Pub Date : 2023-09-02DOI: 10.1080/07374836.2023.2257096
Diana Thow
Click to increase image sizeClick to decrease image size Additional informationNotes on contributorsDiana ThowDiana Thow is a literary translator and scholar working from Italian. Her translations include Elisa Biagini’s Close to the Teeth (Autumn Hill Books, 2021) and Amelia Rosselli’s Hospital Series (Otis Press/Seismicity Books, 2017). She is currently visiting assistant professor in the University of Iowa’s Translation Program.
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Pub Date : 2023-05-04DOI: 10.1080/07374836.2023.2226699
Maria C. Fellie
Researchers of literature, myself included, do not tend to study poetry from a very scientific perspective. I tend to examine the aesthetic aspects of poetry, primarily literary images. When considering a very visual body of work like that of Antonio Colinas, it is intriguing to look beyond the limits of the literary field to see the connections that exist among the eyes, imagination, poetry, the arts, and the mental functions that allow us to enjoy poetry, especially that which can be experienced with all the senses. I say all the senses, not only sight, because an image also can be auditory, gustatory, olfactory, or tactile, although this study centers largely on the visual. In the following pages, the roles of the eyes and mind will be connected to the translation of poetry and the translator’s personal process of translating not only the text of a poem, but its visual landscape. As José Enrique Martínez Fernández writes in his introduction to Colinas’s collection En la luz respirada: “El [. . .] entendimiento simbólico de la realidad, [. . .] consiste en ir más allá de las cosas, en intuir su lado oculto, un paso más allá de lo que perciben los sentidos.” (The [. . .] symbolic understanding of reality [. . .] consists of going beyond things, of intuiting their hidden side, one step beyond what the senses perceive.) This study explores sensory perception in relation to verse, and also reaches past this, seeking to illuminate some of the hidden processes of translating poetry. I always have understood poetry as something that resides in the visual part of the imagination, although this is not true for everyone. When I read or translate a poem, its images (but not always its words) linger in my mind. Let us begin by briefly examining how the human brain forms mental images and by connecting this phenomenon to poetic images. Neuroscientists have demonstrated that the two hemispheres of the human brain have separate functions and different ways of processing information. The left side of the brain, in general, is the base of “logic, language, orderliness, sequential time, and arithmetic,” according to researcher Thomas West. It is believed that the right side is in charge of “visual images, spatial relationships, face and pattern recognition, gesture, and proportion,” in addition to intuition, emotions, creativity, art, and music. While the dominance of the left hemisphere in the general population results in a majority of verbal thinkers, “the opposite tendency—to think in pictures instead of words,” also exists. In brief, people process information in verbal and visual ways at different levels in the two sides of the brain. From this idea, we may deduce that there are different levels of ability in forming mental images and of the innate tendencies to form them in the first place. A 2020 article by Serena Puang in The New York Times explains that the lack of ability to form mental images, called aphantasia, also exists. Today, research into ment
