The new rhetoric of modern poetry which is characterized by conciseness and ambiguity has set it different from other poetic movements in English which in turn has made it the central focus of many ...researchers and scholars leading many of them to write about the ‘distinction’ of this type of literature. This study tackles the translation issue of modern poetry in view of the idiosyncrasies of content and form. The study investigates the issue of foregrounding following Geoffrey Leech’s (1969) linguistic deviation theory with special focus on lexical, grammatical and semantic deviations with the assumption that the idiosyncrasies in the language of modern poetry are a result of the distrust modern writers demonstrate of the ability of language to convey meanings and the lack of communication that mars the modern reality of man. Through examining various excerpts of modern poetic texts, one could infer that some translators who were sensitive to the importance of these deviations opted for retaining them often by utilizing compensatory methods. This is mainly related to the fact that it is difficult to replicate the exact same idiosyncrasies, especially in a language that belongs to a different family and does not have much in common with English. Other translators, however, were heedless of the implications of these deviations and decided to change them, or to translate them in harmony with their readings and Arabic language structure and norms. Nonetheless, the researcher claims that there is no ‘wrong’ or ‘right’ translation; there is always a better translation or a translation that is closer to the source text. Each translation offers a different ‘reading’ of a translated text that is influenced by the translator’s metaphysics of presence and by his/her spatiotemporal realities. The study concludes that these deviations are essential in augmenting the meaning potential of texts and in obviating the fallacious notion of a ‘transcendental signified’ in addition to being a fundamental aspect in the formulation of a comprehensive reading of any modern poetic text. This results in making faithfulness in translating modern works imperative since any deviation from its modes of expression will blur the map of this forceful trend in the history of poetic evolution. تتناول هذه الدراسة مسألة ترجمة الشعر الحديث من اللغة الانجليزية الى العربية في ظل التحديات الناتجة عن التجديد في مضمون وشكل الشعر الحديث مقارنة بالحركات الشعرية الأخرى، وتهدف الدراسة بشكل اساسي للبحث في مسألة التقديم اللغوي بالاعتماد على نظرية ليتش (Leech, 1969) للانحراف اللغوي مع التركيز بشكل خاص على الانحراف في المعاني النحوية والدلالية مع افتراض أن الخصوصيات في لغة الشعر الحديث هي نتيجة لعدم الثقة في قدرة اللغة على نقل المعاني وانعدام التواصل الذي يشكل السمة الاساسية للمجتمع الحديث. ومن خلال دراسة الأمثلة المختلفة، استنتجت الباحثة أن بعض المترجمين كانوا على درجة عالية من الوعي فيما يتعلق بأهمية هذه الانحرافات، فاختاروا الحفاظ عليها في كثير من الأحيان عن طريق استخدام الطرق التعويضية بسبب صعوبة تكرار نفس الخصوصيات، وخاصة في حالة اللغة العربية التي تنتمي إلى عائلة لغوية مختلفة عن اللغة الإنجليزية، في حين أن البعض الآخر آثر تعديل هذه الانحرافات في ظل قراءته للنص او من خلال ترجمتها في وئام مع اللغة العربية وقواعدها ومع ذلك، لا يمكن الحكم على أي من القرارات على أنها "صحيحة" أو "خاطئة"، بل يمكن وصف بعض القرارات بأنها اكثر وعيا من غيرها. وخلصت الدراسة إلى أن هذه الانحرافات ضرورية للحفاظ على إمكانيات النصوص التفسيرية، وتجنب الاعتقاد الخاطئ حول "ثبات المدلولالات"، بالإضافة إلى كونها جانبا أساسيا في صياغة قراءة شاملة لأي نص شعري حديث، مما يحتم على على المترجمين تطوير وعي كامل بالمعاني التي تثيرها هذه الخصوصيات لتمكينهم من اختيار طريقة الترجمة المناسبة التي تحقق العدالة للنص المستهدف وقرّاءه.
Poetic and dramatic works by T.S. Eliot include numerous allusions to Shakespeare's plays, different collisions based on Shakespearean plots, theatrical techniques and settings of the great ...playwright, etc. This paper considers the ways and instruments of transforming and representing Shakespearean images in Eliot’s poetic texts, such as “The Love Song of J. Alfred Prufrock”, The Waste Land, “Marina”, “Coriolan”, etc. The important aspect of Eliot's reception is the appeal to Shakespeare’s heroes (Hamlet, Lady Macbeth, Ophelia, Pericles, etc.) as archetypes for creating his own poetic characters. The researcher identifies two main ways of transforming and representing Shakespearean images: masks and dramatic monologues (“dramatis personæ”). The characters in Eliot’s poems use Shakespearean masks as a means of self-identification (Prufrock), they are components of “compound” images (“a cubist woman” in The Waste Land). The dramatic monologues of Eliot’s protagonists are pronounced on behalf of Shakespearen heroes (Pericles, Coriolan). Shakespearean allusions in Eliot’s poetry are to expand the boundaries of the text, deepen the characters, include them into a certain cultural paradigm, etc. The analysis of Shakespearean images in Eliot's poetry allows us to understand the peculiarity of perception for Shakespeare and methods of poetic mastering of his heritage in Modernist culture.
