Translation Of Poem Research Articles

An Investigation of Mystic term on “Conference of the Birds” of Attar on the Basis of Van Doorslaer’s Map

Considering the mystic terms as one of the main issues in translation of poems, this research pursues the following objectives: Firstly, it is an attempt to find out what strategies have been used to find equivalents for source text mystic. Second, it is hoped that this study of the translations of the mystic terms in Attar’s poems will further address and explore the problems in translating mystic texts, proposed by other Persian poets and suggest instructional points from Davis work for translation education. In order to deal with such a breadth of work, a new conceptual tool was developed, as explained by Van Doorslaer (2007). This study shows that according to Van Doorslaer’s map, the mystic terms can be transferred to the TL with their exact content of the SL, if the translator has a good choice for any term.

Poezja Jewhena Małaniuka w przedwojennych tłumaczeniach Józefa Łobodowskiego

Józef Łobodowski’s pre-war translations were published in the weekly “Wołyń” which he was the editor of in the years 1937–1938, and in “Biuletyn Polsko-Ukraiński”. Among them, the translations of poems by Yuriy Kosach, Natalya Lyvitska-Kholodna, Oleh Olzhych and Yevhen Malanyuk can be found. Łobodowski had personal contacts with was Malanyuk as he was his long-time acquaintance. They both published their works in “Biuletyn Polsko-Ukraiński” and in “Kultura” based in Paris. Łobodowski translated in total over 20 works of the Ukrainian poet, the majority of which were published in “Kultura” after the war, together with a number of literary critical articles, such as Scylle i Charybdy poezji ukraińskiej (The Scyllas And Charybdas of the Ukrainian Poetry), Poezja Jewhena Małaniuka (Yevhen Malanyuk’s Poetry), Ostatnia wiosna (The Last Spring), or a memoir note Po śmierci Małaniuka (After Malanyuk’s Death). In the 1930s, Łobodowski became interested in the poetry from the collection Земля й залізо (Earth and Iron). In the interwar period, three translations were published: An Inscription on a Book of Poems (Напис на книзі віршів), 13 November 1920 (13 листопада 1920 р.) and fragments of the Epiphanies (Прозріння) cycle. In his translations, the author for Lublin was guided mainly by the principle of the hierarchy of values and equivalence. His works include Malanyuk’s poems close to his own poetry. Moreover, in his translation work he tended to avoid texts speaking against Poles and dividing the two nations. Łobodowski is characterised by his interpretational talents and the ability to preserve the main meanings of the original versions. In spite of the fact that his translations are characterised by dynamic equivalence, they are not spontaneous, they do not stem from emotions, but they have a solid theoretical foundation and are based on his excellent knowledge of the Ukrainian poet’s works.

How Burton Raffel Translated Chairil Anwar�s �Aku�: An Analysis in Poem Translation

The paper analyses the translation of Indonesian poem entitled Aku by Chairil Anwar, which is translated by Burton Raffel. The poem was written in 1943 and depicts the struggle of the natives of Indonesia to achieve independence from their colonizer. This paper wants to see how the poem is translated into English by a non-Indonesian who does not have social, cultural, or even historical background like Indonesian people. The focuses of the analysis are in the semantics and syntax as cultural and conceptual phenomena; the works of dynamic, pragmatic, equivalence; and the conveyance of ST message through the translation. Based on the analysis, it is found that the works of dynamic and pragmatic equivalence are needed in translating the poem because they can accommodate flexible relationship between the elements of SL and TL such as social and cultural concepts conveyed or depicted by the poem.Keywords: poem translation, dynamic equivalence, pragmatic equivalence

About one Russian-language publication of E. Kocbek (Slovenian trace in the magazine “Continent”)

The article presents previously unknown Russian translations of poems by E. Kocbek, Slovenian poet and public fi gure, one of the fi rst fi ghters against the totalitarian system in Slovenia, published in the Parisian magazine of Russian political emigrants of the “third wave” «Continent» in 1976.

