Poetics of translation

No presente artigo, investigou-se as relações entre os campos de estudos da performance e da tradução, considerando os conceitos de performance de Erika Fischer-Lichte (2017) e Paul Zumthor (2014), a partir da importância do corpo para a produção e recepção de obras de arte espetaculares ou literárias. Além disso, considerou-se a produção textual de Haroldo de Campos, cujas contribuições levaram a poesia aos museus, em especial por meio de sua transcriação, entendendo a poesia em suas dimensões verbal, visual e sonora. Nesse sentido, tais textos foram investigados com vistas a dar ênfase às relações entre corpo, performance e tradução como um caminho para compreender a dinâmica e a interdisciplinaridade nas artes.

O presente trabalho visa estudar a história da tradução portuguesa de Lu Xun: quem traduziu o quê, quando e porquê? A maioria dos estudos lidos indicam que existem poucas traduções e que todas foram publicadas depois de 1976. Porém, esses mesmos estudos não aprofundam suficientemente os fenómenos tradutórios relativos a este autor. Para construir um panorama, o presente estudo compila um catálogo de Lu Xun traduzido em Portugal através da leitura de estudos anteriores e consulta de catálogos existentes; depois, analisa os paratextos das traduções. O catálogo compilado (nos apêndices I e II) mostra 11 volumes com contos, ensaios e poemas de Lu Xun, publicados entre 1944 e 2014. Os resultados indicam que a razão intemporal de traduzir Lu Xun é o valor literário; contudo, entre 1958 e 1976, a ideologia estimula as traduções. Ademais, são sugeridas várias direções para futuras investigações à volta de Lu Xun em Portugal.

Bu makalede 16. yüzyılda Osmanlı uleması arasındaki tarafgirlik, rekabet ve siyasi bağlantıların boyutlarına örnek olarak Niksârîzâde Mahmud Efendi ve Ganîzâde Nâdirî tarafından yazılmış birbiriyle bağlantılı üç mektup incelenmektedir. Bu mektuplar Niksârîzâde Mahmud Efendi ve Tursunzâde Abdullah’ın talip olduğu Gazanfer Ağa Medresesi müderrisliğine, dönemin Rumeli Kazaskeri Sunullah Efendi’nin huzurunda yapılan imtihanla Tursunzâde’nin Mayıs 1597’de atanması üzerine kaleme alınmıştır. İlmiyedeki kariyerine mülazım olarak başlayan Niksârîzâde, dönüşümlü olarak kadılık ve müderrislik görevlerinde bulunmuştur. Gazanfer Ağa Medresesi’ne müderris olarak atanmak isteyen Niksârîzâde, bu görevin imtihan sonrası Tursunzâde’ye verilmesi üzerine hem Tursunzâde’yi hem de imtihana başkanlık eden Sunullah Efendi’yi eleştiren ve yaşadığı olaya itiraz eden bir mektup kaleme almıştır. Oldukça iğneleyici ifadelerin yer aldığı bu mektubu ise Ganîzâde Nâdirî, cümleleri tek tek çözümleyerek yine benzer ağır ifadelerle bir tür atışma şeklinde cevaplandırmış ve Niksârîzâde’ye göndermiştir. Niksârîzâde de Nâdirî’nin mektubunu yine alaycı ve nükteli bir şekilde cevaplandırmıştır. Bahsi geçen üç mektup bir yandan yaşanan durumun kişisel boyutlarına, diğer yandan da devrin Osmanlı uleması içinde bazı ciddi hiziplerin ya da gruplaşmaların olduğuna dikkat çekmektedir. Erken modern dönem Osmanlı uleması üzerine yapılmış çalışmalarda bugüne kadar kullanılmamış olan bu mektuplar, 16. yüzyılın sonlarına doğru Osmanlı âlimleri arasındaki tarafgirliğin, rekabetin, husumetlerin ve şahsi irtibatların mahiyetine dair önemli bilgiler sunarken aynı zamanda da hamisiz kalmış bir âlimin hangi yollarla hakkını aradığını göstermektedir. Bu özellikleriyle söz konusu mektuplar edebî münşeat mecmualarının dışında kalmış ve farklı bir üslupla yazılmış nadir kaynak metinler olarak değerlendirilebilir.

Esta é uma conferência do escritor e poeta Fabio Morábito sobre a tradução. Inédita, mesmo na sua língua de escrita original, foi proferida em dezembro de 2022 no Instituto de Investigaciones Filológicas da Universidad Nacional Autónoma de México. O fôlego do autor perscruta com grande lirismo o lugar ocupado pelo tradutor, nos seus vínculos e contrastes com o teatro, a escrita literária, a memória, a aquisição da linguagem, a poesia e a emoção poética. E vai interligando assuntos em aparência distantes, como o histrionismo de um ator, a leitura de um manual de cartas comerciais, a risada irreprimível diante de uma imitação bem-sucedida, o caminho da traição e das pedras, o cálido sorriso de uma mulher, um jovem militar em ascensão, um monge copista, a emboscada de uma dança propiciatória, o lugar mais recôndito da selva e traduções recentes do grego arcaico.

