Abstract In this contribution, we examine the relationship between text and context in multimodal translation practices by focusing on the Québécois film À tout prendre (1963; directed by Claude ...Jutra) and its English version, Take It All (translated by Leonard Cohen). The first two sections provide contextual information, while Section 3 is dedicated to a comparative analysis, in which a more central role is given to the film itself and to the archival documents (such as draft versions of the French script and the English translation). On the whole, Take It All results from a complex interplay of factors: the overuse of reduction (condensation and deletion) despite the absence of spatial or temporal limitations; Cohen’s limited translation experience, combined with his influential profile as an artist; and the assumed intended target audience. The subtitles serve as an ancillary device, offering a minimalist representation of the original dialogue. Regarding the linguistic transfer itself, no misunderstandings have been encountered, although the translation can be said to diverge substantially from the original in numerous respects. Consequently, the English version exhibits a less intricate network of interrelationships and it can be argued that the subtitles have not significantly contributed to the film’s internationalization journey.
Nadar asserts that I started writing this response to the question of systemic racism within the Journal of Feminist Studies in Religion (JFSR) around the same time that I made a decision to lay a ...formal complaint of academic harassment and bullying against a senior white male professor who has consistently directed several microaggressions toward my scholarly authority since I joined the institution in 2016. These microaggressions range from asking me to just be the "face of a conference" to harassing me to such an extent that I eventually withdrew my keynote lecture from the conference. When I objected, he flexed his hegemonic disciplinary muscle through repeated email correspondence, and when I candidly called upon him to own up to his prejudice, he resorted to gaslighting and pretended that he did not understand where my questions were coming from. He cloaked his prejudice in terms of acting in the best interests of the student.
Leonard Cohen's "Hallelujah" was first published in 1984 on an album called Various Positions, which Walter Yetnikoff, then head of Columbia Records, had not deemed fir for the American market. Cohen ...and his manager had to turn to a small independent label, Passport Records, to make the album available in the US. It contained ten songs, which, as the title of the album suggests, explore ten potential positions one may take with the things one loves: with lovers, with God, with life. "Hallelujah" was therefore meant to rhyme with "Kama Sutra", not so much with "Bless America," and it has not escaped my attention that many covers of the song, in this prudish era of ours, leave out the part that goes: I remember when I moved in you And the holy dove was moving too And every breath we drew was hallelujahThose lyrics were also missing on Aug 27, 2020, when the song was played twice during Donald Trump's investiture ceremony at the Republication National Convention--once as Tori Kelly's version was used as an accompaniment to a mammoth fireworks display and later the same evening as the American tenor Christopher Macchio catapulted two stanzas of the song into kitschland in a medley that squeezed Cohen's dark hymn between excerpts of Luciano Pavarotti's greatest hits and lighthearted pieces like "God Bless America."
En el conjunto adquiere gran importancia la poesía social. La misma senda sigue Araceli Iravedra (capítulo tercero), que parte de las tesis de Prieto de Paula para observar la poética social de ...Antonio Machado y arribar a lo que en última instancia resulta nuclear en su estudio: cómo Serrat musicalizó sus poemas. Joaquín Sabina -junto con Serrat, el cantautor más presente en el volumen- es también protagonista del capítulo (el quinto) de Margarita García Candeira, que se centra en un período de la canción de autor posterior al tratado por Prieto de Paula o Iravedra: la transición democrática española. Noguerol, F. y San José Lera, J. (eds.). Disponible en https:// fh.mdp.edu.ar/revistas/index.php/celehis/article/view/199 Romano, M. (2010). Disponible en https://fh.mdp.edu.ar/revistas/index.php/celehis/article/view/789 Romano, M., Lucifora, M. C., y Riva, S. (2021).
For the majority of his long career, Leonard Cohen may have been somewhat underappreciated in the United States of America, but he has achieved considerable renown and commercial success in other ...parts of the world, for instance in his native Canada and in many European countries. The present paper endeavours to establish the extent to which the latter is also true for Cohen’s status in Slovenia – a small country in Central Europe, which until 1991 formed part of socialist Yugoslavia. After an overview of the artist’s reception in North America and Europe, which provides a frame of reference, the perception of Cohen among Slovenians is comprehensively addressed by means of analysing more than one thousand articles in serial publications and online media about him in Slovenia over half a century, i.e. from 1970 to 2020. Cohen’s reputation as a man of letters is discussed first, followed by an analysis of the reception of his work as a recording artist as well as the responses to his live performances – especially to the two concerts he gave in Slovenia towards the end of his life. Lastly, some of the more notable reactions to Cohen’s death in Slovenian media are discussed.
This article seeks to ask the question of Leonard Cohen as a poet in terms of what Heidegger calls destitute or desperate times (dürftigerZeit) in his WozuDichter (“What Are Poets For”)? This ...question requires reflection on voice and attunement, including music and eros along with nothing less Heideggerian than the thought of death, reading Leonard Cohen on what appears to be a relation to the religious—for us? for him? for the Christ? ”forsaken, almost human”—but also painfully reflexive: ”we kill the flame”; a poet in dark times as we face them, together and alone.
A sophisticated but accessible fusion of theory and critical popular culture of Leonard Cohen's mystical songbook in relation to post-secular thinking and Kabbalah, Hasidism and Rinzai Buddhism. This ...volume presents a unique inter-disciplinary approach to Jewish philosophy and literary studies that will touch diverse audiences and readership.
This essay foregrounds “covers” of popular recorded songs as well as male and female desire, in addition to Nietzsche’s interest in composition, together with his rhythmic analysis of Ancient Greek ...as the basis of what he called the “spirit of music” with respect to tragedy. The language of “sonic branding” allows a discussion of what Günther Anders described as the self-creation of mass consumer but also the ghostly time-space of music in the broadcast world. A brief allusion to Rilke complements a similarly brief reference to Jankelevitch’s “ineffable.”
It is important to consider Leonard Cohen by looking back though his posthumous collection, The Flame Poems and Selections from Notebooks. From 1967 onward, Cohen came to be known increasingly as a ...songwriter and singer. In Montreal, and in Canada generally, Cohen was acknowledged as a literary figure, singer, and songwriter. Internationally, particularly in the United States, about the time of his death and after, Cohen's fame was anchored in music. This article examines two scholarly treatments of Cohen's work. It is written for Canadian and, especially, American readers, to remind them of Cohen as a poet and novelist because he was best known for his music and songs. Focusing on Cohen's literary dimension, his accomplishment as a poet, and his creativity as an artist, the article argues that poetry has lyrical origins and that there is a false dichotomy that separates music lyrics from poetry. Cohen's poetry is well crafted and beautiful and so memorable.
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