Metaphors in Russian Poetry Translations into Tatar

A comparative study of Russian poetry Tatar translations is performed in this scientific article, in particular, the poems by A. Pushkin, M. Lermontov, N. Nekrasov with the original to analyze lexical expressive means, namely the metaphors of the original. The following methods and techniques were used in the work: comparative and hermeneutic. The study is based on the translation of poems by A. Pushkin, M. Lermontov and N. Nekrasov, which was performed by Tatar writers A. Iskhak, A. Yunus, M. Sadri, A. Faizi, A. Erikay and N. Arslanov. The choice of authors and their works is conditioned not only by their popularity, but also by the peculiarity of their literary language, the distinctive feature of which are original pictorial and expressive means. On the basis of poem analysis from the point of view of lexical pictorial means of the language use, it was revealed that the language of the selected writers has a rich imagery and a high degree of metaphorization. The authors analyze the issues of metaphor adequate embodiment concerning the poetry by A. Pushkin, M. Lermontov, N. Nekrasov in Tatar language. The problem of the original meaning recreation is considered with the preservation of its form features. This problem is faced by the translators of a poetic text.

Five Unknown English Translations of Poems by George Buchanan, c. 1670

Five Unknown English Translations of Poems by George Buchanan, <i>c</i>. 1670

Sin lengua, deslenguado by Gustavo P�rez Firmat (review)

Reviewed by: Sin lengua, deslenguado by Gustavo Pérez Firmat Joy Landeira Gustavo Pérez Firmat. Sin lengua, deslenguado. Editors Yannelys Aparicio and Ángel Esteban. Madrid: Cátedra, 2017. 292p. The sophisticated black covers of Spain’s Cátedra editions always convey a classy and classical message. Further enhanced with Humberto Calzada’s watery painting, The Collapse of an Island, with its layers of placid aquamarine ocean water rising and engulfing the interior of a stately, but abandoned, stain-glass windowed and cathedral-ceilinged Cuban mansion, Sin lengua, deslenguado anthologizes one of the most influential 1.5 generation Cuban exiles to lift anchor when his island, and his world, collapsed. Now, almost sixty years after landing on U.S. shores and setting up a lifelong residence, Pérez Firmat has gathered selected poetry and poetic prose essays into a volume whose whole is greater than the sum of its parts. In their panoramic introduction, editors Aparicio and Esteban, using a characteristic bilingual neologism, explore Pérezfirmatian Writinerarios—the written wonderings and wanderings of the hybrid paths that he has travelled, always thinking that he’d spend “next year in Cuba,” but always facing the reality that his place and language would forever be perched on the hyphen that sits between Cuban-American. Their informative “life and works” traces his sojourn and the shifting constants and consonants that have always been his trademarks: tensions between what language to write in, what nationality to claim, and what tongue defines him. “Sin lengua” translates as “without a tongue,” but also as “without language.” Despite that negative claim, what he has done with both languages isn’t a minus sign at all - not a hypen - but a plus sign. The anthology’s pluses that add to our understanding of his lifelong oeuvre include Spanish translations of poems originally written in English, beginning with his first published verse in Carolina Cuban (1987). Welcome footnotes disclose that the author loves to rework his poems, always seeking the precise word, as well as the precise wordplay, his exceedingly difficult-to-translate [End Page 240] signature technique. For example, we learn that “pertenecer a” means both “belongs to” and “belongs in”—a key to understanding that the poet resides in a language: he may not belong in English even if he belongs to it. The same equivocation holds in Spanish, with the switch to “encontrarse”—“no me encuentro en inglés”: he may find himself located in English, but he doesn’t find himself—his true nature—there. Similar equivocations characterize Equivocaciones, his second book of poetry published in 1989, as well as the other six collections excerpted here. Since one of the goals of the anthology is to include translations of all English poems into Spanish (but not vice versa), Pérez Firmat has translated his own verses. When he writes in English, his stock-in-trade is equivocations, better known as puns. But translating a pun isn’t fun, since equivocations don’t have equivalents, so the editors and the author have collaborated to explain the meaning of the English puns in the Spanish footnotes. These insightful translation notes greatly expand our understanding of the poems and wordplays, making sense of the translations and interpreting the original double entendres. Think about it—a bilingual double entendre multiplies two meanings in two languages…double the pleasure, double the fun, or quadruple it. . . now you’re talking his language. Or you might be singing his language. His musical signature—maybe that should be sing-nature--technique is the diegetic soundtrack that plays a continuous loop of background music throughout—be it the bilingual blues lament that includes references to two songs: the Gershwin brother’s duet “Let’s call the whole thing off,” counterpointed with “Consider yourself [part of the family]” from the musical Oliver, based on the Charles Dickens novel Oliver Twist. Aware that language was music before it was words, essay 39 of Cincuenta lecciones de exilio y desexilio delves into the musicality of identity, noting that the sounds that cradled us composed auditory voice prints in our language patterns even before we learned words or lyrics. Whether it is the “Star Spangled Banner” or Stephen...

