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This article offers a new approach for reading and evaluating translations by repurposing a long-standing model for assessing translations: the equivalence paradigm. Instead of decoupling a target text from a source text, or establishing an equal playing field between them—two common approaches used by recent theorists in translation studies—this article reverses the relationship between the two. The test case for this practice is John Ashbery's translation of Rimbaud's Illuminations. The exercise thus requires reading Rimbaud's work as a translation of Ashbery's "original" text. In this way, the clear hierarchy of values inherent in the equivalence paradigm is highlighted both to expose the model's biases and to bring attention to the inimitable "originality" of a translation. In the end, although Rimbaud may be rightly appreciated as an unparalleled poet, many will find his appeal as a translator—at least as a translator of Ashbery—wanting. [ABSTRACT FROM AUTHOR]

This essay reflects on the constitutive bilingualism that characterizes the self-translation of twentieth-century poets in dialect into Italian. Here, Agamben proposes, the poem no longer dwells within the identity of one language but finds a true home in the white space that joins and divides the two texts, often printed on facing pages. Agamben traces back this poetic bilingualism to Dante, who contrasts the vernacular language, "which infants acquire from those around them," and the language he calls "grammatical," which we have to learn through a long course of study. This translative tension between two languages is not just an issue for poetry in dialect, but, as Hölderlin's translations from Pindar and Sophocles clearly show, also defines every authentic poetic intention. Taking on this inherent bilingualism is, according to Agamben, the task of both the translator and the poet. [ABSTRACT FROM AUTHOR]

The author explores the significance of creativity to the work of poet-translators, or what she calls translational poetics. She describes the importance of translator creativity to new theories of poetic translation, including the contribution of translation theorist Lawrence Venuti's updating of the hermeneutic model of translation to the new vision of poet-translator creativity. She also discusses a series of essays on translational poetics published within the issue.

The article discusses Hugo Lindo views life experience as composed of polarities such as expectation and disillusionment. His aesthetic ideas and philosophic concepts are not presented as statements but take form metaphorically through a series of images so that his poetry becomes an actual enactment of the poet's vision of the paradoxical nature of life.

The article discusses the process of translation of poem. Topics include the approaches, basic principle of translation of poems; special circumstances of each particular poem demanded, and small poem is much harder to translate than a long one because there is not much room for the translator to find technical means by which to reproduce effects.

Translation, from one language to another, whether of fiction, or commercial or journalistic items, but especially of poetry, is an integral part of all literary production and dissemination. Virtually all poets and other writers of originality have also sought to translate poems that have attracted their attention by virtue of being immaculately crafted, eloquent as well as exquisite, poems that may virtually be described as receptacles of beautiful thoughts and expression. Like other creative arts, translation is an important occupation and makes serious demands on the translator. There are pitfalls in translation that cannot be avoided merely because the translator is fluent in the languages with which he or she is working. In the present article, attempts are made to investigate, or at least to study, suitable examples of poetic translation in several languages. Poets from whom examples have been chosen for translation include those from Ireland, Great Britain, France, Germany, Turkey and the Indian subcontinent spread over the last few centuries. [ABSTRACT FROM AUTHOR]

The prominent translators and critics, James Holmes and Burton Raffel, have both proposed a fourfold scheme for considering poetry translations. In general terms, these four are: (1) formal and source-text oriented, (2) formal and target-culture oriented, (3) free, and (4) “deviant”, scarcely translation at all. This article suggests that the similarity between the two schemes is not coincidence but may be explained by Holmes’ and Raffel’s friendship based on a common interest in Indonesian literature during the 1950s. The previously unnoticed relationship adds to Francis Jones’ exploration of Holmes’ literary translation networks. [ABSTRACT FROM AUTHOR]

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The haiku is among the most concrete of poetic experiences, focusing on objects and sensations encountered in the natural world, including human nature. This is one reason why, while all literary texts, and especially poetry, can pose enormous difficulties to translators, haiku has unique ones. This essay is a pragmatic investigation into how issues of language, prosody, and cultural expectation can be resolved to recreate in English a living poem that retains the source text's content, emotional nuance, and aesthetic atmosphere. It proposes the idea of 'aesthetic equivalence' and applies it to a number of renowned haiku considered notoriously resistant to English rendition. A number of previous English translations of them are also critiqued. [ABSTRACT FROM AUTHOR]

