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Copyright of New Perspectives in Translation Studies is the property of New Perspectives in Translation Studies Editorial Office 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 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 examines the complex role of the poet-translator through the specific case of the collaborative relationship between Mexican poet Octavio Paz and his long-time translator, the American poet Muriel Rukeyser. The article first outlines the role of literary translation in Rukeyser's artistic practice and illustrates her outlook on the process. More generally, it engages with existing theorizations of the translation of poetry, especially those that focus on the often precarious position of the established poet as translator. With Rukeyser's translatorial position established, the article then provides a close reading of the correspondence between these two long-time collaborators, bringing to the foreground a gradually increasing disconnect over how Paz's poetry should be translated. These progressively differing points of view on translation would eventually play a role in opening up Paz's Spanish-language poetry to new translators in the United States. While this article examines an understudied but crucial facet of Rukeyser's career as a writer and translator, it also sheds light on the complicated set of expectations and realities involved when one poet translates another. [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 author discusses a series of articles on translational poetics and the poet-translator published within the issue.

This essay is an Algerian-French poet-translator's personal reflection on the indispensable role that translation has played in his poetic creativity. Emphasizing in particular his bilingual education in the colonial Algerian context, he observes that his translation of poets from English, Arabic, and German into French is thus "doubly foreign" because his French is steeped in his Arabic culture and language. The essay advocates for the peaceful coexistence of any two languages, and especially the postcolonial coexistence of Arabic and French, as one of mutual enrichment. Tengour shows how this inclusive translational approach to Algerian bilinguality informs not only his creative process but also his editorial work, including Diwân ifriqiya, volume 4 of the Poems for the Millennium series from the University of California Press, and Poèmes du monde, a series of poetry in translation from Éditions Apic in Algeria, which has published over twenty poets from at least a dozen countries. [ABSTRACT FROM AUTHOR]

Mary Sidney Herbert's translation of the third canto of Petrarch's Triumphi has been frequently acknowledged as one of the most accurate translations of that text into English. The Countess of Pembroke not only preserves the terza rima rhyme scheme throughout but also meticulously follows the original poem in every terzina, and the two texts—the source and translation—correspond almost line by line. However, a key component of Petrarch's text is repeatedly altered in her version: Pembroke effaces many important mentions of the narrator's poetic vocation, presenting instead a narrator who ostensibly lacks obvious literary associations and pursuits. Following previous studies that argue that Pembroke's writings have been shaped by the endeavour to honour her famed brother's death and his literary legacy, through which she was also able to implicitly lay her own claim for poetic authority, this essay argues that her translation—and crucially, the changes between the source text and its English rendition—is another example of how Pembroke was able to simultaneously eschew the known tropes of poetic mastery that were associated with Petrarch and Philip Sidney, yet still assert her independent poetic voice and position. [ABSTRACT FROM AUTHOR]

The article explores the possible reliance of monk and poet, the Venerable Bede, on the biblical apocrypha "Gospel of Pseudo-Matthew" in writing his Latin poem "Hymnus VIII." Topics discussed include the translation of Bede's Latin poetry by author Michael Lapidge, the way Bede linked Mary, mother of Jesus Christ, to the Egyptian religion in the said poem, and the evidence of canonical Gospels in the poetic imagery of Bede.

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.

The author explores the association of Yiddish poetics to the writings of American poet Charles Bernstein. Topics discussed include the conversation between Bernstein and fellow poet Hannah Weiner on the textual imagination of the idea of the astral in accordance to Jewish traditions, the attitude of Bernstein towards the translation of poetry, and comparison between the legacies of Bernstein and poet Jerome Rothenberg in the fields of poetry and art.

As British rule in India took an increasingly Anglicist and Utilitarian-influenced turn in the 1830s, there nevertheless persisted some remnants of the Orientalist approach to Indian culture associated with the scholarship of William Jones. This article explores the work of William Francis Thompson (1810–1842), whose poetry and literary translations develop an unusually sympathetic identification with both colonizer and colonized subjects. It argues that Thompson’s recognition of parallels between European and Indian nationalism enables an alternative perception of British rule; and that his work highlights the eclectic and complex character of the colonial literary culture of British India. [ABSTRACT FROM AUTHOR]

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 article presents the author's views on the printing of Irish poetry in Dublin, Ireland between 1903 to 1905. Topics discussed include English translations of the poetry, scrapbooks on it, its use in digital humanities (DH) research, archives of poetry works, visualization of Irish print culture of 20th century.

The article examines Stephen Weston's "Ly-Tang, An Imperial Poem in Chinese by Kien Lung With a Translation and Note." Topics covered include the position of Weston in the wider context of the British interests in Chinese literature, the British reception of Chinese literature at the turn of the 19th century, and the literal approach adopted by Weston which contributed to the mistranslation in the poem.