Shifts in Indonesian-French Poem Translation

This paper aims at analyzing the translation shifts of a poem containing figurative expressions from Indonesian into French and describing the translation principles occur in the shifts. The data in this paper is an Indonesian poem with the title “Gestural Tubuh Perempuan” and its translation in French. This is a library research with qualitative-descriptive method. The analyses were conducted by applying translation shifts theory by Catford in Venuti (2000) and translation principles by Nida (1975). The findings show that there are many shifts occur in the target language. The shifts that frequently occur are in the intra-system of the language. There is only a few loss and skewing of information in the shifts, but a lot of addition of information especially for the use of French articles.

A Tribute to William Jay Smith

A Tribute to William Jay Smith Suzanne Marrs The distinguished poet William Jay Smith, Eudora Welty’s good friend, died on August 18, 2015, at the age of ninety-seven. In addition to writing many volumes of poetry, Smith penned books of children’s verse, translations of poems by Jules Laforgue and Andrei Voznesensky, memoirs, and a collection of his own astute literary criticism. He took bachelor’s and master’s degrees in French literature at Washington University; served in the US Navy during World War II; was a Rhodes Scholar; taught at Hollins College, Columbia University, and Williams College; and from 1968 to 1970, served as consultant in poetry to the Library of Congress (a post we now call Poet Laureate). The intersections of Smith’s life with Welty’s were numerous and important to them both. They met in 1950 in Italy, amid the glories of Florence, introduced to each other by John Robinson. They saw each other frequently in New York City. Welty spoke three consecutive years at the Suffield Writer–Reader Conference where Smith was on staff; Smith and his wife Sonja came to Jackson for Eudora Welty Day in 1973; Smith organized a celebration of Welty’s work at Hollins College in 1974; Welty invited Smith and his wife to join her at the White House in 1980 when President Jimmy Carter awarded her the Presidential Medal of Freedom; and Welty delivered a reading from Hawthorne’s “The Birth-mark” at the Cathedral of St. John the Divine when Smith was poet-in-residence there. Smith’s 1980 memoir Army Brat, a book about growing up within the confines of Jefferson Barracks Military Post near St. Louis, helped to convince Welty to deliver the Harvard lectures that became One Writer’s Beginnings. Yet even this impressive (and partial) list of their meetings in person and on the page does not do justice to the closeness of their friendship. A single fact does: Smith was one of the few friends with whom Welty discussed the two great loves of her life, John Robinson and Kenneth Millar, aka Ross Macdonald. The exchange of such confidences marks the true depth of their relationship. I count myself supremely fortunate to have called Bill Smith my friend. He and I met at Eudora Welty’s funeral in 2001 and felt an immediate affinity as we shared our grief. Later we discovered that relatives of his were neighbors of my parents in Norman, Oklahoma. And our Oklahoma [End Page 9] ties were intensified when he gave me a copy of his magnificent book The Cherokee Lottery, a series of poems about the Trail of Tears, which ended in the territory that would become my native state. When I spoke of my work on a Welty biography, Bill was quick to offer assistance; I spent a productive and delightful week near his home in Cummington, Massachusetts, talking with him daily about the confluence of his life with Eudora’s. Subsequently Bill twice agreed to give poetry readings at Millsaps College, where I taught. Both students and faculty found these readings engraved in their memories. Then in 2011, I was honored when Bill asked me to write the foreword to his book My Friend Tom, an account of his almost fifty-year friendship with Tennessee Williams, which was published by the University Press of Mississippi in 2012. In this memoir, Smith wrote that Eudora Welty “became for me during my entire literary life the kind of mentor that Tom Williams had been at the beginning” (101). Like Welty, William Jay Smith possessed a genius for friendship in addition to genius as a writer. Blessed with a ready sense of humor, he was gracious and unassuming, brilliant and generous, a champion of social justice, traditional poetic forms, and love for family and friends. The world is a lesser place without him. Suzanne Marrs Eudora Welty Foundation Scholar-in-Residence Works Cited Marrs, Suzanne. Eudora Welty: A Biography. New York: Harcourt, 2005. Print. Google Scholar ——. “Foreword.” My Friend Tom. By William Jay Smith. Jackson: UP of Mississippi, 2012. xi-xxi. Print. Google Scholar Smith, William Jay. Army Brat: A Memoir. New York: Persea...