The Translations of Fourty Hadith that are among the poetry kinds in Turkish Islamic Literature are eminent fort his field. And one of the poets having studies in the style of the translation of poetic fourty hadiths in this field is İsmail. The only transcript which belongs to poetic fourty hadith is recorded as number 05.Gü.8 in the Amasya Manuscript Library. It hasn't got a special name and its written date isn't known. Also ıt has no muqaddime part, but includes the translation of fourty hadith into our language in the form of stanza poetry. Finally there is no topic cohesion among the hadith addressed here. The Fourty Hadith risalahs, which are based on the famous hadith saying "Whoever memorizes fourty hadiths related with the religion in my ummah, may Allah recollect them with scholars and canonist in the day of judgement" are the primary kinds of poetry regarding the Turkish-Islamic literature, even this hadith from St. Prophet is seen among the weak hadiths by the hadith scholars. In this article, we have given knowledge about the fourty hadith translation which belongs to a poet about whose identity there is no information in sources. And in the last part, we have given place to the risalah.

The Translations of Fourty Hadith that are among the poetry kinds in Turkish Islamic Literature are eminent fort his field. And one of the poets having studies in the style of the translation of poetic fourty hadiths in this field is İsmail. The only transcript which belongs to poetic fourty hadith is recorded as number 05.Gü.8 in the Amasya Manuscript Library. It hasn't got a special name and its written date isn't known. Also ıt has no muqaddime part, but includes the translation of fourty hadith into our language in the form of stanza poetry. Finally there is no topic cohesion among the hadith addressed here. The Fourty Hadith risalahs, which are based on the famous hadith saying "Whoever memorizes fourty hadiths related with the religion in my ummah, may Allah recollect them with scholars and canonist in the day of judgement" are the primary kinds of poetry regarding the Turkish-Islamic literature, even this hadith from St. Prophet is seen among the weak hadiths by the hadith scholars. In this article, we have given knowledge about the fourty hadith translation which belongs to a poet about whose identity there is no information in sources. And in the last part, we have given place to the risalah.

Belirli  bir  konuya  ait  rivayetler  hacimli  eserlerde  toplanabildiği  gibi  pratik  amaçlar gözetilerek daha küçük hacimli telifler de yazılabilmiştir. Bu çerçevede akla ilk gelen türlerden birisi de kırk hadis edebiyatıdır. Şekil ve içerik olarak Osmanlı dönemi, kırk hadis yazımında önemli bir yere sahiptir. Bu makalede Abdullah Eyyûbî’nin okçuluğa dair kırk hadis seçkisi hem kendi özellikleri itibariyle hem de Osmanlı dönemi kırk hadis edebiyatının yazım serüveni çerçevesinde değerlendirilmeye çalışılmıştır. Eserin yazma nüshalarının ve türünün tespiti yapılıp isimlendirmeye dair farklılıklara değinilmiştir. Ayrıca farklı bir yazım türü içerisinde yer alan bu kırk hadis yazım şekli, bir edebî veya ilmî tür içinde diğer bir türün devam etmesinin olanağı çerçevesinde konu edinilmiştir. Bunun için Eyyûbî’nin eseri örnek olarak ele alınmıştır. Müellifin kırk hadis seçkisinde genel olarak kaynak ve üslup hassasiyetinin olduğu görülmüştür. Sadece tercümeye yer verilmemiş,  bazı  hadislerde  kısa  şerhler  de  yapılmıştır.  Eserin,  Osmanlı  dönemi  kırk hadis  edebiyatı  yazım  çeşitliliğine  dair  yeni  değerlendirmelere  veri  sunacak  bir potansiyelde olduğu ifade edilmelidir.

London, Westminster Abbey Library, MS 21, a French lyric anthology dating to the mid fifteenth century, bears the names of two male figures. Thomas Scales (c. 1399-1460), an English war commander, had his name and personal motto elaborately incorporated into the explicit of Christine de Pizan's Epistre au dieu d'amours. Decades later, a Tudor reader added the name "Wyllam courtnay" to the manuscript's margins. These two male names, physically visible on the surface of the manuscript, represent stable points of provenance data that provide import ant information about the use, meaning, and circulation of this medieval miscel lany and the texts it contains. But how did Westminster 21 move from a fifteenth century war commander to a Tudor courtier? A close examination of Westminster 21's texts and marginalia reveals an invisible social network of female book owners undergirding the male dominated historical record for this manuscript. This study traces a direct line between the two recorded male owners of Westminster 21 and finds that the compilation passes through several gener ations of women who married into homosocial male networks and built them up through their literary activities and social standing. By piecing together the available evidence surrounding Westminster 21's male owners, we can produce an outline of the absent female presences in the history of this material artifact. We demonstrate that visible transnational, horizontal reading networks of men are invisibly and transhistorically structured by vertical female reading networks, rendering women's reading practices integral to late medieval literary culture as a whole, rather than separable from men's reading practices.

