like a half-hid warp through the myriad and worldly of America, of friendship, fond and loving, pure and sweet, strong and life-long, carried to degrees hitherto unknown—not only giving tone to individual character, and making it unprecedently emotional, muscular, heroic, and refined, but having the deepest relations to general politics. I say democracy infers such loving comradeship, as its most inevitable twin or counterpart, without which it will be incomplete, in vain, and incapable of perpetuating itself.
{"title":"Whitman's Native Futurism: Frontier Erotics in the 1860 Leaves of Grass","authors":"Benjamin Meiners","doi":"10.13008/0737-0679.2289","DOIUrl":"https://doi.org/10.13008/0737-0679.2289","url":null,"abstract":"like a half-hid warp through the myriad and worldly of America, of friendship, fond and loving, pure and sweet, strong and life-long, carried to degrees hitherto unknown—not only giving tone to individual character, and making it unprecedently emotional, muscular, heroic, and refined, but having the deepest relations to general politics. I say democracy infers such loving comradeship, as its most inevitable twin or counterpart, without which it will be incomplete, in vain, and incapable of perpetuating itself.","PeriodicalId":42233,"journal":{"name":"WALT WHITMAN QUARTERLY REVIEW","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2018-05-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44390898","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}
{"title":"Whitman, Walt. Song of Myself: With a Complete Commentary. Introduction and Commentary by Ed Folsom and Christopher Merrill [review]","authors":"Karen Karbiener","doi":"10.13008/0737-0679.2278","DOIUrl":"https://doi.org/10.13008/0737-0679.2278","url":null,"abstract":"","PeriodicalId":42233,"journal":{"name":"WALT WHITMAN QUARTERLY REVIEW","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2017-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42880921","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}
{"title":"Karbiener, Karen, ed. Poetry for Kids: Walt Whitman. Illustrated by Kate Evans [review]","authors":"K. Franklin","doi":"10.13008/0737-0679.2279","DOIUrl":"https://doi.org/10.13008/0737-0679.2279","url":null,"abstract":"","PeriodicalId":42233,"journal":{"name":"WALT WHITMAN QUARTERLY REVIEW","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2017-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44576247","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}
{"title":"Following You: Second Person in Walt Whitman’s “As I Ebb’d with the Ocean of Life”","authors":"Marion K. Mcinnes","doi":"10.13008/0737-0679.2276","DOIUrl":"https://doi.org/10.13008/0737-0679.2276","url":null,"abstract":"","PeriodicalId":42233,"journal":{"name":"WALT WHITMAN QUARTERLY REVIEW","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2017-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46249668","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}
UNTIL NOW, the first substantial Spanish translation of Whitman was believed to be the 1912 Walt Whitman: Poemas, published in Valencia by the Uruguayan writer Armando Vasseur. But I have now discovered the publication of an earlier, fifteen-page Spanish translation of Whitman's poetry, including a full translation of his long poem "Salut au Monde." In addition to pushing back the date of print entry for Whitman's poems into Spanish, this discovery represents a very early point of print contact between Whitman and the inception of the Spanish- language vanguardias, or avant-gardes. Furthermore, both the text and the context of the translation help explain why the avant-gardes in Spain and Mexico tend to imagine Whitman in Futurist terms. Finally, the Prometeo translations reveal that even Whitman's ostensibly transamerican appropriations may occur through a transatlantic- and in fact a heavily global-network of circulation.These newly-discovered poems appear in a mostly-prose translation at the beginning of 1912 in the Spanish literary and cultural journal Prometeo.1 Since it was the first of eleven issues published in 1912 (Prometeo was basically a monthly periodical), we can assume this translation predates or is at most simultaneous with Walt Whitman: Poemas, since Vasseur dates his preface as February, 1912, suggesting an even later publication date for his book-length translation.2 Either way, we can see this earlier translation as independent from Vasseur's textual influence. But more