In 1937, the Yiddish poet Avrom Sutzkever published a long poem entitled "Shtern in shney" ["Stars in the Snow"] in Warsaw. Over a decade later, the text was revised, refined, and republished in Jerusalem, where it appeared as the stand-alone book Sibir [ Siberia ]. Published first in Hebrew (1952) and then Yiddish (1953), the volumes boasted original drawings by Marc Chagall. Nearly ten years later, the work was translated into English in London, this time with the support of UNESCO and alongside a new preface by Chagall and a translator's note by Jacob Sonntag. Finally, it appeared as the opening poem of Sutzkever's collected works in 1963. The work would go on to be praised across languages as the signature text of Sutzkever's career. Yet while praise for each iteration was uniform, the texts themselves diverged in form, scope, and agenda. The following article examines the relationship between these complementary and competing iterations of Sutzkever's work—referred to here collectively as "Sibir." Doing so reveals "Sibir" to be a reflection of the poet's strategic modes of self-fashioning and the vicissitudes of the publishing process that both permitted and denied Sutzkever interpretive control. The history of "Sibir," I demonstrate, is the history of multiple visions and re-visions of what it means write as, publish under, and garner fame through the name "Sutzkever"—in Yiddish, Hebrew, and English. [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]

Copyright of IUG Journal of Islamic Studies is the property of Islamic University of Gaza 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.)

Copyright of Acta Universitatis Lodziensis. Folia Litteraria Polonica is the property of Wydawnictwo Uniwersytetu Lodzkiego 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.)

Copyright of Cuadernos de Filología Clásica: Estudios Latinos is the property of Universidad Complutense de Madrid 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 paper assesses Stefan Mitrov Ljubisa's interaction with Italy and Italian culture, history, politics, and language based on archival evidence and sources. It is evident that Ljubisa had great knowledge of Italian culture, especially its language and literature. He translated the poetry of Horatius, Ariosto, and Dante into Montenegrin. Ljubisa had a definite political agenda focused on the attainment of equality of nations and their languages in the Austro-Hungarian Empire. Standing up to proponents of Italian autonomy and language hegemony in Dalmatia, he focused on the Slavic culture and raised equality awareness among the Slavs in the Empire. [ABSTRACT FROM AUTHOR]

This article discusses unconventional teaching of poetry. The author points out the beauty and mystery inherent in poetry fragments of Sappho. She then recounts having her students bring a finished poem of their own to class, and proceed to fragment it in their own ways. Some students used the page as visual field, while others concentrated on sound. Students came to appreciate fragmented versions of their poems, finding that the process pared them down to their essence.

Abstract Andrew Marvell's commendatory poems to Robert Witty and Milton constitute his most explicit statements regarding not only translation but also writing in general, their commonalities revealing a remarkable steadiness in poetics over a period of two decades. The ethics of translation Marvell advocates in "To His Worthy Friend Doctor Witty"—ones that are rooted in Puritan tradition and overlap with key ideas from modern-day translation theory—provide a helpful basis for considering the specific issue of handling scripture that is raised in the poem to Milton. In both works, Marvell advocates that an exact essence of meaning is to be translated from source text to target. [ABSTRACT FROM AUTHOR]

Philip Ayres is among a handful of seventeenth century English poets who chose to translate Spanish verse. Like many of his countrymen, Ayres was fascinated with the culture and literature of Spain, prompting him to focus on such prominent writers as Garcilaso de la Vega and Juan Lopez de Ubeda. This fascination was tempered by fear, however, due to Spain's connection to Rome and Catholicism. This fear was so deeply ingrained in the English mindset that it often led many contemporary English writers to routinely refer to the pope as "the antichrist" in various sermons and pamphlets. This essay places Ayres' seventeenth century translations from the Spanish within that social and historical context, and argues that to fully understand Ayres' translating choices, we must consider the fascination and fear these two countries had for each other. [ABSTRACT FROM AUTHOR]

Over the past two decades, internet users have been the prolific producers of online English translations of Chinese classical poetry, resulting in multiple variant translations of the same short originals. This essay gives reasons for the popularity of such translations before examining how this corpus can be approached through 'near-simultaneous reading.' A case study of ten amateur internet translations of a line from a well-known Tang poem shows how, regardless of the deficiencies or limits of any single internet translation, a richer and more accurate understanding of the original can be achieved through reading several in succession. Insofar as it refrains from privileging any given translation, near-simultaneous reading allows the polysemy of the original to be respected by encounters with multiple versions, and puts the onus of meaning-creation on the reader. Reading in this fashion opens new avenues for imagining the multiple meanings of an original text via variants experienced in quick succession and assembled uniquely. [ABSTRACT FROM AUTHOR]

In this article, I address contemporary Hebrew translations of Shakespeare's Sonnets, specifically those by the Israeli poet Anna Herman. My reading of Herman's translation of Sonnet 18 contextualizes this translation in the Hebrew translation history of the Sonnets. I discuss how Hebrew retranslations of the Sonnets illuminate and complicate our understanding of shifts in the development of modern Hebrew writing and translation from the nineteenth to twenty-first centuries. How do Herman's translations 'compare', as it were, with the translations that have come before, particularly those by male translators? As part of a neoformalist turn in contemporary Hebrew poetry, I call attention to the ways in which Herman's translations, which were published in 2006, revitalize our reading of the original Shakespearean English and the Hebrew translations that followed, thereby constituting an altogether contemporary text. [ABSTRACT FROM AUTHOR]