包括我自己在内的文学研究者并不倾向于从非常科学的角度研究诗歌。我倾向于研究诗歌的美学方面，主要是文学形象。当考虑像安东尼奥·科利纳斯这样的视觉作品时，超越文学领域的界限，看看眼睛、想象力、诗歌、艺术以及让我们享受诗歌的心理功能之间存在的联系，尤其是那些可以用所有感官体验到的联系，是很有趣的。我说所有的感官，不仅仅是视觉，因为图像也可以是听觉、味觉、嗅觉或触觉，尽管这项研究主要集中在视觉上。在接下来的几页中，眼睛和心灵的作用将与诗歌的翻译以及译者不仅翻译诗歌文本，而且翻译诗歌视觉景观的个人过程联系在一起。正如JoséEnrique Martínez Fernández在介绍Colinas的《呼吸之光》系列时所写：“El[…]entendimiento simbólico de la realidad，[…]包括所有的眼睛，所有的眼睛。“（对现实的[…]象征性理解[…]包括超越事物，直观其隐藏的一面，超越感官感知的一步。）本研究探索了与诗歌相关的感官感知，并超越了这一点，试图阐明诗歌翻译的一些隐藏过程。我一直把诗歌理解为存在于想象的视觉部分，尽管这对每个人来说都不是真的。当我阅读或翻译一首诗时，它的意象（但并不总是它的文字）会萦绕在我的脑海中。让我们首先简要地研究一下人类大脑是如何形成心理图像的，并将这种现象与诗歌图像联系起来。神经科学家已经证明，人类大脑的两个半球有不同的功能和处理信息的方式。研究人员托马斯·韦斯特表示，大脑的左侧通常是“逻辑、语言、有序性、时序时间和算术”的基础。据信，除了直觉、情感、创造力、艺术和音乐之外，右侧还负责“视觉图像、空间关系、人脸和模式识别、手势和比例”。虽然左半球在普通人群中的主导地位导致了大多数言语思想家，但“相反的倾向——用图片而不是文字思考”也存在。简而言之，人们在大脑两侧以言语和视觉的方式处理不同层次的信息。从这个观点中，我们可以推断出，在形成心理形象方面有不同程度的能力，以及首先形成心理形象的先天倾向。Serena Puang在《纽约时报》2020年发表的一篇文章解释说，也存在缺乏形成心理图像的能力，即失语症。如今，对心理意象的研究在包括文学在内的几个科学和学术领域不断发展。正如威廉·J·T·米切尔（William J.T.Mitchell）在2002年关于视觉研究的文章《展示视觉》（Showing Seeing）中所说，视觉是一种习得的行为。对许多人来说，获取内部图像是这个学习过程的一部分。米切尔写道，“视觉图像[…]实际上是象征性的建构，就像一种需要学习的语言，一种在我们和现实世界之间插入意识形态面纱的代码系统。”鉴于这种解释，我们应该问，心理图像在我们自己想象中的行为方式是否或如何是通过社会或文化学习的。事实上，如果一个人学会了用米切尔解释的方式去看，那么他也学会了视觉想象。在阅读文本时，我们的视觉教育和图像的心理仓库可以让我们看到诗人所看到和经历的东西，比如地方、物体（包括艺术）和人。作为读者和翻译人员，开发这个心理和视觉数据库为我们提供了更多的信息，使我们能够制作《翻译评论2023》，第116卷，第1期，16-27https://doi.org/10.1080/07374836.2023.2226699
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Pub Date : 2023-05-04DOI: 10.1080/07374836.2023.2223107
Baorong Wang
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Pub Date : 2023-05-04DOI: 10.1080/07374836.2023.2223102
Hans Gabriel
{"title":"The Strudlhof Steps or, Melzer and the Depth of the Years","authors":"Hans Gabriel","doi":"10.1080/07374836.2023.2223102","DOIUrl":"https://doi.org/10.1080/07374836.2023.2223102","url":null,"abstract":"","PeriodicalId":42066,"journal":{"name":"TRANSLATION REVIEW","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42148349","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-04DOI: 10.1080/07374836.2023.2223105
G. J. Racz
{"title":"Narratives of Mistranslation: Fictional Translators in Latin American Literature","authors":"G. J. Racz","doi":"10.1080/07374836.2023.2223105","DOIUrl":"https://doi.org/10.1080/07374836.2023.2223105","url":null,"abstract":"","PeriodicalId":42066,"journal":{"name":"TRANSLATION REVIEW","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42329958","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-04DOI: 10.1080/07374836.2023.2231039
Stewart Campbell
This quotation is taken from an empirical study into live audience experiences of translations in classical music concerts. Collected at a music festival in Oxford, UK, these remarks describe a participant’s encounter with a specific form of classical music: art song. Art song is a form that sets (often independent) poetry to music in the classical music genre (differentiated from, for example, popular, folk, or traditional music). Due to the form’s language-specific iterations—including but not exclusive to the German Lied, French mélodie, and Spanish canción—art song is often performed in languages other than the vernacular, forcing interlingual translation to be a determinant feature in the genre. As the aforementioned quotation reveals, this phenomenon creates a complex interpretive experience for audiences where the actions of “listening to the music” and “watching the performers” are often accompanied by translating actions, such as “following the foreign language text” and “read[ing]” translations in the vernacular. The challenges associated with art song in translation have attracted modest attention