A Comparative Analysis of Two English Versions of Some Poems in A Dream of Red Mansions

This thesis makes a comparative study of the two versions of translation of poems in A Dream of Red Mansions to find out the differences. Yang's version is literal translation. It retains the content and form of the original work. The language of the translation faithfully conveys the original's rich and profound connotation. English readers may not adapt to such form, technique and mood of ancient Chinese poems, but they may have some idea of the source text. Hawkes' version employs free translation. It retains the original's content as much as possible. Some poems, in the form of English ballads, with beautiful sound, form and mood, are fluent and easy to understand. Some contents are rewritten, which are expressive.

TRANSLATIONS OF POEMS FROM MORPO

TRANSLATIONS OF POEMS FROM MORPO

Translations of Poems from "Morpo"

About the Translator Jose Perez Beduya earned his BFA in Painting from the University of the Philippines and his MFA in Creative Writing from Cornell University. His work has appeared in High Chair, Beloit Poetry Journal, Colorado Review, Ploughshares, Fence, Toad Suck Review, Lana Turner, and Boston Review. He has received the Madeleine P. Plonsker Emerging Writer’s Residency Prize, a Lannan Foundation Scholarship at the Santa Fe Art Institute, and a New York Foundation for the Arts Fellowship. His first book Throng was published by Lake Forest College Press/&NOW Books in 2012. He lives in Ithaca, New York.