В статье рассматривается специфика рецепции христианской гимнографии на материале обозначений «малых жанров» в древнеанглийских поэмах-переложениях Библии. В контексте библейских парафраз песнопения сугубо христианского характера (поэма «Даниил») не имели жанровых наименований, связанных со спецификой их исполнения. Тогда как обозначения song и leoð могли использоваться по отношению к песни Моисея (поэма «Исход»), природа которой близка песням германской языческой традиции.

Thematization is the process of arranging theme, rheme patterns in a text. The present study aims to investigate thematization strategies in translated and non-translated persuasive texts. To this end, the translated versions of one of the leading newspapers in the United States, The New York Times, and the original versions of Hamshahri newspaper (an Iranian counterpart) were chosen. Based on the qualitative and quantitative analysis of textual features and marked and unmarked themes of 12 translated and nontranslated version of the opinion articles from The New York Times and Hamshahi (6 from each), this study aimed to find out how the translators organize their themes into marked and unmarked ones and how these organizations are related to the non-translated versions. The current research attempted to find out whether thematization patterns have any effect on the comprehension of sentences, or whether marked themes have any impact on the audiences and are these effects the same in the translations and nontranslations. The findings revealed that thematization patterns can help the understanding of the texts. The results also showed that marked themes have an impact on the audiences. The results were relatively the same in the translations and non-translations.

In 1440, Charles d'Orléans, father of Louis XII and great-uncle of François I and Marguerite de Navarre, left England for Blois. Captured at the battle of Agincourt (although with the leisure to pack marmalade and candy for the trip), he had spent twenty-five years as a prisoner, made friends with various noble guardians, collected books, conducted love affairs, and written poetry. When he returned to France he took his library and his French verse but left behind a companion volume in English, Fortunes Stabilnes (MS Harley 682, recently edited by Mary-Jo Arn). Either Charles wrote this himself, as most scholars now believe, or we owe thanks to an unknown fifteenth-century translator. Many of the English poems have French parallels. Are such pairs also translations? Or did Charles sometimes remember a conceit or structure and rethink it in the other tongue? Do we need a better word for carrying words not across times or places but from one set of neurons to another in the same head? 'Autophorics'? 'Ipsetranslatio'? And is the person who ipsetranslates himself quite the same as the person who wrote the 'original'? For that matter, is a duke who writes today quite the same man as the duke who wrote yesterday? A nanosecond can make a difference to personality, if only a nano-difference. These and other questions are provoked by two fine new books on Charles. Each should intrigue those interested in translation-not just translation from one language to another, but from one conventionally designated period to the next. Charles' work is divided among English, French, and Latin, and also hovers between the end of one age and the

This article discusses the effects the new technology of printing had on the rich and multilingual textual culture of late medieval Britain. Before setting up his press in Westminster, William Caxton had books published in Latin, French and English. As soon as he relocated to England, however, he abandoned this multilingual business model and devoted all his energies to print books in English, as did his successors Richard Pynson and Wynkyn de Worde. Not only did they favour English over all other British languages, but promoted a London-based variety of English at the expense of other dialects. Hence, before giving to the press the Scots Contemplacioun of Synnaris by William Touris, Wynkyn de Worde chose to have it Anglicized. When Walter Chepman and Andrew Myllar established a printing press in Edinburgh in 1508, they replicated the choices of their English counterparts, promoting the standard form of Scots and even Scotticizing Middle English texts, such as Sir Eglamour of Artois. I conclude by arguing that the introduction of the printing press in Britain enhanced the prestige of the language variety used by the elite and became instrumental in eroding the balances existing in the British language ecosystem.

Статья посвящена основным векторам культурной и научной рефлексии префикса «нео-». Рассматриваются понятия культурной ретроспекции и ретроспективных течений в мировой литературе, выявляются их инвариантные черты (рекуррентность, широкая вариабельность, полемичность, установка на синтетизм, продуцирование течений третьего порядка, авторефлексивность и др.). Обсуждается состояние культуры, в изобилии порождающей ретроспективные течения, в том числе в соотнесении с идеями «конца истории» (Ф. Фукуяма), «демонтажа исторических форм» (Ф. Джеймисон), «обессиливания» языка (А. Лефевр), культурной реконтекстуализации (Л. Хатчин), «культурологии префиксов» (С. Зенкин). Указываются пути осмысления «ретроспективного измерения» теории культуры на основе различных существующих концепций литературного процесса: «филиационной», т. е. фокусирующейся на взаимодействии традиции и индивидуального таланта; системно-динамической, где участвуют не отдельные тексты или авторы, а целостные художественные системы; рецептивной эстетики; исторической поэтики. Ключевые слова: культурная ретроспекция, ретроспективные течения и направления, префикс «нео-», неореализм, неоромантизм, литературный процесс. Информация об авторе: Вероника Борисовна Зусева-Озкандоктор филологических наук, ведущий научный сотрудник, Институт мировой литературы им. А.М. Горького Российской академии наук, ул. Поварская, д. 25 а, 121069 г. Москва, Россия.

for contributing to our project. This book constitutes its most substantial and significant outcome. We express our gratitude to our research assistant Annika van Bodegraven for her invaluable assistance in the preparation of the volume. We would like to thank Imke de Gier (Academic Language Services) for correcting the English contributions written by nonnative English authors, Frederik Hulstaert for his cover design, and Hubert Meeus for his advice and administrative support. We are also grateful to Elisabeth Kempf at De Gruyter for both her enthusiasm and patience. B.B., E.d.B, F.W.