in the literature, which similarly suggests that art song and the way it generates, produces, and propagates meaning through translation leaves the listener “in a most difficult position.” However, translation scholarship to date offers a minimal amount of detail in terms of understanding the nature of these “difficult positions” from the perspectives of translation end-users—the attitudes and actions found in the phenomenological experiences of audience members themselves. This gap in understanding can be attributed to a dearth of academic literature concerned with song in translation, which as a practice requires multidisciplinary approaches, challenging assumptions around authorship, and often blurring theoretical concepts such as translation, adaptation, and creative writing. Within this limited body of research, studies of relevance to the art song genre can be located in functionalist views of song in translation; aligning with trends in translation scholarship that pay greater attention to the reception, social and cultural purposes and effects of translation, and its commercial uses and ethical and political consequences. A key model within this developing field is Peter Low’s functional account of strategies within song translation. Low adopts Vermeer’s concept of skopostheorie, where a translator’s aims are determined by the “skopos” or purpose of a “communication in a given situation.” Applying Low’s version of skopostheorie to the live art song genre reveals the presence of multiple “skopoi,” each requiring varying translation strategies. These strategies are targeted toward performance (word-for-word translations used by performers when learning songs) and consumption: (1) traditional approaches using communicative or semantic translations in printed programs; (2) developing approaches seen in communicative or gist translations u
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Pub Date : 2023-05-04DOI: 10.1080/07374836.2023.2194790
K. King
As a universal human experience, grief transcends translation. But writing well about grief, like writing about love and sex, requires special skill and subtlety to avoid the maudlin and the banal. Translating grief increases the complexity of the task with cultural and stylistic choices that accurately recreate the expressions of loss. Grief was the trigger for Un año y tres meses (One Year and Three Months), a new collection of poems by Luis García Montero, director of Spain’s Cervantes Institute and one of the Spanishspeaking world’s premier poets, who lost his beloved wife and literary partner, Almudena Grandes, to cancer in November 2021, in the middle of the global COVID-19 pandemic. The title refers to the time lapse between her diagnosis and her death. García Montero’s grief in these poems is raw, profound, and palpable. His tremendous poetic skill and stylistic integrity allow the reader to connect with those emotions, but at a remove, to feel them but also perceive them intellectually. This combination makes the verses even more powerful, triggering responses in the reader of: “I get that,” “I’ve felt like that,” “I know exactly what you mean.” It’s as if García Montero has poured his molten pain into a solid poetic mold that is able to hold and connect readers and make them complicit in an understanding of how grief is experienced, and what it means. García Montero translates grief into words. In speaking publicly about this book since its release in September 2022, García Montero frankly acknowledges the pain in his personal life but explains that this volume of poetry, like all of his poetry, deploys