Poetry Translation

El libro Essays on medieval translation in the Iberian Peninsula, fruto de la colaboración entre las Universidades de Creighton (U.S.A.) y Jaume I (España), constituye una nueva e interesante aproximación a las peculiaridades de las traducciones medievales, a sus condicionamientos sociales y lingüísticos. Todos y cada uno de los estudios que componen este libro de colaboración remiten, necesariamente, a la tradición filológica y a la historia de la cultura entre corrientes lingüísticas, religiosas, literarias y jurídico-diplomáticas europeas, en una época especialmente sensible al intercambio y al mestizaje cultural en todo el ámbito mediterráneo. Y ello hasta el punto de permitir una convergencia de miradas sobre la realidad que, al poco, había de denominarse Renacimiento. Lo más relevante de esta serie de trabajos no es, sin duda, la peripecia de cada traductor en su papel general de mediador cultural, sino el poso intercultural que el trabajo de los traductores e intérpretes configura en la creación de un nuevo marco cultural común, más rico en su hibridación que las miradas fragmentarias de las pequeñas y feudalizantes comunidades europeas de la época. Dicho esto, pasemos a comentar brevemente algo sobre el contenido de cada uno de los brillantes estudios aquí presentados:

Os autores que Paulo Leminski escolheu traduzir foram em geral revolucionários em suas épocas e serviram como referências para o futuro. O poeta curitibano não se limitou a uma acomodação passiva diante das traduções que produziu, ao contrário, a prática tradutória foi decisiva na construção de sua poiesis singular. O poeta fez com que seu trabalho tradutório alcançasse status de criação, ao produzir novos originais afinados, sobretudo com sua poética, como neste caso que abordaremos. Trataremos da expressividade que Leminski imprimiu nas traduções de poemas do poeta beat norte-americano Lawrence Ferlinghetti, identificando seus momentos de assimilação de uma poesia, que, segundo Leminski, está mais conectada ao poema falado, como uma espécie de recital. Essas questões serão discutidas diante da análise do poema "A Loja dos Caramelos Além do El", em busca de aprofundar a reflexão sobre a singular forma de vida antagônica do novo poema traduzido.

BILINGUAL ESSAY IN ITALIAN AND ENGLISH


Let us commence with the fundamental logistical paradox surrounding the figure of the Bard. How could a provincial actor, later a shareholder in the Globe Theatre, William "Shakspere" of Stratford-upon-Avon, so swiftly metamorphose into an unparalleled literary genius, the author of an extraordinary corpus of works of the highest caliber? This difficulty becomes all the more pronounced when one considers his social and biographical circumstances: a man of modest origins, who migrated to London out of necessity, compelled to eke out a living through the theatre, while his wife, Anne Hathaway, remained in Stratford with their three children, Susanna, Judith, and Hamnet. Within this framework of economic precarity and quotidian obligations, it is entirely legitimate to question how he could have found the time, the resources, and, above all, the requisite cultural formation to produce so vast and intricately crafted a literary corpus.

The present paper attempts to present and explain the causes of the popularity of Ad Caesarem Pausilipium: Adversa constanti animo ferenda esse (Lyr. IV 13), written by Maciej Kazimierz Sarbiewski, in mid-17 th century England. The papers starts with a brief presentation of the political situation of England in the second quarter of the 17 th century. Consequently, it discusses the ways in which Sarbiewski's poetry resonated with the contemporary intellectual trends which translated into vivid reactions of his English readers. It was Sarbiewski's interest in Neo-Stoicism that made his works particularly appealing. The analytical part of the paper deals with four English translations of Lyr. IV 13 from the period 1646-1651, the works of Richard Lovelace, George Hils, Henry Vaughan, and John Hall. The analysis pays a special attention to the changes introduced by these translators which reflect their personal political views as well the dynamic changes of the political and military situation of their country.
This is the final draft of the paper published in Barok XXIX-XXX (57-60/2022-2023) 2024, pp. 137-152.