O objetivo desta pesquisa é identificar normas de tradução da literatura de cordel para a Libras. O texto cordelista possui elementos que caracterizam sua estética, os quais devem atender às normas da comunidade-alvo. Teoricamente, baseamo-nos principalmente em Toury (1995) acerca de uma abordagem descritiva dos estudos da tradução; Iphan (2018) acerca da estrutura da literatura de cordel; Sutton-Spence (2008) acerca dos elementos poéticos da língua de sinais; e Ribeiro (2020) acerca dos elementos poéticos utilizados como estratégias na tradução da literatura de cordel para a Libras. Seguimos uma metodologia de pesquisa descritiva, com foco na normalização apresentada na comunidade surda e uma análise da tradução de um poema cordelista realizada por Ribeiro em 2020. Descrevem-se as normas de tradução: repetição, manipulação, boia, simetria, adaptação e sincronia lexical. Enfoca-se também a articulação dos sinais no espaço topográfico e o uso de imagens no discurso multimedial.

Abstrak: Kemampuan menerjemah dapat diukur melalui aspek textual equivalence dari hasil terjemahan mahasiswa. Hal ini sangat penting karena penterjemah harus mempertimbangkan apakah teks yang dihasilkan sesuai dengan teks pada bahasa sumber dan informasi yang disampaikan tidak bergeser atau bahkan berbeda. Penelitian ini bertujuan untuk mengetahui pada level manakah hasil tgerjemahan mahasiswa dapat dikategorikan berdasarkan Textual Equivalence Level . Penelitian ini berbentuk deskriptif dengan pendekatan kualitatif. Sampel penelitian adalah 55 orang mahasiswa tingkat 3 STKIP PGRI Sumatera Barat yang telah lulus matakuliah translation I dan II. Data diambil melalui tes translation dalam bentuk teks informatif. Analisa data dilakukan dengan menggunakan dua buah rubrik yaitu textual sub-component dan meaning oriented dengan tiga indikator yaitu tema, struktur dan kohesi. Temuan penelitian menunjukkan bahwa 1) Hasil terjemahan teks informatif mahasiswa STKIP PGRI Sumatera Barat berada ...

The article offers a review regarding to the metaphorical reinterpretations of lexemes relating to the semantic field “bird” in the best Portuguese poems, whose works are distinguished by continuity and are based on the poetic accomplishments and achievements of those word artists who created their verses in previous eras. The most consequential influence on the moods and figurative system of followers had Francisco Sa de Miranda and Luis de Camoes, which are also briefly described in this work. The results of the study conducted using a complex technique (methods of contextual, semantics and stylistic analysis) testify to the wide figurative and metaphorical potential of ornythonymic vocabulary. In Portuguese poetry, the image of birds is used to convey a variety of meanings, such as “poems,” “creativity,” “I, my soul,” “love,” “hope,” “longing,” “struggle,” as well as “freedom” (bird in general) and “despotism” (vulture).

of these she casts quite persuasively, from the perspective of the culture that produced them, as forms of deadly violence. This collection is an enjoyable read; it is well written, accessible, and refreshingly concise. My only major critique concerns a definitional or conceptual problem that may reflect the volume's uneven chronological coverage, namely, the simplistic distinction that the contributors, following Garnier's lead, draw between potestas and violentia. Throughout the Middle Ages, acts of violentia were indeed illegitimate by definition; the word encompassed violation, whether of persons, space, or rights. However, not all individual uses of force constituted violentia. Especially during those centuries of the early and high Middle Ages that the volume does not cover, very many individual acts of destructive force, including acts of what we would call interpersonal violence, were considered legitimate and even necessary, and were not called violentia. The volume's definition does fit better with the world of the later Middle Ages, when individual acts of force were increasingly delegitimized (as they were briefly under Charlemagne and his immediate successors). Nevertheless, the old attitudes persisted-which Lück, for example, implies when noting that late medieval feud could be carried out with rechter Gewalt (41). This caveat notwithstanding, the volume is well worth the read. It offers an excellent gateway especially to the German-language literature on violence and coercive power, and it packs a great deal of theoretical, historiographical, and analytical punch into a short space.