importantly, the Prometeo publication marks or colors Whitman's reception in a particular way, by locating the American poet within an increasingly avant-garde context.First published in 1908 with a modernista3 bent, the journal Prometeo was not always linked with the avant-garde;4 but in 1909, the journal made a radical endorsement of the new aesthetics of Italian Futurism, one of the originators of the global avant-gardes. When the Italian movement's founder, Filippo Tommaso Marinetti, published his bombastic "The Founding and Manifesto of Futurism," Prometeo's editor, Ramon Gomez de la Serna, published his own translation of the avant-garde text, alongside a piece celebrating Marinetti-making Prometeo the first Spanish periodical to bring Italian Futurism to Spain. Marinetti's performative text, a hybrid of prose narrative and manifesto, proclaimed the inauguration of a new era, as it celebrated rebellion, violence, the power and aesthetics of machines, and the vitality of industry.5 Then, in 1910, at Gomez de la Serna's personal request, Marinetti even wrote a Futurist address directly to Spain, "Proclama Futurista a los Espanoles," again translated by Gomez de la Serna, and for exclusive publication in Prometeo. In it, Marinetti railed against what he perceived as the lassitude of Spanish culture, and called for a revitalization of Spain through radical social change and the development of industry. We see Futurism taking hold in Spain: Gomez de la Serna
直到现在，第一部完整的西班牙语译本被认为是1912年的《沃尔特·惠特曼:诗歌》，由乌拉圭作家阿曼多·瓦瑟尔在瓦伦西亚出版。但我现在发现了一本早前出版的15页的惠特曼诗歌西班牙语译本，其中包括他的长诗《向世界致敬》的完整译本。除了将惠特曼诗歌的印刷版进入西班牙语的日期往后推，这个发现代表了惠特曼与西班牙语先锋派或先锋派的早期印刷版接触。此外，文本和翻译的上下文都有助于解释为什么西班牙和墨西哥的先锋派倾向于用未来主义的术语来想象惠特曼。最后，Prometeo的翻译表明，即使惠特曼表面上是跨美洲的挪用，也可能是通过跨大西洋的流通网络发生的——实际上是一个严重的全球流通网络。这些新发现的诗歌出现在1912年初西班牙文学和文化杂志《普罗米特奥》(Prometeo)上的一篇散文译本中，因为这是1912年出版的11期中的第一期(普罗米特奥基本上是一份月刊)，我们可以假设这个译本早于沃尔特·惠特曼，或者最多是与他同时出版的:《诗》，因为瓦瑟尔把他的序言写在1912年2月，这表明他的整本书译本的出版日期甚至更晚不管怎样，我们都可以看到这个早期的翻译是独立于瓦瑟尔的文本影响的。但更重要的是，《普罗米特奥》的出版以一种特殊的方式标志或影响了人们对惠特曼的接受，将这位美国诗人置于一个日益前卫的语境中。《Prometeo》杂志于1908年首次出版，带有现代主义倾向，并不总是与前卫联系在一起;但在1909年，该杂志对意大利未来主义的新美学进行了激进的支持，意大利未来主义是全球前卫艺术的鼻祖之一。当意大利未来主义运动的创始人菲利普·托马索·马里内蒂(Filippo Tommaso Marinetti)发表了他那夸夸其谈的《未来主义的创立与宣言》(the Founding and Manifesto of Futurism)时，《普罗米特奥》的编辑拉蒙·戈麦斯·德拉·塞尔纳(Ramon Gomez de la Serna)也发表了他自己对先锋文本的翻译，并发表了一篇庆祝马里内蒂的文章——这使得《普罗米特奥》成为第一本将意大利未来主义引入西班牙的西班牙期刊。马里内蒂的表演文本是散文叙事和宣言的混合体，宣告了一个新时代的开始，因为它颂扬了反叛、暴力、机器的力量和美学，以及工业的活力然后，在1910年，应戈麦斯·德拉塞尔纳的个人要求，马里内蒂甚至直接向西班牙写了一篇未来主义者的演讲，“Proclama Futurista a los Espanoles”，再次由戈麦斯·德拉塞尔纳翻译，并在普罗米特奥独家发表。在书中，马里内蒂痛斥了他所认为的西班牙文化的萎靡不振，并呼吁通过激进的社会变革和工业发展来振兴西班牙。我们看到未来主义在西班牙扎根:戈麦斯·德·拉·塞尔纳在他自己的“宣言”的热情序言中引导马里内蒂的语言:……交叉，火花，呼气，文本像无线电报或更微妙的东西飞过海洋和山脉!朝北飞，朝南飞，朝东飞，朝西飞!对高度、扩张和速度的强烈渴望!健康的机场景观和超大的跑道!它是西班牙先锋派的早期语言——全球化、技术工业化，专注于速度和力量的美学。未来主义在西班牙的传播产生了深远的影响，影响了拉斐尔·卡西诺斯·阿森斯(他自己后来在普罗梅特奥的页面上发表诗歌)，创立了西班牙第一个前卫运动，超主义。卡西诺斯·阿森斯将继续推广重要的智利前卫艺术家维森特·韦多布罗的作品，而他自己的运动队伍中也包括了年轻的阿根廷人豪尔赫·路易斯·博尔赫斯。…
{"title":"A Translation of Whitman Discovered in the 1912 Spanish Periodical Prometeo","authors":"K. Franklin","doi":"10.13008/0737-0679.2267","DOIUrl":"https://doi.org/10.13008/0737-0679.2267","url":null,"abstract":"UNTIL NOW, the first substantial Spanish translation of Whitman was believed to be the 1912 Walt Whitman: Poemas, published in Valencia by the Uruguayan writer Armando Vasseur. But I have now discovered the publication of an earlier, fifteen-page Spanish translation of Whitman's poetry, including a full translation of his long poem \"Salut au Monde.\" In addition to pushing back the date of print entry for Whitman's poems into Spanish, this discovery represents a very early point of print contact between Whitman and the inception of the Spanish- language vanguardias, or avant-gardes. Furthermore, both the text and the context of the translation help explain why the avant-gardes in Spain and Mexico tend to imagine Whitman in Futurist terms. Finally, the Prometeo translations reveal that even Whitman's ostensibly transamerican appropriations may occur through a transatlantic- and in fact a heavily global-network of circulation.These newly-discovered poems appear in a mostly-prose translation at the beginning of 1912 in the Spanish literary and cultural journal Prometeo.1 Since it was the first of eleven issues published in 1912 (Prometeo was basically a monthly periodical), we can assume this translation predates or is at most simultaneous with Walt Whitman: Poemas, since Vasseur dates his preface as February, 1912, suggesting an even later publication date for his book-length translation.2 