This paper examines the paratexts of Muhammad Khair Al Biqā'ī's translations of French books about Saudi Arabia into Arabic as a socially-situated activity. Drawing on Bourdieu's theory of practice, it analyses Al Biqā'ī's paratextual zone, with particular focus given to prefaces as a site of self-promotion in terms of capital. The Syrian-born translator has recently acquired Saudi citizenship and national prizes of high symbolic capital due to his individual efforts in the field of translation. Al Biqā'ī stands out as one of the few eminent specialists from different fields who have been naturalised as a Saudi citizen by a royal decree in the first wave of such naturalisations in 2021, which offers a unique case for the study of the capitalisation of translation. It is argued here that Al Biqā'ī successfully capitalised the paratexts of his translation products, namely French books about Saudi Arabia, to show how Saudi he is even before acquiring Saudi citizenship. Through an analysis of Al Biqā'ī's paratextual elements (from 2001 to 2020), this study identifies and critically examines the mechanisms of capital through which the translator, then a Syrian national, attempted to promote and distinguish himself and his works. The findings illuminate how paratexts are used as a tool by translators to draw a certain image of themselves.

This paper examines the paratexts of Muhammad Khair Al Biqā'ī's translations of French books about Saudi Arabia into Arabic as a socially-situated activity. Drawing on Bourdieu's theory of practice, it analyses Al Biqā'ī's paratextual zone, with particular focus given to prefaces as a site of self-promotion in terms of capital. The Syrian-born translator has recently acquired Saudi citizenship and national prizes of high symbolic capital due to his individual efforts in the field of translation. Al Biqā'ī stands out as one of the few eminent specialists from different fields who have been naturalised as a Saudi citizen by a royal decree in the first wave of such naturalisations in 2021, which offers a unique case for the study of the capitalisation of translation. It is argued here that Al Biqā'ī successfully capitalised the paratexts of his translation products, namely French books about Saudi Arabia, to show how Saudi he is even before acquiring Saudi citizenship. Through an analysis of Al Biqā'ī's paratextual elements (from 2001 to 2020), this study identifies and critically examines the mechanisms of capital through which the translator, then a Syrian national, attempted to promote and distinguish himself and his works. The findings illuminate how paratexts are used as a tool by translators to draw a certain image of themselves.

The poetry collection A Village Devastated by Godzilla [Una aldea devastada por Godzilla] discusses problems in romantic relationships and friendships through a variety of images, which draw on references to Picasso, psychoanalysis, Buddhism, hip-hop music, and, of course, Kaiju films.
Richie's translation reflects Cabrera's use of rhythm, rhyme, and other formal elements.

Tras nueve años de publicación ininterrumpida, Entreletras, la revista del Centro de Investigación de Literatura Latinoamerica￾na y Caribeña del Instituto Pedagógico de Maturín, perteneciente a la Universidad Pedagógica Experimental Libertador, publica su
décimoctavo número. Como es habitual, la revista busca presentar diversas perspectivas sobre la literatura y los contextos en los que
se desarrolla, abarcando múltiples ámbitos geográficos.
La figura central de este homenaje es el poeta, cronista, editor, profesor universitario e investigador literario Ramón Ordaz.
Reconocido por su tenacidad en la creación y difusión de la literatura venezolana. Ordaz ha puesto un énfasis particular en lo que
podríamos denominar la “literatura de adentro” de nuestro país. Para profundizar en su pensamiento, presentamos una entrevista
realizada por el también poeta y narrador Luis Malaver. En esta conversación, Ordaz enfatiza su preferencia por una creación litera￾ria que prioriza la forma. Él mismo confiesa: “Yo sobre todo privilegio la forma, sin pretender decir con esto que es hablar de poesía
pura ni nada por el estilo. Creo que lo fundamental en un poeta, incluso, yo diría que en cualquier tarea del arte, es la forma. Porque
por la forma se comienza a definir el trabajo y el oficio del poeta, cómo está trabajando la materia que tiene en sus manos”. Además,
para dejar constancia de su profundo afecto por la literatura del interior de Venezuela, Ordaz nos ofrece, en la sección de Ensayo, su
visión sobre la trascendencia del poeta Rafael José Gómez en la historia de la poesía de Cumaná. Esta ciudad venezolana es cuna de
grandes figuras literarias como José Antonio Ramos Sucre y Andrés Eloy Blanco, lo que resalta la importancia de la perspectiva de
Ordaz sobre la riqueza poética de la región.