The article deals with the poetry oeuvre of the modern Russian poet Svetlana Kekova. The goal of this research is to examine texts created in the genre of poetic still life (Tikhaya zhizn (Quiet ...life), Po reke pechalnoy luna proplyvaet ryboy… (The moon is floating down the sad river like a fish...), Pomme de terre, V starom barake, gde tvoy poyavlyaetsa vrag… (In the old barrack hut where your enemy appears...), Ogon’ veshchey (Fire of things), Sredi nadezhd, raskayanja i strakhov (Among hopes, repentance and fears)). Still lifes in S. Kekova’s poetry is a particular case of the manifestation of a “religious ekphrasis”, due to which the described series of objects acquire a second symbolic meaning. The main place in the article is given to a detailed analysis of the poetic diptych Tikhaya zhizn (Quiet life). Two parts of the cycle address Dutch and Flemish still lifes, though the author’s intentions are connected with the comprehension of a sacred plot that goes back to the New Testament history. The mirror structure of this text has been revealed, the semantic principles underlying the compositional structure of the cycle have been shown. If the “Dutch still lifes” consecutively reflect the key events of the New Testament (The Last Supper, Crucifixion and Resurrection), and all the three poems are united by the idea of the victory of light over darkness and the possibility of salvation, then in the “Flemish still lifes” the author speaks about the sinfulness of the earthly life. The Dutch and Flemish still lifes in Tikhaya zhizn (Quiet life) are contrasted as worlds of salvation and death, which are being infinitely attracted and repelled. Together they represent a complex dialectic of the Christian history. This study pays special attention to the problem of ekphrasis, as it has been found that one of the possible pretexts of the “Flemish still lifes” is the painting “The Meat Stall” by Pieter Aertsen. The article concludes that the main sense-generating mechanism of S. Kekova’s writing is the ability of the author’s view to transfigure earthly things so that you can see echoes of the higher News in them.
Статья содержит краткий структурно-содержательный анализ сборника стихотворений «Неитожимы» современного русского поэта Алексея Шмелева, объединившего тексты из более ранних сборников «Периферийное ...зрение», «Четвертый день» и новые стихи. Особое внимание уделено вопросу соотношения и соприсутствия в них голосов автора и героя, формам проявления в лирике авторского начала в его предельной концентрации: собственно авторское повествование, несобственно-авторское повествование, автор-рассказчик, герой-рассказчик. Рассмотрено тематическое своеобразие стихотворений, их актуальность и уникальность. Отмечена важная патриотическая составляющая стихотворений, дана оценка гармоничности и спаянности разнотематических текстов (философских, гражданских, пейзажных, лирических).
Pio Vargas, ser coletivo Melo, Samuel Carlos; De Souza Costa, Letícia
REVELL : Revista de Estudos Literários da UEMS,
04/2023, Volume:
1, Issue:
34
Journal Article
Peer reviewed
Open access
O objetivo deste trabalho é efetuar uma análise da obra Anatomia do gesto (1989), do poeta iporaense Pio Vargas (1964-1991). A fortuna crítica de Vargas está quase toda reduzida a comentários de ...cunho impressionista, marcados pelo psicologismo relativo ao aspecto meteórico e trágico de sua vida. Com isso, este trabalho buscou efetuar análise das relações metapoéticas entre corpo e verso na constituição de Anatomia do gesto, materializada na ideia de “corpoquase”, presente na obra. Nesse sentido, dividiu-se o trabalho em três partes. Inicialmente, discute-se a ausência de trabalhos de fôlego sobre o poeta, com destaque para a predominância de comentários impressionistas. Em seguida, busca-se localizar a obra de Vargas na tradição da poesia moderna, especificamente, a produção poética iniciada na década 1980. Por fim, efetua-se a análise de Anatomia do gesto, buscando compreender os efeitos do “corpoquase” materializado nos poemas. Como aporte teórico, dentre outras obras, destacam-se Hugo Friedrich (1978), Octávio Paz (2014) e Marcos Siscar (2010).
This study endeavors to show analogous ideas in Eliot's "The Love Song of J. Alfred Prufrock" and Sherko Bekas's "A Fall Letter." Bekas, who was a good reader of English poetry, was greatly ...influenced by Eliot. He familiarized himself with English literature and follows it truly. For the idea for his poem, "A Fall of Letter" Bekas benefits from Eliot's "The Love Song of J.Alfred Prufrock" and uses it in composing his poem. Eliot's modern style has been revealed in his works as presenting complicated ideas through a simple language to reassure the modernity in "The Love Song of J. Alfred Prufrock," as well as the modernity in "A Fall Letter." A sad and gloomy tone is seen in both poems - Eliot may be speaking to his soul or with a partner, but Bekas expresses the poem through apostrophe. The study culminates with an analytic comparison between the two poems: "The Love Song of J. Alfred Prufrock" and "A Fall Letter" in terms of their themes.
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