Osmanlı döneminde kaleme alınmış tarih eserleri, siyasi tarihi kronolojik olarak ele almakla birlikte ortaya çıktığı dönemin sosyolojik yapısı, devletin işleyişi, ekonomik gelişmeler, toplumun yaşayış biçimi ve bunların yanında edebî çevre ile ilgili bilgiler de verir. Bu sebeple Osmanlı tarihi araştırmalarının en temel kaynakları olmakla birlikte bu eserlerde, sosyal bilimlerin hemen her alanı için önem arz eden verilerle karşılaşmak mümkündür. Bu metinler müelliflerinin edebiyat ve özellikle şiirle yakından ilgili olmaları sebebiyle edebiyat tarihi araştırmalarına da katkı sağlayacak veriler sunar. Osmanlı tarihlerinde yaşanmış bir olayın şaire ve şiire malzeme olması ya da bu kitaplarda bir şairin öyküsü, şiiri hakkında bir bilgiye rastlanması tarih ve edebiyatı sıkı ilişkiye sahip iki bilim dalı olarak ortak bir paydada buluşturmaktadır. Bu çalışmada Klasik Türk edebiyatı araştırmalarının bir kaynağı olarak mensur Osmanlı tarihleri hakkında genel bir çerçeve çizilecektir. Bu bağlamda zengin bir edebî malzemeye sahip olan Kâtip Çelebi’nin Fezleke’sindeki tarih manzumeleri; müellif, muhteva, işlev ve kaynak bakımından incelenecektir. Eserde tespit edilen manzumelerle bunlara dair tür, konu, vezin vd. bilgiler tablo hâlinde sunulacaktır.

The paper begins with an observation of the paradoxical status of Chinese as a lesstranslated source language but a much-translated target language, and that of Chinese translation studies as a much studied subject in China but a little-noted branch of translation studies in the world. It then analyzes the implications of the two current conceptions of Chinese translation studies: either (1) as a self-contained system of "translation studies in China", with China construed as a geopolitical body; or (2) as an open system of "Chinese language/culture-related translation studies", with the Chinese as a nation, a linguistic and cultural entity in an anthropological sense. It points out that the fi rst, exclusive conception has for too long kept Chinese translation studies from advancing a positive engagement with translation studies in other traditions, encouraging polarization of Chinese and non-Chinese translation studies into two opposite systems; while the secon...

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Já é quase lugar comum, ainda bem, dizer que a tradução é um campo de estudos interdisciplinar, aberto às mais variadas possibilidades de pesquisa e de trocas intelectuais. Dizemos "ainda bem" porque nem sempre a sociedade e a academia viram a tradução dessa maneira, apesar de a interdisciplinaridade estar em sua natureza mesma desde São Jerônimo que, para traduzir a Bíblia, uniu a teologia sobre a interpretação dos textos sagrados a uma formulação linguística em que se podia separar a letra do sentido, pensamento que haveria de perdurar e ser o centro de discussões por séculos. Até os anos 1980, os estudos sobre tradução ora se concentravam nos departamentos de Literatura Comparada, ora nos de Linguística Aplicada, enquanto que hoje já temos departamentos e programas de pós-graduação próprios, revistas especializadas e uma abundância de livros inteiramente dedicados aos mais diversos aspectos de estudos na área, mas todos marcados pela interdisciplinaridade e pelo diálogo...

But, now we can use drawings for teaching of hadith to the young generation who are called 'digital natives'. Because digital natives are more of visual learners and cannot learn by reading. It is a 'twitter generation' with max 140 character capacity. 3 Therefore, we must reach this generation through visual methods since they just watch, not read. As a result, it is an advantage to use drawings for teaching of Hadith. The use of drawings is included into the curriculum of Ministry of Education in 2000s. The young generations who are the interlocutors of 'visual reading' benefit from visual literacy in lessons such as history, geography, physics. In some universities, some master programs were established to teach the use of drawings in education. Drawings are heavily used in teaching of physics, history, geography etc in the curriculum of secondary education. Since understanding of the subjective things start at thirteen years of age, it is best to include teaching of hadiths in the high school curriculum. Contemporary drawing artist Hasan Aycın drew forty hadith and forty lines & drawings in 2005. This album is a concrete example of such a study. In this article, we will examine his album for the better understanding and expressing of the hadith.

This study aims at contributing to the discussion on the role of the early printers in the regularisation and standardisation of the English spelling. It assesses the degree of early printers’ (in)consistency concerning morphological spelling, in particular the spelling of third person singular present tense (indicative) inflectional endings of verbs in six editions of The book of good maners (1487–1526), printed by William Caxton, Richard Pynson and Wynkyn de Worde. The analysis suggests that early printers could have been interested in regularising spelling already before normative guidance from scholars became available in the form of grammars and spelling books, that is before the middle of the sixteenth century. However, the levels of the printers’ spelling consistency varied, depending on the particular printing house and edition.

The article is a sequel to Zhu (1999). It provides three case studies of translation from English into Chinese, which are designed to substantiate the theoretical framework established therein. It discusses the relationship between a sentence’s internal linear mode of information presentation and its textual potential, the relationship between a sentence’s thematic structure and its functional status in the text, and the necessity and possibility to align sentential speech acts with the textual speech act through appropriate syntactic management. The three case studies, independent as they may seem, are correlated and have been arranged in a progressive order. This article is intended to replace the second part of Zhu (1996a).