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In the recent years Girri's reappearance shows a sort of permanence in future generations. It was never said of Alberto Girri that "he's a bad writer," but that he's an inscrutable, hard and an intellectual writer. At the same time he has been entitled to be who had brought about a radical change in the poetry of Argentine. This work is an attempt of a study to show the intrinsic value of his work, not as a defense of the canon-greatness criterion-but as a reading; it is what Barthes would propose as the link with a kind of infinite text. (The pleasure of the text) For me, Girri's work "is the work of reference, the general mathesis, the mandala of the entire literary cosmogony [...] it is what comes to me, not what I call; it is not an "authority," it is, plainly a circular memory. This is what the inter-text is: the impossibility of living outside the infinite text. We understand the term journey as "the road to be done, marked by paths and delays: as a road in which the fate of desire is outlined, in the delicate and uncertain edge of language that indicates the imminence of reality." The purpose of this journey is to raise, to highlight the uniqueness of a poetic writing built between languages, the languages dialogue with each other, and in their polyphony we stop, trying to prove that there is where they communicate. The designs of critical work are complex. They show a condensed plot that grants to hesitation and doubt games, suggestive and mysterious, clear and transparent. The poem, always vulnerable due to its specific linguistic mechanisms that expose a language to mortification until excess, exhibits the ups and downs of its own subjectivity, immediately putting in discussion the alleged uniqueness of a self that ensures the fulfillment of a statement. The poetic, as an object is always vulnerable; it is captured and it is lost, and what remains is the hope that encourages it. 1 This article is an abstract of what a Doctoral Thesis is. About what the matter state was, we only include the following bibliographic which is chronological and it will not be classified following a precise genetic typography, because magazines reviews, prolongs of his books, essays in specialized magazines, critic books about the author, doctoral thesis are included. They are listed below. 2 ROMANO SUED, Susana.-Travesías. Estética, poética, traducción. Córdoba, Foco cultural ed., 2003.

Edebî eserler, bir toplumun kültürel özelliklerini yansıtmada önemli rol
oynamaktadır. Bu nedenle, edebî çeviri iki farklı kültür arasında bir etkileşim
aracıdır ve bu etkileşimde köprü görevi görür. Edebî metinlerin çevirisinde,
kültürel unsurların önemi büyüktür. İki ayrı kültür arasındaki mesafe nedeniyle
kaynak metindeki kültürel unsurlar erek metin okuyucusu tarafından tam olarak
anlaşılmayabilir ya da erek edebiyat dizgesinde kabul görmeyebilir. Bu çalışmanın
amacı Orhan Kemal’in Baba Evi ve Avare Yıllar eserlerindeki kültürel unsurların
İngilizce çevirilerini Peter Newmark’ın (1988) çeviri yöntemleri ve Lawrence
Venuti’nin (1995) çeviri stratejilerine göre incelemektir. Romandan seçilen
örneklerin çevirisinde Newmark’ın çeviri yöntemlerinden hangilerinin ağırlıklı
olarak kullanıldığı belirlenmiştir. Bu tercihlerden yola çıkarak romanda Venuti’nin
hangi stratejisinin daha baskın olduğu tespit edilmeye çalışılmıştır. Yapılan
inceleme sonucunda, çevirmenin erek metin odaklı bir çeviri stratejisi benimsediği ve genellikle işlevsel çeviri, uyarlama ve çıkarma yöntemlerini kullandığı ve erek
metinde baskın olan stratejinin yerlileştirme olduğu görülmüştür.