a “yo, poético,” not a “yo, biográfico.” This fictionalized autobiography is a hallmark of García Montero’s signature style called the poetry of experience. This effect is best described by the poet himself in his poem called “Espejo, dime” (“Mirror, Speak to Me”) from Rimado de ciudad: “Déjame que responda, lector, a tus preguntas / mirándote a los ojos, con amistad fingida / porque esto es la poesía: dos soledades juntas.” [“Let me answer, dear reader, your questions / looking you in the eye, with feigned friendship / because this is what poetry is: a shared solitude”]. This style also deploys deceptively simple descriptions of day-to-day acts and objects that communicate the richness of the human experience while also challenging the reader with unexpected imagery and comparisons. I have been translating García Montero’s poetry and prose since the early 2000s, beginning with the title poem from his most famous book of love poetry, Completamente viernes (Completely Friday), and including his poetic essays Una forma de resistencia (A Form of Resistance) and his novel Alguien dice tu nombre (Someone Speaks Your Name). His work is a joy to translate because of its consistency and loyalty to his stylistic vision, which crosses generic boundaries. But his excellence in emotive simplicity, the perfect word or image or sound to evoke both the
作为一种普遍的人类体验，悲伤超越了翻译。但是，像写爱情和性一样，写好悲伤需要特殊的技巧和微妙之处，以避免伤感和平庸。翻译悲伤增加了任务的复杂性，因为文化和风格的选择准确地再现了损失的表达。悲伤是引发《一年零三个月》（Un año y tres meses，One Year and Three Months）的导火索，这是西班牙塞万提斯研究所所长、西班牙语世界顶级诗人之一路易斯·加西亚·蒙特罗（Luis García Montero）的一本新诗集。这个标题指的是从她的诊断到她的死亡之间的时间间隔。加西亚·蒙特罗在这些诗中的悲伤是原始的、深刻的和明显的。他高超的诗歌技巧和风格的完整性使读者能够与这些情绪联系起来，但又能在一定程度上感受到它们，同时也能在理智上感知它们。这种组合使诗歌更加有力，引发了读者的反应：“我明白了”、“我有这种感觉”、“你的意思我完全明白。”就好像加西亚·蒙特罗把他融化的痛苦倾注到了一个坚实的诗歌模型中，这个模型能够吸引和连接读者，让他们共同理解悲伤是如何经历的，以及它意味着什么。加西亚·蒙特罗将悲痛转化为文字。自2022年9月出版以来，加西亚·蒙特罗在公开谈论这本书时，坦率地承认了他个人生活中的痛苦，但他解释说，这本诗集和他的所有诗歌一样，采用了“哟，poético”，而不是“哟，biográfico”。这本虚构的自传是加西亚·蒙特罗的标志性风格，即经验之诗。这种效果最好由诗人自己在Rimado de ciudad的诗《Espejo，dime》（《镜子，对我说话》）中描述：“Déjame que responsda，lector，a tus preguntas/mirándote a los ojos，con amistad fingida/porque esto es la poesía：dos soledades juntas。”[“亲爱的读者，让我用假装的友谊回答你的问题/看着你的眼睛/因为这就是诗歌：一种共同的孤独”]。这种风格还对日常行为和物体进行了看似简单的描述，传达了人类经验的丰富性，同时也用意想不到的意象和比较来挑战读者。自21世纪初以来，我一直在翻译加西亚·蒙特罗的诗歌和散文，从他最著名的爱情诗集《完整的星期五》中的标题诗开始，包括他的诗歌散文《抵抗的形式》和小说《有人说出你的名字》。他的作品是一种翻译的乐趣，因为它的一致性和对他的风格愿景的忠诚，跨越了一般的界限。但他在情感简洁方面的卓越表现，即完美的单词、图像或声音来唤起概念和感觉，在英语中复制总是很有挑战性的。在翻译《一年零三个月》的诗歌时，最重要的是要意识到，这些诗歌虽然充满了悲伤和痛苦，但实际上是爱情诗，是他在《完全星期五》中开始讲述的爱情故事的延伸和结束。这个标题指的是这对夫妇早期的恋爱，当时她住在马德里，而他住在格拉纳达，他们会在周末旅行在一起，这是对格兰德的小说《Te llamaréViernes》（我将在周五给你打电话）的致敬。这首诗《完全星期五》唤起了一个充满欢乐的日子，她列出了家里的日常用品：洗碗皂和扫帚、整洁的桌子和干净的窗户，期待着心爱的人的到来。通过描述一个充满生活、食物、饮料和鲜花的城市。通过描述一个不安的身体，期待着她的到来。《2023年翻译评论》，第116卷，第1期，第13-15页https://doi.org/10.1080/07374836.2023.2194790
{"title":"Translating Grief: One Year and Three Months by Luis García Montero","authors":"K. King","doi":"10.1080/07374836.2023.2194790","DOIUrl":"https://doi.org/10.1080/07374836.2023.2194790","url":null,"abstract":"As a universal human experience, grief transcends translation. But writing well about grief, like writing about love and sex, requires special skill and subtlety to avoid the maudlin and the banal. Translating grief increases the complexity of the task with cultural and stylistic choices that accurately recreate the expressions of loss. Grief was the trigger for Un año y tres meses (One Year and Three Months), a new collection of poems by Luis García Montero, director of Spain’s Cervantes Institute and one of the Spanishspeaking world’s premier poets, who lost his beloved wife and literary partner, Almudena Grandes, to