Either way, we can see this earlier translation as independent from Vasseur's textual influence. But more importantly, the Prometeo publication marks or colors Whitman's reception in a particular way, by locating the American poet within an increasingly avant-garde context.First published in 1908 with a modernista3 bent, the journal Prometeo was not always linked with the avant-garde;4 but in 1909, the journal made a radical endorsement of the new aesthetics of Italian Futurism, one of the originators of the global avant-gardes. When the Italian movement's founder, Filippo Tommaso Marinetti, published his bombastic \"The Founding and Manifesto of Futurism,\" Prometeo's editor, Ramon Gomez de la Serna, published his own translation of the avant-garde text, alongside a piece celebrating Marinetti-making Prometeo the first Spanish periodical to bring Italian Futurism to Spain. Marinetti's performative text, a hybrid of prose narrative and manifesto, proclaimed the inauguration of a new era, as it celebrated rebellion, violence, the power and aesthetics of machines, and the vitality of industry.5 Then, in 1910, at Gomez de la Serna's personal request, Marinetti even wrote a Futurist address directly to Spain, \"Proclama Futurista a los Espanoles,\" again translated by Gomez de la Serna, and for exclusive publication in Prometeo. In it, Marinetti railed against what he perceived as the lassitude of Spanish culture, and called for a revitalization of Spain through radical social change and the development of industry. We see Futurism taking hold in Spain: Gomez de la Serna ","PeriodicalId":42233,"journal":{"name":"WALT WHITMAN QUARTERLY REVIEW","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2017-08-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48067910","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}
A. Omidsalar, A. Palmer, Stephanie M. Blalock, Matt Cohen
{"title":"Walt Whitman’s Poetry Reprints and the Study of Nineteenth-Century Literary Circulation","authors":"A. Omidsalar, A. Palmer, Stephanie M. Blalock, Matt Cohen","doi":"10.13008/0737-0679.2266","DOIUrl":"https://doi.org/10.13008/0737-0679.2266","url":null,"abstract":"","PeriodicalId":42233,"journal":{"name":"WALT WHITMAN QUARTERLY REVIEW","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2017-08-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43575757","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}
We present here a translation into English of Egyptian poet AbdelMuneim Ramadan's (b. 1951) "Walt Whitman's Funeral" Janâzat Walt Witman], a remarkable 2012 poem that underscores the complex role that Whitman has played in the Arab world. As an aid to understanding the poem, we first offer a brief history of the Whitman-Arab relationship.The Mahjar, or "emigrant" poets, were a small group of Lebanese and Syrian writers in the United States, affiliated with the New Yorkbased Arabic-language newspaper Al-Hudâ. The group flourished in the 1920s. They did not have a project in common except to break with the patterns of traditional Arabic poetry. Mahjar in Arabic does not name a particular common project: it simply means the diaspora of Arabs around the world. The poets were scattered: Khalil ("Kahlil") Gibran (1883-1931) lived in Boston, Ameen Rihani (18761940) primarily in New York, and Mikhail Naimy (1889 -1988) in Walla Walla, Washington, but also New York, as well as, during the first World War, France (where he served in the American army). They had one thing in common: they absorbed American poetry, and their distance from a strict critical establishment (back home in Syria and Lebanon) gave them freedom to experiment. Whitman's name comes up often in their critical writings, and they seem to have agreed that it was Whitman's influence that allowed them to redefine Arabic poetry.Rihani, writing in the preface to his 1923 collection Hutâf al-Awdiya [Hymns of the Valleys], makes Whitman's innovations a pivotal point in literary history:Milton and Shakespeare liberated English Poetry from the bonds of rhyme; and the American Walt Whitman freed it from prosodic bonds such as the conventional rhythms and customary meter. But this freed verse has a new and particular rhythm, and a poem composed in it may follow numerous and varied metres.1He emphasizes the force of the break:This type of new poetry is called vers libres in French and free verse in English, that is, free, or more properly, freed verse (in Arabic al-shi'r al- Ķurr wa