Publicado em 2023, o livro Gelo coleciona 42 composições entre as quais está o poema "O pé esquerdo", que dimensiona bem a autoria de Sérgio Nazar David. A leitura em curso terá como suporte a obra ensaística de Paulo Henriques Britto, recortada em três textos, a saber, "O conceito de contraponto métrico em versificação" (2009), "Para uma tipologia do verso livre em português e inglês" (2011) e "O natural e o artificial: algumas reflexões sobre o verso livre" (2014). A proposta do artigo é de desenvolver certa reflexão sobre o verso livre de acordo com o repertório conceitual acionado, o qual deverá servir de instrumento para a análise daquele poema. Com isso, espera-se não só ilustrar alguma compreensão da obra autoral, mas também, por meio da apreciação, esboçar uma designação aceitável da poesia contemporânea.

Prior to being accepted as a real and systematic discipline translation has been lengthily considered a multi-sided driving force used to enable multi-cultural/linguistic communication. As experience shows, translation was born as a practical endeavour to convey social, historical and cultural disparities between countries and only in the 1960s, thanks to Holmes, it was recognised as a solid discipline inexorably intertwined with other disciplines. Moreover, and above all, translation is not just science, it is not a mere process of decoding the encoded – it is an art. Such categorisation is what made Otokar Fischer and other scholars faithfully promote translation as an interface between science and art. This is what this research will try to encompass. We will see how in literary translation, the art of translating marries the theory so that to explain the uniqueness of this discipline. In addition, we will see the concept of literariness as an element of paramount importance in l...

This innovative work challenges normative binaries in contemporary translation studies and applies frameworks from queer historiography to the discipline in order to explore shifting perceptions of same-sex love and desire in translations and retranslations of William Shakespeare's Sonnets. The book brings together perspectives from poststructuralism, queer theory, and translation history to set the stage for an in-depth exploration of a series of retranslations of the Sonnets from the Czech Republic and Slovakia. The complex and poetic language of the Sonnets, frequently built around era-specific idioms and allusions, has produced a number of different interpretations of the work over the centuries, but questions remain as to how the translation process may omit, retain, or enhance elements of same-sex love in retranslated works across time and geographical borders. In focusing on target cultures which experienced dramatic sociopolitical changes over the course of the twentieth century and comparing retranslations originating from these contexts, Spišiaková finds the ideal backdrop in which to draw parallels between changing developments in power and social structures and shifting translation strategies related to the representation of gender identities and sexual orientations beyond what is perceived to be normative. In so doing, the book advocates for a queer perspective on the study of translation history and encourages questioning traditional boundaries prevalent in the discipline, making this key reading for students and researchers in translation studies, queer theory, and gender studies, as well as those interested in historical developments in Central and Eastern Europe.

L'assorbimento dell'ideale platonico di amore nel Rinascimento europeo comporta inevitabilmente la trasformazione/adattamento del modello. In particolare, spesso viene espunta la componente omoerotica/pederotica dell'originale, attraverso l'introduzione del femminile.  Alcune opere, pur sostituendo la donna al pais, conservano l'ideale platonico di amore spirituale (si vedano gli Asolani di Bembo, il Cortegiano di Baldassarre Castiglione); in altre, l'introduzione del femminile porta a un totale ribaltamento del modello e alla conseguente rivendicazione (antiplatonica) delle necessità del corpo e del desiderio terreno ("We cannot cross the cause why we were born": William Shakespeare, Love's Labour's Lost, 4.3.214).

