Charles Baudelaire is often regarded as the founder of modernist poetry. Written with clarity and verve,Baudelaire's World provides English-language readers with the biographical, historical, and ...cultural contexts that will lead to a fuller understanding and enjoyment of the great French poet's work.Rosemary Lloyd considers all of Baudelaire's writing, including his criticism, theory, and letters, as well as poetry. In doing so, she sets the poems themselves in a richer context, in a landscape of real places populated with actual people. She shows how Baudelaire's poetry was marked by the influence of the writers and artists who preceded him or were his contemporaries. Lloyd builds an image of Baudelaire's world around major themes of his writing-childhood, women, reading, the city, dreams, art, nature, death. Throughout, she finds that his words and themes echo the historical and physical realities of life in mid-nineteenth-century Paris. Lloyd also explores the possibilities and limitations of translation. As an integral part of her treatment of the life, poetry, and letters of her subject, she also reflects on published translations of Baudelaire's work and offers some of her own translations.
Charles Baudelaire is often regarded as the founder of modernist poetry. Written with clarity and verve,Baudelaire's World provides English-language readers with the biographical, historical, and cultural contexts that will lead to a fuller understanding and enjoyment of the great French poet's work.
Rosemary Lloyd considers all of Baudelaire's writing, including his criticism, theory, and letters, as well as poetry. In doing so, she sets the poems themselves in a richer context, in a landscape of real places populated with actual people. She shows how Baudelaire's poetry was marked by the influence of the writers and artists who preceded him or were his contemporaries. Lloyd builds an image of Baudelaire's world around major themes of his writing-childhood, women, reading, the city, dreams, art, nature, death. Throughout, she finds that his words and themes echo the historical and physical realities of life in mid-nineteenth-century Paris.
Lloyd also explores the possibilities and limitations of translation. As an integral part of her treatment of the life, poetry, and letters of her subject, she also reflects on published translations of Baudelaire's work and offers some of her own translations.
Entre los siglos IX y XII se desarrollaron importantes centros de traducción que canalizaron toda esa actividad en distintas direcciones geográficas y combinaciones lingüísticas: por ejemplo, en ...Bagdad, en cuya "Casa de la Sabiduría" se tradujeron las obras científicas griegas al árabe; en Amalfi, donde monjes traductores vertieron buena parte de la medicina árabe al latín; y en Toledo, donde, apoyados por el arzobispo Raimundo de Sauvetat, confluyeron eruditos políglotas de diversas familias de idiomas para traducir obras de filosofía y religión principalmente del árabe al latín, patronazgo que allí continuó el rey Alfonso X el Sabio en el siglo XIII, quien fomentó la traducción de los primeros tratados de astronomía, física, alquimia y matemática. Es gracias a estos y otros esfuerzos de traducción en diferentes latitudes que la historia espiritual e intelectual de estas y otras partes de Oriente y Occidente ha llegado hasta nuestros días y es también por ello que la traducción es un arma de defensa de la diversidad humana, así como de la libertad de pensamiento y de expresión, valores fundamentales que, como sabemos, todavía se ven frecuentemente amenazados en las sociedades contemporáneas. En todos los casos, la traducción es una noble labor creativa, y en el caso de la traducción de poesía, la traducción es definitivamente una obra de creación poética cuando, con mayor o menor libertad, se propone reproducir la estructura estrófica, rítmica y sonora del original, es decir su estilo de escritura y su voz inconfundibles. En el marco de esa versificación de corte clásico, sin embargo, lo que Baudelaire cambia -lo moderno de la forma en Las flores del mal- es, por una parte, su léxico, en el que asoman el lenguaje de la ciudad frenéticamente volcada al progreso, con sus multitudes anónimas, y la percepción de nuevos sujetos protagónicos a los que otorga relevancia y visibilidad: personajes populares o excéntricos, dandis y bohemios, mendigos y borrachos, bailarinas o actrices de poca monta, amantes, cortesanas y prostitutas.
Great poets like Shelley and Goethe have made the claim that translating poems is impossible. And yet, poems are translated; not only that, but the metrical systems of English, French, Italian, ...German, Russian and Czech have been shaped by the translation of poems. Our poetic traditions are inspired by translations of Homer, Dante, Goethe and Baudelaire. How can we explain this paradox? James W. Underhill responds by offering an informed account of meter, rhythm, rhyme, and versification. But more than that, the author stresses that what is important in the poem-and what must be preserved in the translated poem-is the voice that emerges in the versification. Underhill's book draws on the author's translation experience from French, Czech and German. His comparative analysis of the versifications of French and English have enabled him to revise the key terms involved in translating the poetic voice and transposing the poem's versification. The theories of versification from the Prague School of Linguistics, the French and Swiss schools of versification, and recent scholarship in metrics and rhythm in the UK and in the USA have been integrated into this synthetic but rigorously coherent approach to translating poems. The extensive glossary at the end of the book will prove useful for both students and teachers alike. And the detailed case studies on translating poems by Baudelaire and Emily Dickinson allow the author to categorize and appraise the various poetic and aesthetic strategies and theories that are brought to bear in translating Baudelaire into English, and Dickinson into French.