cancer in November 2021, in the middle of the global COVID-19 pandemic. The title refers to the time lapse between her diagnosis and her death. García Montero’s grief in these poems is raw, profound, and palpable. His tremendous poetic skill and stylistic integrity allow the reader to connect with those emotions, but at a remove, to feel them but also perceive them intellectually. This combination makes the verses even more powerful, triggering responses in the reader of: “I get that,” “I’ve felt like that,” “I know exactly what you mean.” It’s as if García Montero has poured his molten pain into a solid poetic mold that is able to hold and connect readers and make them complicit in an understanding of how grief is experienced, and what it means. García Montero translates grief into words. In speaking publicly about this book since its release in September 2022, García Montero frankly acknowledges the pain in his personal life but explains that this volume of poetry, like all of his poetry, deploys a “yo, poético,” not a “yo, biográfico.” This fictionalized autobiography is a hallmark of García Montero’s signature style called the poetry of experience. This effect is best described by the poet himself in his poem called “Espejo, dime” (“Mirror, Speak to Me”) from Rimado de ciudad: “Déjame que responda, lector, a tus preguntas / mirándote a los ojos, con amistad fingida / porque esto es la poesía: dos soledades juntas.” [“Let me answer, dear reader, your questions / looking you in the eye, with feigned friendship / because this is what poetry is: a shared solitude”]. This style also deploys deceptively simple descriptions of day-to-day acts and objects that communicate the richness of the human experience while also challenging the reader with unexpected imagery and comparisons. I have been translating García Montero’s poetry and prose since the early 2000s, beginning with the title poem from his most famous book of love poetry, Completamente viernes (Completely Friday), and including his poetic essays Una forma de resistencia (A Form of Resistance) and his novel Alguien dice tu nombre (Someone Speaks Your Name). His work is a joy to translate because of its consistency and loyalty to his stylistic vision, which crosses generic boundaries. But his excellence in emotive simplicity, the perfect word or image or sound to evoke both the","PeriodicalId":42066,"journal":{"name":"TRANSLATION REVIEW","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49233011","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-19DOI: 10.1080/07374836.2023.2190364
A. Appel
{"title":"Excerpt From At the Museum in Rheims by Daniele Del Giudice","authors":"A. Appel","doi":"10.1080/07374836.2023.2190364","DOIUrl":"https://doi.org/10.1080/07374836.2023.2190364","url":null,"abstract":"","PeriodicalId":42066,"journal":{"name":"TRANSLATION REVIEW","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-04-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48025974","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-19DOI: 10.1080/07374836.2023.2190365
A. Appel
{"title":"Translation of an Excerpt from Movable Horizon (Orizzonte mobile) by Daniele Del Giudice","authors":"A. Appel","doi":"10.1080/07374836.2023.2190365","DOIUrl":"https://doi.org/10.1080/07374836.2023.2190365","url":null,"abstract":"","PeriodicalId":42066,"journal":{"name":"TRANSLATION REVIEW","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2023-04-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42513533","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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