Stefan George und sein Kreis. Ein Handbuch

These three volumes contain what one might wish to know about Stefan George and his circle. It is doubtless an impressive and important achievement. The detailed scholarship displayed throughout these studies will be the starting point for any future research on this poet and his circle. However, it should not be forgotten that it is not an encyclopaedic knowledge which is presented here, but rather different discursive interpretations by individual scholars. These volumes will not—and fortunately do not intend to—speak the final word about George. Rather, the editors assert that the hope is to stimulate further research. This Handbuch is divided into four distinct parts. The first, which is presented in the first volume, is subdivided into five sections. The first of these sections presents a biographical sketch of George. It is a great advantage that these volumes seek to contextualize George’s life and work. Thus from the outset information is also provided regarding his circle. The second section is concerned with George’s oeuvre. Obviously, one should not lose sight of the most important and distinctive aspect of George—his poetry. This section discusses George’s literary works, including his translations of Dante, Shakespeare, Baudelaire and contemporary poets. The latter was first issued in 1905 in two volumes in an anthology entitled Zeitgenössische Dichter . These included translations of poems by Rosetti, Swinburne, Dowson, Jacobson, Kloos, Verwey, Verharen, Verlaine, Mallarmé, Rimbaud, de Régnier, D’Annunzio and Rolicz-Lieder. George’s intention was to present some of the works by the ‘most important spirits to whom one owed the resurrection of poetry in Europe’ (p. 270). The mission George perceived for himself and his circle was to work towards a revival of European culture, with poetry at its heart. It was a truly ambitious aim, and George succeeded to an impressive degree. A further endeavour towards achieving the aim of a European cultural revival was the foundation of the Blätter für die Kunst , a kind of elitist literary journal, which is the focus of Section 3. Section 4 is dedicated to George’s circle and the cultural impact of the group. Next to his poetry, George’s most distinctive achievement was in forming a circle of friends, collaborators, and an increasing number of younger followers, who subsequently played an important part themselves in academic and cultural life. The fifth section is something of an anticlimax, discussing the material side of all of these lofty endeavours: George’s relationships with publishers, the dissemination of his work and ideas, and even his financial situation. Collaboration with the publisher Georg Bondi was certainly the most notable and distinctive success, as it allowed George to present his work, including the Blätter für die Kunst , in a remarkable and charismatic way.

Which Emily Dickinson in Translation?

&#x0D; “Which Emily Dickinson in Translation” discusses the choice of source text/s for translations of poems by Emily Dickinson into Swedish, mainly from the point of view of line division. Should translators use source texts with conventional layouts or opt for trying to reproduce also the less conventional ones found in Dickinson’s manuscripts as today shown on the Internet or in R.W. Franklin’s facsimile edition (1981), as poet Ann Jäderlund does in her 2012 translations? What are the consequences of choosing one or the other? Five poems from about 1860 to about 1884 in a number of different translations illustrate the discussion, which concludes that the former is to be preferred, for the sake of syntactical and metrical clarity.&#x0D;

Fuzziness and Perceptions of Language in the Middle Ages

This is the final part of a three-part essay on fuzziness in medieval literary language. Each part corresponds broadly to Clifford Geertz's trifold instances of blur as involving “face-to-face interaction” (“life as game”), “collective intensities” (“life as stage”), and “imaginative forms” (“life as text”). Part 3 considers what Geertz might mean by describing text as a “dangerously unfocused term,” through discussing how bilingualism is negotiated in poetry. Three areas of vagueness are explored: the linguistic boundaries in a bilingual poem, the definition of a poem in the trilingual culture of insular medieval writing, and the relationship between literary and ordinary language. Examples are taken from a fifteenth-century bilingual carol, an early fourteenth-century trilingual poem, a bilingual sermon, a passage of love-writing discovered in the midst of a fifteenth-century legal roll, and finally a pair of French poems about the death of the English commander, Thomas Montagu, fourth earl of Salisbury, at the English siege of Orléans in 1428, contrasted with some English translations of poems by Charles d'Orléans. The essay argues that blurriness in medieval bilingualism gives us a fresh way of approaching primary questions about poetry and the literary.