In 1440, Charles d'Orléans, father of Louis XII and great-uncle of François I and Marguerite de Navarre, left England for Blois. Captured at the battle of Agincourt (although with the leisure to pack marmalade and candy for the trip), he had spent twenty-five years as a prisoner, made friends with various noble guardians, collected books, conducted love affairs, and written poetry. When he returned to France he took his library and his French verse but left behind a companion volume in English, Fortunes Stabilnes (MS Harley 682, recently edited by Mary-Jo Arn). Either Charles wrote this himself, as most scholars now believe, or we owe thanks to an unknown fifteenth-century translator. Many of the English poems have French parallels. Are such pairs also translations? Or did Charles sometimes remember a conceit or structure and rethink it in the other tongue? Do we need a better word for carrying words not across times or places but from one set of neurons to another in the same head? 'Autophorics'? 'Ipsetranslatio'? And is the person who ipsetranslates himself quite the same as the person who wrote the 'original'? For that matter, is a duke who writes today quite the same man as the duke who wrote yesterday? A nanosecond can make a difference to personality, if only a nano-difference. These and other questions are provoked by two fine new books on Charles. Each should intrigue those interested in translation-not just translation from one language to another, but from one conventionally designated period to the next. Charles' work is divided among English, French, and Latin, and also hovers between the end of one age and the

ELR bibliographical articles are intended to combine a topical review ofresearch with a reasonably complete bibliography. Scholarship is organized by authors or titles of anonymous works. Items included represent combined entries listed in the annual bibliographies published by PMLA, YWES. and MHRA from 1945 through, in the present instance, 1987 with additional items. The format used here is a modified version of that used in Recent Studies in English Renaissance Drama, ed. Terence P.

The paper outlines the main features of Estonian translation poetics in the 20th century, examining the expression of the prevalent ideas guiding literary translation in writings about translation (mostly reviews and articles) in juxtaposition with examples from actual translations. The predominant ideal of translating verse and prose has been that of artistic translation, especially since the end of the 1920s. On the other hand, this general principle can be shown to have had somewhat differing emphases depending on the field of application as well as time period, ranging from the mostly form-oriented to mostly content-oriented translation.

Peygamber efendimizin sözlerinden ibaret olan hadislerden kırk tanesinin bir araya getirilmesiyle oluşan kırk hadis, Arapçada erbain-erba'ûn, Farsçada çihl-çihil olarak telaffuz edilmiş ve Türkçede kırk hadis adıyla isimlendirilmiştir. Ahlakî, öğretici, dinî, sosyal ve edebî özellikleriyle İslâmiyet'in hayat ve dünya görüşünü beyan eden kırk hadislerin ortaya çıkmasındaki başlıca neden, "Her kim benim hadislerimden kırk tanesini öğrenip, başkalarına da öğretirse, kıyamet gününde Allah onu bilginler ve fakihler arasında diriltsin" mealindeki bir hadistir. Kırk hadisler Kur'ân'ın faziletleri, İslâm'ın şartları, tasavvufa dair mevzular, beldelerin faziletleri, Hz. Peygamber ve ashâbı, hayatın toplumsal ve ahlakî yönleri, mizah, tıp, ilim, siyaset gibi hususları içine alacak şekilde derlenmiştir. Türk, Arap ve Fars edebiyatında çok sayıda manzum, mensur, manzum-mensur kırk hadis kaleme alınmıştır. Türk edebiyatında Türkçe manzum kırk hadislerin yanı sıra Farsça manzum kırk hadisler de yazılmıştır. Nitekim İdrîs-i Bitlisî, Uzun Firdevsî ve İznikli Selâmî gibi şairlerimiz Farsça manzum kırk hadis yazmıştır. Mollâ Câmî'yi örnek alıp Farsça manzum kırk hadis yazan şairlerimizden biri de Yusuf Nûrî Efendi'dir. Nûrî'nin Farsça manzum kırk hadis tercümesi mensur bir mukaddime ve kırk hadisin ikişer beyitlik kıt'alarla tercümesinden oluşmaktadır. Bu çalışmada Süleymaniye Yazma Eserler Kütüphanesi Lala İsmail Koleksiyonu'nda bulunan (nr. 31, 1b-9b) Nûrî'nin 953/1585 tarihli Farsça manzum kırk hadis tercümesi ilk defa ele alınacak, eserin Farsçası yazılacak ve Türkçe tercümesi yapılacaktır.

María Salgado’s Hacía un ruido: frases para un film político (2016) was advertised as being linked to the global protests triggered by the early twenty-first-century financial and socio-political crisis. Critics read it as being endowed with referential and representational clarity, as well as an identifiable sense of political dissent. Yet references to politics in this poetry book are obfuscated by a translation that points to a textual limit to political representation. Hacía un ruido can be read as being informed by a poetics of translation that invites long-standing questions about the location of poetry vis-à-vis the language of the polis.