Oreste ha appena ucciso la madre Citennestra e l'amante di lei, Egidio, che già sente, in sé, le conseguenze del proprio atto. La tragedia Coefore di Eschilo si conclude con l'uscita di scena di un Oreste forsennato che non è più l'Oreste che ha fatto il suo ingresso e si è presentato alla sorella Elettra, la quale è intenta a offrire libagioni alla tomba del padre Agamennone, ammazzato da Clitennestra. Egli vede (e lui solo) le «Gorgoni in peplo nero», le «rabide cagne della madre»1, le Erinni che sono il segno della nemesis che si abbatte su chi, come lui, ha compiuto un atto di hybris. Come Oreste, il Tarquinio 'penitente' che esce di scena2 non è il Tarquinio che apre il poemetto di Shakespeare Lucrezia violata3, con la sua frenetica corsa a cavallo verso la dimora di Lucrezia, sospinto dal fuoco della lussuria; né il Collatino in lacrime sul corpo della morta Lucrezia nelle stanze finali è il Collatino orgoglioso della sua sposa che appare nelle stanze iniziali; così come, nell'intimo, muta la fanciulla senza nome del Lamento di un'innamorata4, 'metamorfizzata' 1 Cito dalla traduzione di R. Cantarella (Eschilo, Orestea, a cura di D. Del Corno, Milano, Mondadori, 1990). 2 Al verso 745, per non più riapparire. 3 The Rape of Lucrece. Nel frontespizio, il titolo che appare è, semplicemente, Lucrece. 4 A Lover's Complaint. dalla qualità proteiforme del similmente innominato giovane che la seduce e, poi, l'abbandona. Nei personaggi che Shakespeare crea, sia nelle opere poetiche sia nelle opere teatrali, sono riconoscibili le tracce di un atteggiamento di hybris, così come riconoscibile è il seguire, a ogni atto di hybris, di una punizione che assume i connotati dell'azione vindice della dea Nemesis5. La hybris era, per i Greci, un atto di violenza smodata, ossia traboccante, travalicante, perché non raffrenata dalla ragione e dalla considerazione dei diritti degli altri; essa era, ancora, un travalicare i limiti, ossia un andare oltre il lecito, un esser mossi da un eccesso-come eccessive sono le azioni del Tamerlano o del Barabas creati da Christopher Marlowe6, o quelle compiute dal Riccardo III o dal Coriolano di Shakespeare. I personaggi che Shakespeare delinea e fa vivere nei due poemetti narrativi ricordati poc'anzi vanno oltre, si spingono oltre i limiti, oltre le leggi che esistono, come Shakespeare stesso ci ricorda nell'opera Troilo e Cressida: «c'è una legge in ogni Stato ben organizzato per tenere a freno questi appetiti furiosi che sono i più disobbedienti e ostinati.»7 Così scrive Shakespeare descrivendo l'impulso della lussuria che spinge Tarquinio a violare la casta Lucrezia: Mentre lussuria s'erge, nessun rimbrotto Può imbrigliarne l'ardore e la furiosa brama; Poi, come un ronzino, si stracca la volontà proterva.8

An overview of the Italian reception of U.S. poetry by readers, publishers, and poets. After the extensive post-war interest in Eliot, Pound ad Masters, and later in the Beats, the 21st century has shown an increased response to Wallace Stevens, especially by practicing poets. Some of their variations on themes by Stevens appeared in The Wallace Stevens Journal. However, the poetry shelves in fine bookshops still mainly feature Masters, Eliot, Plath, Ginsberg and Ferlinghetti--and the evergreens Whitman and Dickinson.

This paper was given in 2022 in Casa Italiana, New York University, at the conference "The Reappearing Pheasant". The proceedings were published in 2025:
The Acts of the Reappearing Pheasant: The Return of Experimental Italian and American Poets and Critics in New York (November 10–12, 2022),  ed. Iuri Moscardi and Sandro-Angelo de Thomasis, New York, Agincourt Press, 2025,  425-34. ISBN: 978-1-946328-51-9

The article examines the English version of some poems by the Russian writer Nina Iskrenko (1951-1995), included in the collection The Right to Err (Washington 1995) and translated by the American poet John High. Considering High's observations in the introduction of the work, I will analyze the translation process as an existential dialogue between two intersecting poetics, leading to the liberation of language from any ideological connotations.