Despite the flourishing of Translation Studies as a discipline, there has been little comparative assessment of modern European poet-translators, much less from a quantitative perspective. This article illustrates the use of statistical analysis of modern European poet-translators to understand literary currents and translation trends within and among national European literatures. Statistical results reveal fundamental differences in the practice of translation among European poets, specifically, twentieth-century Italian, French, Spanish, and English-language poets. It becomes clear which European poets translated the most and from which languages, as do contrasts in translation trends between national literatures through the twentieth century. [ABSTRACT FROM AUTHOR]

Copyright of Foreign Literature Studies is the property of Foreign Literature Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This study investigates how poetry translators tackle source regional voice within their wider approach to poetic text. It analyses eleven translators' 'outputs' of Scots and English translations from Giuseppe Belli's 19th-century regional-language sonnets, which are set in working-class Rome. Each output was coded for voice (space, community, tenor marking), text-world space, and poetic form (rhyme, rhythm), then analysed quantitatively and qualitatively; translator interviews and translators' written commentaries provided extra data. Translators ranged along a spectrum (apparently genre-specific) between two extremes: (1) 'relocalising' voice into target regional language/dialect with similar working-class and informal features to Belli's originals, whilst relocalising place and person names to target-country analogies, and recreating rhyme and rhythm; (2) translating into standard (supra-regional, literary/educated, neutral-to-formal) English, whilst preserving Belli's Roman setting, but replacing rhyme and rhythm by free verse. This reflects a spectrum between two priorities: (1) creatively conveying poetic texture; (2) replicating surface semantics. [ABSTRACT FROM AUTHOR]

Copyright of Lingüística y Literatura is the property of Universidad de Antioquia, Facultad de Comunicaciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article examines Chinese translations of Emily Dickinson's poetry from 1984 to 2011. The author focuses on twelve important translators who published their translations in book form and four other major translators whose translations were published in monographs or anthologies. These include Jiang Feng, Zhang Yun, Guan Tianxi, Mu Yu, and Wang Jinhua.

Copyright of Studia Universitatis Babes-Bolyai, Philologia is the property of Babes-Bolyai University, Cluj-Napoca, Romania and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This is a checklist of the more than 260 known published translations of Gray's poem, without restriction as to language or period, with supplementary information on the trasnslators, where their work may be found, etc. Forty different languages are involved, with Latin (44 translations), French (39), and Italian (28) numerically leading the list. Known translations peak in the Romantic era and continue to the present day. It has been claimed that all English and American poets owe something to the Elegy, but it has also been a singular influence on other languages, especially Indian, Japanese, and the languages of Eastern Europe. [ABSTRACT FROM AUTHOR]

The article examines the cross-cultural poetry and prose of Gary Snyder. The author contends that Snyder is a transcultural ecopoet, describing him as a syncretist who combines different cultural and geographic origins in order to generate a new world ecopoetics. The role of Snyder as a translator and cultural mediator between China and the world is examined. The author proposes Snyder's translation of the "Cold Mountain" poems as a classic example of world literature.

That literary texts appear to be more difficult to translate than technical ones is no longer a subject of debate. This truth is fundamentally as a result of obvious challenges the literary translator has to face, since he is under the obligation to translate not only the literal meaning of his source text, but also its literary style. Even within the literary field of translation, if the translator of prose or drama rarely has an easy task, the translator of poetry is likely to meet harder obstacles in the course of his exercise. Poetry — especially when it has to do with traditional poems – appears, thus, the most dreaded terrain for the translator.

This article presents a comparative study of the poetic culture of French and English with the principal objective of demystifying the theoretical and practical problems associated with poetic translation. Supported by a critical analysis of an English translation of a French sonnet, the paper argues that the work of the poetic translator would be made more simplified if priority is given to the culture of the target language. The article thus recommends faithfulness to the poetic culture of the target language in order to produce a translation that will be acceptable to the reader of that language.

[ABSTRACT FROM AUTHOR]

A search in the online Bibliography of Scottish Literature in Translation (BOSLIT) reveals that the attention given by translators to a small number of outstanding Scottish writers has been at the expense of others of comparable merit. On the other hand, poetry of the twentieth-century Scottish Renaissance period and later has certainly received some measure of international recognition, despite the problems presented to translators by the extensively and diversely developed use of Scots as a poetic medium. [ABSTRACT FROM AUTHOR]

The article explores the intentional incorporation of ideological elements in poetic translations of Robert Burns made by Soviet translators. It discusses how censorship in the Soviet Union has affected the translations of Burns' poetry into Russian. It considers the translations by Tat'iana Schepkina-Kupernik and Samuel Marshak, two of the most prominent translators of Burns' poetry in the Soviet Union.