In his obituary for Michael Hamburger, published in The Independent in June 2007, Iain Galbraith (2007) expresses the view that with Hamburger's death "the English language takes leave of one of its most gifted and gently influential poets as well as the twentieth-century's most distinguished and prolific translator of German poetry." But where does one start when analysing the influence one individual person has exercised on the reception of German Literature in America? Every critic must be conscious of the fact that in most cases he has only access to insignificant external characteristics, such as reviews in specialised magazines which, more often than not, have nothing to do with the actual reception of a book among the reading public, and letters to the editors of such magazines. Remarks in autobiographies or books of criticism may give some impression of the particular influence a writer or a book of translation has had on the career of an individual colleague. If fortunate, one may even persuade publishers to look up their statistics, if available, and provide hard facts such as print-runs and sales figures. Nonetheless, these superficialities do not throw light on the reception process that takes place between a book and its readership. A writer's reputation in a country other than his own depends almost entirely on the ability and taste of his translators, provided that this particular author's work is selected for translation in the first place. A translator not only influences the reception process by the way in which he translates a text, but also by what he considers worth translating. The smaller the market-the number of translators and translations-is, the greater the extent the influence of particular translator-editors can be felt, which may result in false heroes and strange gods, i.e., an overrepresentation of particular authors in foreign countries, which does not correspond with the real stature of their work. On the other hand, translators may even resurrect authors from oblivion, as is the brought to you by CORE View metadata, citation and similar papers at core.ac.uk provided by Jagiellonian Univeristy Repository * v%L w 6c ' UNN. OhAGtll (2Ra(.GV5ENSIS

Müslüman toplumların maddi ve manevi yönden geri kalma sebepleri konusunda kafa yoran münevver devleti adamı ve düşünürlerden biri de ondokuzuncu yüzyılda yaşamış olan Mehmed Arif Bey'dir (ö. 1897). Osmanlı devletinin zayıfladığı bir dönemde ordu kâtipliği görevini sürdüren Erzurumlu Mehmed Ârif Bey, sonraki nesillere faydalı olacağını umarak Müslümanların geri kalma sebepleri konusundaki düşüncelerini kitaplaştırmıştır. Onun bu bağlamda kaleme aldığı eserlerden biri de Binbir Hadîs-i Şerif Şerhi ismiyle yayınlanmıştır. Mehmed Ârif Bey bu eserinde güncel sorunlarla ilgili seçtiği binbir hadisi gözlem ve tecrübeleri ışığında açıklamıştır.

Alienation of the plot", including the transfer to the East, is a fairly common artistic device in the history of world literature. A prerequisite for this is the creation of a special oriental atmosphere of the artistic space of the work. The East of Shota Rustaveli's poem (XII century) covers a huge cultural area and is created with the help of various artistic techniques. To what extent between the artistic reality of the poem and the cultural and historical situation of its epoch preserved when it is transfer in the Russian culture? We have analyzed the markers of Rustaveli's East (intertextual references, cultural concepts, realities) in the main Russian-language translations of the poem. A comparative analysis showed that the Russian-language translations adequately conveyed the "oriental flavor" of the poem, but in the process of domestication the connection with the real East of the Rustaveli era is lost. In our opinion this fact, along with the loss of the philosophical and theological depth and rhythmics of the original, this factor also played a role in the fact that up to the present day the poem is perceived by the Russian-speaking reader more as an "oriental tale", "epic" than the Christian literature work.

Neste artigo, procedemos a uma análise da performance em Libras “O mudinho”, de Edinho Santos, com interpretação de James Bantu, publicada no YouTube em 18 de janeiro de 2018 e apresentada no SLAM SP. Nessa leitura, procuramos relacionar considerações estéticas e éticas sobre o slam de poesia surda, fenômeno recente no Brasil, mas com grande potencial para crescimento. Como resultado, pudemos identificar mecanismos pelos quais a poeticidade da Libras se manifesta nessa apresentação, bem como questões políticas e identitárias que permeiam a performance do artista.

But, now we can use drawings for teaching of hadith to the young generation who are called 'digital natives'. Because digital natives are more of visual learners and cannot learn by reading. It is a 'twitter generation' with max 140 character capacity. 3 Therefore, we must reach this generation through visual methods since they just watch, not read. As a result, it is an advantage to use drawings for teaching of Hadith. The use of drawings is included into the curriculum of Ministry of Education in 2000s. The young generations who are the interlocutors of 'visual reading' benefit from visual literacy in lessons such as history, geography, physics. In some universities, some master programs were established to teach the use of drawings in education. Drawings are heavily used in teaching of physics, history, geography etc in the curriculum of secondary education. Since understanding of the subjective things start at thirteen years of age, it is best to include teaching of hadiths in the high school curriculum. Contemporary drawing artist Hasan Aycın drew forty hadith and forty lines & drawings in 2005. This album is a concrete example of such a study. In this article, we will examine his album for the better understanding and expressing of the hadith.

