":"Journal of British and Irish Innovative Poetry","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-09-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41898373","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}
In this editorial essay for a special issue of The Journal of British and Irish Innovative Poetry, we introduce the issue’s seven articles, and share some speculations about the nature of the secret in its relation to poetry.
{"title":"Poetry and Secrecy","authors":"E. Luker, Jonathan L. Walton","doi":"10.16995/BIIP.77","DOIUrl":"https://doi.org/10.16995/BIIP.77","url":null,"abstract":"In this editorial essay for a special issue of The Journal of British and Irish Innovative Poetry, we introduce the issue’s seven articles, and share some speculations about the nature of the secret in its relation to poetry.","PeriodicalId":40210,"journal":{"name":"Journal of British and Irish Innovative Poetry","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-08-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44781344","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":"Book Reviews","authors":"G. Farmer, S. Willow","doi":"10.16995/biip.73","DOIUrl":"https://doi.org/10.16995/biip.73","url":null,"abstract":"","PeriodicalId":40210,"journal":{"name":"Journal of British and Irish Innovative Poetry","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-06-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42999173","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":"Title Pending 4736","authors":"","doi":"10.16995/bip.4736","DOIUrl":"https://doi.org/10.16995/bip.4736","url":null,"abstract":"","PeriodicalId":40210,"journal":{"name":"Journal of British and Irish Innovative Poetry","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67480451","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":"Title Pending 4749","authors":"","doi":"10.16995/bip.4749","DOIUrl":"https://doi.org/10.16995/bip.4749","url":null,"abstract":"","PeriodicalId":40210,"journal":{"name":"Journal of British and Irish Innovative Poetry","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67480507","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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