L’articolo analizza la traduzione dell’unica ballata del Decameron che appare nelle edizioni castigliane a partire dal XV secolo. Considerando la struttura peculiare della canzonetta di Mico da Siena, il confronto con la traduzione tenta di interpretare il modus operandi dell’anonimo castigliano. Si usano la prima edizione rinascimentale de Las cient novelas – che deriva dalla princeps sivigliana del 1496 – confrontata con la ristampa di Valladolid del 1539. Il testo italiano e quello edito dal Branca (1976). Si esaminano i lessemi scelti dal traduttore in relazione alla metrica, al lessico stilnovista e alla tradizione lirica spagnola. Si individuano inoltre dei probabili errori di stampa e varianti pertinenti nei manoscritti italiani, e si forniscono eventuali soluzioni traduttive quando i versi si discostano dall’originale. The essay analizes the translation of the only ballad of the Decameron that appears in its Spanish editions from the 15 th Century. Considering the particular...

AMID THE ENDLESS EXPANSES of our systems, the texts in Just Like are thought experiments that seem to strive restlessly toward decentralizing the primacy of human knowledge. In this precarious historical moment, in which we are beginning to experience diminishing returns on generations of unchecked ecocidal violence, and paired to the ever-impending arrival of machine superintelligence (AGI, viz. the singularity), Lee Sumyeong intuits repetitions everywhere: “into a complex / crying children enter and because the complex spills out // there are so many complexes so / they are living in the same complex.” These are not lyrical poems but instead something arguably far more fascinating: Lee’s existential incredulities defamiliarize language, and, while wholly refusing to judge the mess we’ve made, her book nonetheless steadfastly refuses to avert an epistemologically querulous gaze.

Ez az írás egy terjedelmesebb -könyv méretű -gondolatmenet kiragadott része, ezért egészen röviden előrebocsátom azt a két tézist, amelyeket igazolni és példázni szeretnék. Az első tézis kiindulópontja Roman Jakobson, aki egyrészt meggyőzően bebizonyítja, hogy a kognitív adatok mindig, minden nyelvre lefordíthatók, másrészt egy oldallal később azt a kijelentést teszi, hogy "a költészet definíció szerint lefordíthatatlan". 1 Ez utóbbinak végső soron éppen a poétikai funkció működése az oka. Minthogy azonban irodalmi fordítás, sőt versfordítás nyilvánvalóan létezik, sőt működése gyakran sikeresnek mondható, az ellentmondást a következő tézissel oldhatjuk fel. Az irodalmi fordítás két fázisra, két szintre oszlik: az első a szövegben kódolt kognitív információ átkódolása (a Jakobson szerinti voltaképpeni fordítás); a második pedig az ezen felüli, "fordíthatatlan" információrész kezelése, amelyet a kulturális leképezés terminussal jellemezhetünk. Második tézisünk az elsőhöz illeszkedik, és a fordításról folytatott vagy folytatható tudományos beszéd területeit illeti. Eszerint a nyelvészeti megalapozottságú fordítástudomány alapvetően a kognitív adatok átkódolásának módjairól és eredményességéről képes állításokat tenni, míg a "kulturális leképezés" vizsgálatához lényegesen eltérő szemlélet és eszközkészlet szükségeltetik, amelyet egyszerűen kulturális fordítástudománynak nevezhetünk. Mindez nem jelenti azt, hogy a nyelvészeti fordítástudomány ne foglalkozhatna eredményesen irodalmi szövegekkel, ahogyan azt sem, hogy a kulturális fordítástudomány jellegzetes tárgyai és kérdésirányai kizárólag komplex irodalmi szövegek kapcsán bukkannának a felszínre. Első illusztrációként vegyük szemügyre a David Crystal-féle nyelvészeti enciklopédia egyik fordítási példáját. A lefordítandó közlemény az, hogy Jézus szamárháton vonult be Jeruzsálembe: ez egy kognitív 1 Roman jaKoBson, On Linguistic aspects of translation = On Translation, Reuben A.