This article draws on recent developments in translation studies and textual scholarship to consider how the translator, like the editor, grapples with the instability of literary works, which almost always exist in multiple versions and varying textual conditions. It treats the process of translation as a series of overlapping interpretive acts, including not only lexical translation but the selection or construction of the original itself, and the creation of an edition in translation. It takes as its case study a group of poems whose instability begins with the 'originals': the unfinished poems of C.P. Cavafy. The unsettled nature of Cavafy's unfinished poems raises questions regarding how such works can be presented both in foreign-language translations and in the language of their original composition. The article discusses two English translations, by John Davis and Daniel Mendelsohn, as well as Renata Lavagnini's 1994 Greek-language scholarly edition. [ABSTRACT FROM AUTHOR]

Both original (written in Persian) text and an old Turkmen translation of Mevlana Mohammed Celaleddin Rumi`s (1207-1273) mesnevi are housed at the National Manuscripts of the Academy of Sciences of Turkmenistan. Famous Turkmen sheikh and poet Niyazkulu Niyazi, who bore different names, (date of death 1236 hijra, 1280-1281 A.D.) translated mesnevi that was made up of 208 lines from Persian into Turkmen in Bukhara. An incisive literary critic and writer Abdulhekim Kulmuhammedov was the first scholar who studied carefully the Turkmen translation of mesnevi in the late of 1920`s, Lebap province. We present readers the transfer of an old Turkmen translation of mesnevi from Arabian alphabet to Latin alphabet as an additional text. [ABSTRACT FROM AUTHOR]

The article looks at Scottish poet Edwin Morgan, focusing on his work translating Hungarian poetry into English. Morgan's death in 2010 is acknowledged. The author comments on how Morgan became the English voice for over two dozen Hungarian poets for over four decades. The themes of Morgan's own poetry are discussed. Honors and awards presented to Morgan are reviewed, including the Hungarian PEN Medal and the Order of Merit. The author also comments on the importance of background information when translating poetry.

Chinese translators have hitherto devised three strategies to render English metrical poetry into Chinese: Sinolisation, liberal translation, and poetic form transplantation. Translators practicing the methods of sinolisation and liberal translation belong to the group in favour of spiritual resemblance. Translators who follow the method of poetic form transplantation belong to the group in favour of formal resemblance. It is quite obvious that the two groups disagree on the translation standard or guiding principle. Actually, the translation standards of the two groups can coexist, and the translation methods under the guidance of these different translation standards can coexist. It is impractical and impossible to use one Chinese translation method or standard to guide the Chinese translation practice, and the diverse Chinese translation methods of English metrical poetry can coexist and complement each other in the foreseeable future. [ABSTRACT FROM AUTHOR]

Despite increased research in translation studies, the important contribution of the French translator and writer Antoine Berman has yet to receive sufficient attention. This article presents key aspects of Berman's work and reconstructs his “archeology” of translation knowledge. Using a wide range of Berman's works, it examines his thinking about translation and modern philosophy, in particular the philosophy of Heidegger and Gadamer. After discussing Berman's early interest in German Romantic conceptions of language and poetry and the ways in which this tradition contributed to his conception of translation, the article turns to the relation between Walter Benjamin's notions of language and translation and Berman's own by examining his commentary on “The Task of the Translator”, a commentary crucial for our understanding of translation as a creative act. The article then analyzes Berman's use of hermeneutic interpretation to ground translation criticism as a productive criticism and to reconceptualize the translator as subject. [ABSTRACT FROM AUTHOR]

In this article, the author discusses the challenges involved in translating poetry from one language to another. He explains that such an exercise is a futile effort, as what comes about is something unique to the translator, and not something inherent to the poem or story being translated. He states that this is because each language has its own distinct character and nuance, which does not carry well into another, such as Mandarin into English. He suggests that while the translated piece can never be accurate, the result is an art form in itself.

This article takes up the difficult task of translation of Lucian Blaga's (1895-1961) poems entitled În marea trecere (« Au fil du grand parcours »). Lucian Blaga was a philosopher, and his poetry, different from pure rhetoric, is the carrier of a spirituality rejecting a religion of the abstract and being nostalgic of ages when Divinity was giving concrete signs to humans. This translation has been made according to a personal taste and to a great admiration for this Romanian author. In the first part, the article presents our methodological and practical choices. My attempt to translate Blaga's poems has not been the only one. Thus, I have tried to study the translations made on the same poems and the difficulties encountered by other translators, in the second part of the article. [ABSTRACT FROM AUTHOR]