La figura del poeta como pájaro Arroyo, Diego Zorita
Confluencia (Greeley, Colo.),
04/2023, Letnik:
38, Številka:
2
Journal Article
Recenzirano
En el poema «El albatros» de Charles Baudelaire, la figura del poeta como pájaro ha dejado de simbolizar el carácter sagrado del poeta para encarnar su inadecuación social y la pérdida de su ...prestigio simbólico. No por medio de una técnica hacen y dicen los poetas numerosas cosas bellas sobre asuntos muy diversos, como tú sobre Homero, sino por medio de una condición divina. Ambos poemas conectan la poesía lírica con la tradición grecolatina, apuntando a sus orígenes esotéricos, para certificar, no obstante, el nacimiento de una religión propiamente poética donde la recitación no constituye una invocación a otros dioses sino un culto independiente de todo credo.
Celotno besedilo
Dostopno za:
BFBNIB, DOBA, IZUM, KILJ, NMLJ, NUK, PILJ, PNG, SAZU, SIK, UILJ, UKNU, UL, UM, UPUK
Leituras tradicionais de textos de Le Spleen de Paris, como as de Jean Starobinski e Walter Benjamin, dão destaque para a figura do bufão e para a atitude burlesca. Nessas análises, os poemas em ...prosa baudelairianos são vistos como testemunhos travestidos de uma experiência biográfica e histórica. O presente artigo procura apontar os inconvenientes da associação mecânica entre autor histórico e sujeito poético, colocando em primeiro plano elementos da obra de Baudelaire que levariam a considerar de outro modo a ideia do "declínio" do gênero poético. Palavras-chave: Charles Baudelaire, Poema em prosa, Ironia, História. Traditional readings of Le Spleen de Paris, as those made by Jean Starobinski and Walter Benjamin, highlight the figure of the buffoon and the burlesque attitude. In these analysis, Baudelaire's prose poems are considered as disguised testimonies of a biographical and historical experience. This paper aims to point out the inconvenience of an automatic association between the poet himself and the poetical subject, emphasizing aspects of Baudelaire's writing which would lead us to consider otherwise the idea of the "decline" of poetry. Keywords: Charles Baudelaire, Prose poem, Irony, History. Les lectures traditionnelles du Spleen de Paris, comme celles de Jean Starobinski et Walter Benjamin, soulignent la figure du bouffon et l'attitude burlesque. Dans ces analyses, les poèmes en prose baudelairiens sont envisagés en tant que témoignages travestis d'une expérience biographique et historique. Cet article cherche à désigner les inconvénients de l'association simple entre l'auteur historique et le sujet poétique, mettant au premier plan des éléments de l'oeuvre de Baudelaire qui exigeraient de considérer d'une autre façon l'idée du déclin de la poésie. Mots-clés : Charles Baudelaire, Poème en prose, Ironie, Histoire.
Cet article retrace la généalogie sélénite du << Désir de peindre >> et des << Bienfaits de la lune >>, en explorant aussi la presence de la lune dans l'oeuvre de Baudelaire. En s'écartant du cliché ...qui voudrait que la lune prodigue un repos salutaire, le poète l'allégorise pour alimenter sa féerie sinistre et mélancolique. Mots-clés : romantisme, poésie, mélancolie, lune. This article traces the Selenite genealogy of "The desire to paint" and "The moon's benefits", while also exploring the presence of the moon in Baudelaire's work. By departing from the cliché that the moon is giving a salutary rest, the poet allegorizes it to feed his sinister and melancholic fairyland. Keywords: romanticism, poetry, melancholy, moon. O presente artigo esboça a genealogia selenita do "Desejo de pintor" e das "Beneficências da lua", explorando igualmente a presença da lua na obra de Baudelaire. Ao se afastar do cliché que afirmaria que a lua prodiga um repouso salutar, o poeta a alegoriza para alimentar sua fantasia sinistra e melancólica. Palavras-chave: Romantismo, Poesia, Melancolia, Lua.
PDF