Resumo: Este trabalho propõe uma análise da tradução mais recente publicada no Brasil da peça A tempestade (2022), de William Shakespeare, com tradução, apresentação e notas de José Francisco Botelho. Passando por cada um dos atos da peça, comentamos algumas das principais características da tradução de Botelho, destacando trechos que exemplificam nossas considerações e comparando-os com trechos do texto shakespeariano. Assim, abordamos questões de ritmo e métrica, verossimilhança, metáforas e construções imagéticas, trocadilhos e construções humorísticas, variações estilísticas e expressões idiomáticas, entre outros; a fim de refletir sobre o ato tradutório e as possibilidades do texto traduzido. Concluímos que a tradução de Botelho é um trabalho primoroso, que torna a peça, com suas mais diversas camadas, acessível para os leitores brasileiros do aqui e do agora, demonstrando a técnica, a beleza e a importância do traduzir.

Back translation is the process in which the source text is translated into a language that is not the translator's native language. For this reason, the training and practice of translation activity in this area of translation studies represents challenges, and to these changes is added the literary genre that is translated. The main goal of this Thesis dissertation is to develop a descriptive study and the back translation of a selection of poems written by Fernando Amaya, an author from the Oaxacan Coast. To achieve this goal, it is necessary to describe the processes and implement specific translation techniques applied to the back translation activity. It is based on the theoretical translation approach that correspond to the processes of literary translation, specifically the model proposed by Dastjerdi et al. (2008)), for the translation of this genre. In this model, it is proposed to transfer vocabulary and rhetorical images from the source culture to the target culture text, and to document the processes and problems that arise when doing the back translation exercise. To describe the process and problems, elements were taken from the models of Bly (1982) and Elena (1998).
Finally, in this paper an analysis model for the back translation of poetry is proposed. This model takes up elements of these three authors and consists of a series of phases ranging from the analysis, translation, and evaluation of the selected poems. The result of the translation exercise allows us to determine that the theories, approaches, processes, problems, and strategies developed in this research project are viable for the critical reverse translation of poetry created in the Coast region of Oaxaca.

Back translation is the process in which the source text is translated into a language that is not the translator's native language. For this reason, the training and practice of translation activity in this area of translation studies represents challenges, and to these changes is added the literary genre that is translated. The main goal of this Thesis dissertation  is to develop a descriptive study and the back translation of a selection of poems written by
Fernando Amaya, an author from the Oaxacan Coast. To achieve this goal, it is necessary to
describe the processes and implement specific translation techniques applied to the back
translation activity. It is based on the theoretical translation approach that correspond to the processes of literary translation, specifically the model proposed by Dastjerdi et al. (2008)),
for the translation of this genre. In this model, it is proposed to transfer vocabulary and
rhetorical images from the source culture to the target culture text, and to document the processes and problems that arise when doing the back translation exercise. To describe the process and problems, elements were taken from the models of Bly (1982) and Elena (1998).
Finally, in this paper an analysis model for the back translation of poetry is proposed. This model takes up elements of these three authors and consists of a series of phases ranging from the analysis, translation, and evaluation of the selected poems. The result of the translation
exercise allows us to determine that the theories, approaches, processes, problems, and strategies developed in this research project are viable for the critical reverse translation of poetry created in the Coast region of Oaxaca.