almutlaq)2"Free" versus "freed" verse: Mounah Khouri's translation of Rihani's essay (al-h/urr as "free" and al-mutlaq as "freed") captures something latent in the Arabic. Al-hfurr is "free" in the political sense. Al- mutlaq is perhaps "freer": Hans Wehr's dictionary offers "unlimited, unrestricted, absolute."3 Similarly, in English "free," a simple adjective, is a static state; "freed," a passive participle, is a state that results from an act of will. The translation takes that break with tradition a step further in intensity.Later in the same essay Rihani translates Whitman's "To Him That Was Crucified" (Ilâ al-masfub). Rihani was a Christian, but the effect of the poem is not sectarian. The vision of a utopian devotional community ("We walk silent among disputes and assertions, but reject not the disputers nor any thing that is asserted") may matter more than the Christ-figure of the title.Naimy, in a 1949 article, "
{"title":"A Translation of Abdel-Muneim Ramadan’s “Walt Whitman’s Funeral,” and Some Notes on Whitman in the Arab World","authors":"Adnan Haydar, M. Beard","doi":"10.13008/0737-0679.2268","DOIUrl":"https://doi.org/10.13008/0737-0679.2268","url":null,"abstract":"We present here a translation into English of Egyptian poet AbdelMuneim Ramadan's (b. 1951) \"Walt Whitman's Funeral\" Janâzat Walt Witman], a remarkable 2012 poem that underscores the complex role that Whitman has played in the Arab world. As an aid to understanding the poem, we first offer a brief history of the Whitman-Arab relationship.The Mahjar, or \"emigrant\" poets, were a small group of Lebanese and Syrian writers in the United States, affiliated with the New Yorkbased Arabic-language newspaper Al-Hudâ. The group flourished in the 1920s. They did not have a project in common except to break with the patterns of traditional Arabic poetry. Mahjar in Arabic does not name a particular common project: it simply means the diaspora of Arabs around the world. The poets were scattered: Khalil (\"Kahlil\") Gibran (1883-1931) lived in Boston, Ameen Rihani (18761940) primarily in New York, and Mikhail Naimy (1889 -1988) in Walla Walla, Washington, but also New York, as well as, during the first World War, France (where he served in the American army). They had one thing in common: they absorbed American poetry, and their distance from a strict critical establishment (back home in Syria and Lebanon) gave them freedom to experiment. Whitman's name comes up often in their critical writings, and they seem to have agreed that it was Whitman's influence that allowed them to redefine Arabic poetry.Rihani, writing in the preface to his 1923 collection Hutâf al-Awdiya [Hymns of the Valleys], makes Whitman's innovations a pivotal point in literary history:Milton and Shakespeare liberated English Poetry from the bonds of rhyme; and the American Walt Whitman freed it from prosodic bonds such as the conventional rhythms and customary meter. But this freed verse has a new and particular rhythm, and a poem composed in it may follow numerous and varied metres.1He emphasizes the force of the break:This type of new poetry is called vers libres in French and free verse in English, that is, free, or more properly, freed verse (in Arabic al-shi'r al- Ķurr wa almutlaq)2\"Free\" versus \"freed\" verse: Mounah Khouri's translation of Rihani's essay (al-h/urr as \"free\" and al-mutlaq as \"freed\") captures something latent in the Arabic. Al-hfurr is \"free\" in the political sense. Al- mutlaq is perhaps \"freer\": Hans Wehr's dictionary offers \"unlimited, unrestricted, absolute.\"3 Similarly, in English \"free,\" a simple adjective, is a static state; \"freed,\" a passive participle, is a state that results from an act of will. The translation takes that break with tradition a step further in intensity.Later in the same essay Rihani translates Whitman's \"To Him That Was Crucified\" (Ilâ al-masfub). Rihani was a Christian, but the effect of the poem is not sectarian. The vision of a utopian devotional community (\"We walk silent among disputes and assertions, but reject not the disputers nor any thing that is asserted\") may matter more than the Christ-figure of the title.Naimy, in a 1949 article, \"","PeriodicalId":42233,"journal":{"name":"WALT WHITMAN QUARTERLY REVIEW","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2017-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42588845","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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