This biographical paper describes Stanisław Barańczak's first attempts at translating poetry as a high school student in 1964. The aim of the paper is to present the birth of his philological passion, and to answer the question of how Barańczak emerges a translator. The presentation is based on six unpublished translations of Russian and English language poems found in the correspondence of Barañczak and in the hitherto unknown memories of his school friends. The analysis focuses on the technique of Barańczak's translation work, on reconstructing his motivations, selection of texts for translation, self-assessment of the results, opinions on the authors of the original and evaluation of pop-culture. In addition, the paper offers several facts from the private life of the teenage translator, among others the decision to study Polish philology, as well as his relations with his high school colleagues and teachers. [ABSTRACT FROM AUTHOR]

Copyright of Quebec Studies is the property of Liverpool University Press / Journals 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 essay examines how translation theory can further globalize contemporary literary comparison. Whereas Persian studies has historically been isolated from the latest developments within literary theory, world literature has similarly been isolated from the latest developments within the study of non-European literatures. I propose the methodology of hard translation as a means of addressing these lacunae. As it was understood and practised among Chinese and German translation theorists in the early decades of the twentieth century, hard translation is a method that incorporates translation in the form of exegesis, while preserving traces of the source language in the target language. Coined in 1929 by the Chinese critic, writer and translator Lu Xun amid the ferment stimulated by the May Fourth movement, hard translation (yingyi) is here considered alongside Walter Benjamin's cognate and nearly contemporaneous arguments for translation in a context of linguistic incommensurability. [ABSTRACT FROM AUTHOR]

The article discusses about the translation of the Lodovico Ariosto's "Orlando Furioso" poem into English. Topics discussed include views of Walter Benjamin, German philosopher, on the issue of "Orlando Furioso" translatability; the linguistic barrier, which differs for each major author and work of genius; and also mentions that the need of a strong sense of the syntax and rhythm of Ariosto's language.

The article focuses on the intricacies involved in the translation of poetry highlighting the literary works of poet Bharathidasan in India. Topics include the problems of transferring aesthetic elements, transferring emotional elements, and being constant with the content of the literary works in translating them.

Copyright of Croatica et Slavica Iadertina is the property of University of Zadar, Department of Croatian & Slavic 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.)

The article discusses the political use of pseudotranslation during the German Occupation of France in 1940 to 1944. An analysis of the four poems included in the anthology "L'Honneur des poètes II-Europe," published clandestinely by Éditions de Minuit in May 1944 is offered. It also explores the use of specific stylistic devices in poetry pseudotranslations and the presence of an elaborate international network of resistance poets in the occupied countries.

The Italian poet Giovanni Giudici (1924-2011) translated and published an anthology of Robert Frost's poems titled Conoscenza della notte in 1965 and re-edited it in 1988. The contrasting critical opinions on the book prompt the initial research question on the main stylistic features of Giudici's translation of Frost and lead us to further reflections on the reasons behind the adoption of certain translation solutions and strategies. By relying on the theoretical discourse developed in the field of stylistics applied to literary translations, we focus on the contrastive linguistic analysis of source text (above all on Robert Frost's fictional orality) and target text to single out the recurrent stylistic patterns that can be attributed either to the translator or to the source text author. In order to understand better these stylistic patterns in the target text, interpreted as mainly conscious (but also partly unconscious) choices of the translator, we contextualize them by taking into account a diachronic perspective that stresses their genesis and development in Giudici's translation work. The results shed light on the stylistic features of Giudici's translation of Frost and on Giudici's style as a translator and as a poet in general. They also confirm that the analysis of style in translation can be an effective tool for the interpretation and criticism of literary translations and literary texts. [ABSTRACT FROM AUTHOR]

The article presents an interview with American poet and Poet Laureate of the U.S. Robert Hass. When asked his explanation on the relationship between writing and translating poems, he refers that translation is more easier way of problem-solving process in comparison to writing poems. Hass opens up on the benefits of translating poems and poems writing, his expertise in translating poems, and strategies of translation used by him.

The article focuses on the topic of poetry and rap, discussing its translation by the translator with the concern of source text (ST), target text (TT), and ST linguistic norms. It offers information on the difference between the genres of poetry and rap that includes expressive language for the communication of thoughts in creative and artistic method. The translator while translating the poem should maintain the aesthetic effect of the semantic content.

The present article incorporates an edition and translation of an extraordinary Latin poem by Fray Cristóbal Cabrera, a humanist scholar and Franciscan missionary who worked in New Spain from the early 1530s until 1546-1547. The Ecstasis, the longest acrostic composition in western literature, is a first-person fiction, reminiscent of Erasmus's Praise of Folly, in which the poet describes an apocalyptic vision of judgement and his slide into madness after an earlier premonition that God's wrath would fall upon Mexico City. The poet professes to reject pagan literature but his sustained engagement with several classical authors, especially Catullus, Virgil and Cicero, provides a key to the interpretation of this enigmatic work. [ABSTRACT FROM AUTHOR]