Inde: Le chant du mohini attam; Danse classique du Kerala / India: Singing the Mohini Attam; Classical Dance of Kerala. 2012. INEDIT / Maison des Cultures du Monde W 260145. Recorded under the direction of Brigitte Chataignier. Annotated by Brigitte Chataignier and Brigitte Prost. 24-page booklet with notes in French and English. Translation of poems from Malayalam, Manipravalam, and Sanskrit

Inde: Le chant du mohini attam; Danse classique du Kerala / India: Singing the Mohini Attam; Classical Dance of Kerala. 2012. INEDIT / Maison des Cultures du Monde W 260145. Recorded under the direction of Brigitte Chataignier. Annotated by Brigitte Chataignier and Brigitte Prost. 24-page booklet with notes in French and English. Translation of poems from Malayalam, Manipravalam, and Sanskrit by Dominique Vitalyos. English translation by Frank Kane. Colour photographs. CD, 6 tracks (73:12). Recorded in the Chethana and Pryagîtam studios in Thrissur, Kerala, 1993 and 2005. - Volume 45

Application of Lefevere’s Seven Strategies in English Translations of Sohrab Sepehri’s Poems

Amid translation subjects, poetry translation is the most controversial issue caused by the existing conflict between form and content and also high figurative language of poetry. Poetry interested translator needs more effort and creativity to translate the structures and the figurative language involved in poetry (Boase Beier, 2009). The main aim of the present study is to apply Lefevere’s seven proposed strategies for poetry translation in the English translations of poems written by Sohrab Sepehri, a contemporary Persian poet and the final purpose is to find out which strategy is more frequently used. The corpus of the study contains 17 poems which are selected from three books translated by three translators. After the process of data analysis and calculating the frequency of each strategy, the researcher arrived at the conclusion that the second strategy named literal translation was the most frequently applied strategy (63%) by the three different translators. The results confirm that all the translators have translated the poems as word for word rendering.

“Write it Out in Your Own Form”: Tom Paulin’s Translation of European Poetry

The contemporary poet Tom Paulin attempts to communicate a new perspective on modern-day Northern Ireland through the lens of foreign literary traditions. He chooses translation as a means to give voice to his political views. Seizing upon the differences and similarities of Northern Ireland and various European countries, he sets out to subvert the traditional interpretations of the Northern Irish conflict. This article focuses on Paulin’s translation of poems by Anna Akhmatova, Paul Verlaine and Heinrich Heine and explores the different ways in which the poet transplants the Russian, French and German originals into a new cultural context.

The Effects of L1 Translation vs. Paraphrasing the Literary Texts on Female and Male Students Reading Comprehension

During the last decades, the role of mother tongue in language teaching has been the subject of a host of research studies (e.g., Block, 1986; Kern, 1994; Jimenez, Garcia, and Pearson, 1996; Upton, 1997); however, quite rarely have researchers addressed such issues as comparing the use of mother tongue and other teaching techniques like paraphrasing and translation effects on teaching specific texts in literary courses. This study aimed to explore whether paraphrases vs. translations of English poems make any significant difference in EFL students' level of comprehending literary texts. It also aims to examine whether paraphrases or translations of literary text at undergraduate level affect significantly the performance of male and female students' comprehension of such texts. The data for this study were collected through two comprehension tests and a personal questionnaire from 40 English students who study at University of Isfahan. The data were analyzed descriptively and also inferentially. The overall findings of the study indicated that there was no significant difference between the comprehension of those who received Persian translation of the poems and those who dealt with the paraphrase of the same poems. However in the group, in which students received translation of the poems, the male participants significantly outperformed the female learners whereas in the group in which students received the paraphrase of poems, the female participants significantly outperformed the male learners. The findings of the present study would help teachers and teacher trainers to construct and implement L1 and paraphrase in literature classes more effectively.

Thomas More’s Latin Epigrams Translated Anew

More's Latin epigrams, which include his Latin translations of poems from the Greek Anthology, his adaptations of other authors such as Theophrastus, and his own poems in Latin, were celebrated for their wit, humor, and erudition. They are also a good guide to More's own taste in irony, satire, and philosophy, ranging from philosophical acceptance of the inevitability of death to satire of the ignorance of astrologers, the pomposity of kings, and the tendency of portrait painters to idealize their subjects. Susan McLean, in her poetic translations of More's epigrams, tries to convey their balance and contrast, metrical elegance, urbane wit, and comic deflation.