The translator and novelist Didier Lamaison answers to questions about his experience as a translator of the poet Carlos Drummond de Andrade, the untranslatable, the translation as a form of change and original's renewal and features in the translation of poetry. [ABSTRACT FROM AUTHOR]

The article bases itself on the notion that the only available gateway to the ethno-knowledge strewn in the oral narratives that exist in the more than 180 indigenous languages spoken in Brazil is translation. The article focuses on the translation of a bilingual nhengatu-portuguese poem. The study of the poem allows for an introduction to the languages of the tupiguarani family, particularly those called the General Languages and provides information on translation tools: dictionaries, lexicons, glossaries and wordlists. Translations produced by missionaries during the colonial period and by 19th and 20th century tupinologists are background to the analysis of certain problems: the lack of specialized translators, the scarceness of grammar books and dictionaries, the typological gap between indigenous languages and European languages and finally, the differences in register use: indeed the issue here is translating non-graphic languages where the oral tradition pervades, into languages of the written tradition. [ABSTRACT FROM AUTHOR]

Most debates about the process of translation center on the notions of fidelity and betrayal or literal and free translation. Role of the reader also plays a major role in determining translation strategies, whether foreignized or domesticated, adopted by different practicing translators. The paper attempts analysis of the translation strategies adopted by the writer of this paper in texts such as 'Foxtrot' meant for readers interested in postcolonial literatures, He Conquered the Jungle for native as well as non-native readers. Australian and Caribbean stories in Telugu for magazine readers who look for entertainment, poems and plays for Radio which supplement a performance in all India competitions and Tenali Raman's stories meant for children to demonstrate that the role of the reader and purpose of translation demand a variety of strategies from the hand of a single translator. Drawing on the theoretical notions of Theodore Savory, Susan Bassnett, Roman Jakobson and Lawrence Venuti, an attempt is made to analyze translation strategies and devices in texts meant for native, non-native readers, children, general readers and readers with some sophistication. [ABSTRACT FROM AUTHOR]

The recent publication of Faustus from the German of Goethe, translated by Samuel Taylor Coleridge (Oxford University Press, 2007), edited by Frederick Burwick and James McKusick, has given rise to some controversy concerning whether Coleridge was properly identified as the translator. In this short essay I select a few telling facts from the comprehensive collection of evidence supporting Coleridge's role as translator. In addition to a sampling of the phrases from Coleridge's own poetry that are echoed in his translation, and of the references in his notebooks on rendering German words, this essay also briefly summarizes evidence from external sources. [ABSTRACT FROM AUTHOR]

The article discusses M. L. Gasparov's efforts of translations of verse. It is said that in 2003, Gasparov published a book of verse translations from modern and ancient languages. In book "Experimental Translations," the translator ignored the original and his old style of writing when he was a scholar. It is cited that Gasparov shows Russian hostility toward free verse, which became a medium of poetic translation in 1972. Stated in his book, poetry is based on rhythm and rhyme with free verses which are not viewed as excesses.

The article investigates the role of Jorge Luis Borges as a mediator between Spanish and German literary traditions. The author demonstrated how Borges's translations transform German Expressionist poetry and impact upon subsequent Spanish reception of Expressionism. The author compares three of Borges's versions of Expressionist poetry with their German originals, focusing on the points where the translations depart from the originals as well as from Borges's own prose commentaries to show the liberal concept of Borges's translation.

This essay presents a reprint of the article "Confessions of a Poetry Translator" which appeared in the 2005 issue of the "Buckle &." It deals on the deadly sins of translation practiced by some authors and translators. These include pride, envy, lust, avarice, wrath, gluttony and sloth. The implications of these sins on the lives of the authors and translators are offered.

This essay examines the nature of literary translation by chronologically charting the translation of a poem by Catullus. The author examines the specific choices of each translator. Decisions, such as word choice, sound and meaning, are scrutinized. The meter of the poem poses a unique challenge for translators and different generations handled the problem in different ways.

Copyright of Man & the Word / Zmogus ir zodis is the property of Vytautas Magnus University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Multi-word units (henceforth MWUs) have two important characteristics: firstly, they are pervasive in the English language. Secondly, these units that contribute to the nativelike quality of the native speakers' discourse. This paper will seek to define these units and identify their place in the native speaker's communicative competence. As the majority of translators are foreign learners rather than true bilinguals, they will need to acquire MWUs in order to approximate nativelike competence in English and add idiomaticity and naturalness to their discourse. One (partial) solution the paper proposes is the compilation of an Arabic-English dictionary of English MWUs. [ABSTRACT FROM AUTHOR]

This article presents information about the importance of literary translations. Translation is the only art that is like writing. Accordingly, at a certain point where the goal is a work of art, the work of the translator and the work of composition become identical. Translation is also the highest, most intense form of reading. In the great first centuries of poetry in English, translation was how people studied literature.