I n 1961, Henry Orion St. Onge, a graduate student in English at The Ohio State University, found himself embroiled in controversy. 1 St. Onge had attended a campus screening of Operation Abolition, a film sponsored by the House Un-American Activities Committee depicting student protestors as the unwitting dupes of communist agitators. As a response to the film's bias, St. Onge invited William Mandel, journalist and outspoken critic of the House Un-American Activities Committee, to give a talk at the university. The film had described Mandel as "a top communist propagandist," so it made sense to call on him to provide a different perspective on the film's material. 2 When the university refused to host the talk, St. Onge proceeded to invite Mandel to speak in the graduate student's own backyard, not far from the university. In part as a jest amid the controversy over Mandel's visit, St. Onge promoted the lecture under the banner of "The Thomas Tusser Society," ostensibly a student club. With roughly 200 people in attendance, the event caused a scandal in the way it appeared to defy Ohio State's stance on Mandel. 3 Finding himself and the Thomas Tusser Society scrutinized in local newspapers, letters to the university, and a special meeting of the Nebraska Constitutional Conservatives, St. Onge described the backlash as "a new era of

In the course of his long career, the London printer Wynkyn de Worde produced editions of English narratives of different kinds. Although these constitute a relatively small part of his total output, they nonetheless suggest that he took some interest in developing titles involving romance and "merry jest", and his attention to these genres in the early and middle part of his career has been the subject of productive scholarship. This essay surveys evidence from the later years of de Worde's career. It investigates the extent to which he concerned himself with new titles or with reprints of works of this kind and looks for signs of experimentation in the ways they were presented (taking account of title-pages and the provision of woodcuts, for example). It pays particular attention to the novelle and jests, as well as to indications that the printing of some of these English tales were in response to particular circumstances. Au cours de sa longue carrière, l'imprimeur londonien Wynkyn de Worde a produit des éditions de plusieurs genres narratifs anglais. Bien que ceux-ci ne constituent qu'une partie relativement restreinte de sa production totale, il semble néanmoins que l'imprimeur londonien ait vraiment tenté de constituer un fonds composé de romans et de contes à rire. L'attention que Wynkyn de Worde a portée à ces genres au début et au milieu de sa carrière a déjà fait l'objet de recherches abondantes. Cet article étudie les dernières années de sa carrière. En particulier, il tente de discerner dans quelle mesure de Worde est lui-même responsable du choix de nouveaux titres ou de titres à réimprimer, et décrit aussi dans quelle mesure l'imprimeur londonien a introduit des innovations au niveau de la présentation (les pages de titre ou les gravures sur bois, par exemple). L'article consacre beaucoup d'attention aux novelle et aux histoires comiques, et à des signes qui pourraient indiquer que l'impression de certains textes s'est faite en réponse à des circonstances particulières. Wynkyn de Worde had a long career as one of England's major early printers. Starting work with William Caxton at Westminster, he took on Caxton's business after his death in 1492 and evidently remained actively at work until his own death in 1534/5.

Сопоставляемые языки (узбекский и русский) относятся к языкам разного грамматического строя, что имеет определяющее теоретическое и практическое значение в познании языковых явлений. Грамматический строй этих языков определяется природой их синтаксиса и морфологии. Различия языков на разных уровнях их системы обуславливают трудности перевода. Этим вызвано применение в процессе перевода синтаксических трансформаций. В статье на материале русских переводов романа А. Кадыри «Минувшие дни» анализируются синтаксические трансформации — преобразования структуры предложения или одного синтаксического типа предложения в другой. Показывается, что трансформации занимают важное место в художественном переводе, так как нередко оказывается невозможным использовать соответствия из словарей. С помощью трансформаций возможно изменение внутренней формы лексических единиц или замена той или иной синтаксической структуры для адекватной передачи содержания. На фактическом материале рассматривается влиян...

The printer Richard Pynson has some right to be considered as the first publisher of an edition of Chaucer's "collected works."t Together, The Canterbury Tales (RSTC 5086, 4 June 1526); Trot'lus and Crzseyde (RSTC 5096, [1526?]), and The Book o/Fame (RSTC 5068, [1526?]) constitute a comprehensive three-volume anthology of Chaucer's writings, containing examples of his major narrative poems, his dream visions, and his lyrics.2 Pynson' s importance in the sequence of early editions of the works of Chaucer has been variously assessed, with enthusiastic championing of his efforts in some quarters, and total disregard of his activities in others, and it is only recently that any detailed study of his publishing policy and editorial practice has been undertaken.3 Understandably, such scholarship has tended to focus on the major poems, at the expense of the shorter works which are gathered together in The Book o/Fame. This article attempts to redress a little of the balance by exploring the conjunction of items in this collection and tracing the routes by which some of them could have reached Pynson's notice as poems reputedly by Chaucer or connected with his name. A particular study of The Letter o/Dido (Supplement 811.5),4 one of several poems in the volume which have been almost wholly neglected among the Chaucerian apocrypha, suggests some of the ways in which Pynson and other early sixteenth-century readers and writers understood and responded to Chaucer's works.

The paper outlines the main features of Estonian translation poetics in the 20th century, examining the expression of the prevalent ideas guiding literary translation in writings about translation (mostly reviews and articles) in juxtaposition with examples from actual translations. The predominant ideal of translating verse and prose has been that of artistic translation, especially since the end of the 1920s. On the other hand, this general principle can be shown to have had somewhat differing emphases depending on the field of application as well as time period, ranging from the mostly form-oriented to mostly content-oriented translation.