Critics and reviewers should expose places where translators fail to convey lovely sounds or innuendos or where they fancify what was better left simple, but critics and reviewers should also allow that not all differences do violence to the original and should be on the lookout for those instances where, with a deft, creative stroke, translators profit from their own language resources to stress some wondrous quality that might have gone unnoticed in the original. If we read Dante's Inferno in Italian and John Ciardi's famous translation of that poem into English, simultaneously, ball point pen in hand, we discover (as in all good translations) significant differences, some defensible, some objectionable, most of them provocative and illustrative of the translator's creative art. To illustrate, I will look into the Seventh Circle of Ciardi's translation of Dante's Inferno, the Circle of Violence, and examine three short passages where Ciardi differs significantly from his model. For two of these differences, Ciardi's double-rhyme tercet (rhyming axa bxb cxc…, where the x's do not rhyme) pressured Ciardi to differ creatively from his original. In the third, the absence of a word-for-word equivalent inspired the difference. As a reader, critic, and translator, I will disapprove of the first and consider how it comments on the original Italian, approve of the second, and delight in the third. [ABSTRACT FROM AUTHOR]

This essay examines the role of the translator and the public reader in the diffusion and re-creation of poetry. Place of poetry in ancient Greece and republican Rome; Role of translator in moving poetry from an original linguistic space into other idiomatic spaces; Causes behind the state of affairs of poetry; Role of good readers. This essay was translated by Anthony Molino, in collaboration with Marina Molino.

In this article, the 'relevant factors' of Skopos Theory are discussed and contrasted with the findings of an ethnographic study of literary translators in the Netherlands and Belgium. The findings are based on a qualitative data analysis of in-depth interviews with twelve translators of Irish poetry. Hans Vermeer's Skopos theory (2000) treats translation as a form of (social) action (see also Justa Holz-Mänttäri 1984) in which a number of 'relevant factors' such as skopos, commission, translatum, and brief, all play vital roles. Vermeer defines skopos as "a technical word for the aim or purpose of a translation" that is part of a translational action. Skopos theory provides translation scholars with a framework for exploring significant aspects of translation without losing sight of their inter-relatedness. Vermeer posits a plausible hierarchy of relations between these aspects, but offers no tangible evidence that they exist. The aim of the current study is to subject these factors to ethnographic research and thus provide Skopos theory with empirical data. In the long perspective, this involves a shift of focus regarding the 'relevant factors' in the theory. [ABSTRACT FROM AUTHOR]

This article focuses on the role of intermediaries between readers and the Irish literary tradition: the translators, editors, and authors. Translators bring a text out of Irish into English; editors select a few texts from a great many, that a reared may quickly and easily get a sense of what an author, genre, or period was like; and authors re-invent an Irish text as an English text of comparable artistry, enabling those who cannot read an Irish poem to experience it at the closest possible remove. The work of these intermediaries--translation, selection, and re-invention--renders accessible to the majority audience material that is inaccessible in its original form.

El artículo presenta una respuesta al artículo escrito por Ana Castaño. El autor habla de las decisiones que toma un traductor cuando traduce un texto del español al inglés. Este acto transforma el texto original en algo nuevo y que el escritor no intentó cuando escribió el poema o el libro por primera vez.

This article presents the author's reflections on his translating collaboration with the Cypriot poet Kyriakos Haralambidis. Description of Haralambidis' poetry; Ways in which the poetry posed certain challenges to translators; Ramifications of annexing the voice of a cultural other to one's own dominant literary tradition.

The discusses intuition as an approach to the translation of poetry. Intuition was first introduced as a critical term Benedetto Croce, an Italian philosopher. Adopted by some of the new critics and used occasionally in the inter-war years and up to the early 1950s, the term was washed away by the rising tide of the modem critical theory in the 1960s. The author's contention is that every translator must rely on intuition and that the translator's intuition is explorable, with definite conclusions to be profitably drawn from such exploration. The interpreter, who quickly provides Arabic equivalents for the English sentences he hears from his booth at an international conference, is a prime example of intuition at work. Pressed for time and guided only by personal experience, the interpreter produces functional translations at speed, modifying the regular verbal moulds to suit every situation. For the translator of verse to exercise intuition as defined, he or she must be assumed to have overcome the impediments of lexical limitation and the logic-oriented approach to language. Intuition in reception requires the ability to assimilate a given English text before any actual translation is done.