The influence and contribution of Mawlānā Jalāl al-Dīn Rūmī's Mathnawī to Turkish literature is an undisputed fact. There are numerous commentaries and verse and prose translations of the Mathnawī, which has attracted great interest from the Mawlavi order as well as other sects. Of particular renown are the commentary by Ismāil Ankaravī and the translation by Suleyman Nahīfī, the latter being a complete poetic translation. Many copies of Gulshan-i Tawhīd composed by Shāhidī İbrahim Dede, a Mawlevī sheikh, have survived. This work consists of commentary on a selection of couplets from each volume of the Masnavi, with five couplets selected from each volume. Copies are found both in Turkey and abroad. The earliest extant translation of Gulshan-i Tawhīd, published in 1298/1881, was rendered in verse by Abd Allah Salah ad-Dīn Usshākī. Two further translations were produced during the Republican period, by Mithat Bahari Beytur and Afif Tektas. The primary motivation of this study is to explore whether Salāhī produced a translation that is faithful to the source text or adopted a more liberal approach in his translation. To this end, an analysis was conducted on the methodology of Salāhī’s poetic translation, which was crafted in the same meter as the original text without adding to the number of couplets. Prior to undertaking this analysis, an examination was conducted of the linguistic and stylistic features of the translation, in addition to the terminology employed and underlying reasons for undertaking the translation. It was observed that the translation remained faithful to the formal structure of the source text, including the selected couplets from Mathnawī. The prominent methods identified in the translation process involved word substitution, addition, and omission. While employing these methods, Salāhī prioritized maintaining the meter and meaning of the text. However, he did occasionally opt for different word choices and, by incorporating elements from the cultural geography in which he lived, he localized certain parts of the text. Furthermore, the study sought to identify the reasons why some couplets were entirely untranslated or only partially translated (e.g., one line of a couplet). As a literary language, Persian significantly influenced various aspects of Turkish life after the adoption of Islam. In light of this, it is understood that Salāhī refrained from making substantial alterations to the original text in his translation.

Este trabajo se realiza en el marco del Proyecto DIGICOTRACAM (Programa PROMETEO para grupos de investigacion I+D+i de Excelencia, Generalitat Valenciana (ref.: PROMETEO-2009-042) cofinanciado por el FEDER de la UE), en el seno del Proyecto IVITRA, de la Universidad de Alicante, y del Proyecto de Investigacion (I+D+I) “Redes sociales y proyeccion economica en una sociedad de frontera: el sur del Reino de Valencia entre los siglos XIII y XV” (HAR2010-22090), financiado por el Ministerio de Ciencia e Innovacion.

vi 3. All his friends in class B (ELBie) 2010 and Translation Class of English Letters Department. Thanks for giving the greatest time ever. 4. Her teacher in Pesantren Daar El-Hikam, Abi Bahrudin, S.Ag and Umi Tutik Rosmaya for having educated and advised her patiently. 5. Her lovely friends in Pesantren Daar El-Hikam, Teh Nida, Teh Dillah, Teh Fikri, Teh Wiwin, and all the names who cannot be mentioned, always be the greatest roommates and give thousands spirits to the writer. 6. Save Street Child (SSC) Foundation; the members, the teachers and the Class of Pondok Ranji Street Children, for giving her the support and happiness. Finally, the researcher hopes this thesis will be useful for the readers and the next writers. May God bless us. Aamiin.

El artículo de Ton Naaijkens fue publicado originalmente en la revista Neophilologus (julio de 2006, número 90), con el título “The World of World Poetry: Anthologies of Translated Poetry as a Subject of Study”. La traducción fue realizada en el marco del proyecto "Texto, imagen y traducción: literatura de habla alemana y neerlandesa del siglo XXI” (Proyecto de la Secretaría de Ciencia y Tecnología de la Universidad Nacional de Córdoba, radicado en la Facultad de Lenguas y dirigido por Micaela van Muylem) y es parte del volumen Alzar la voz (Departamento Editorial de la Facultad de Lenguas. Facultad de Lenguas, 2024), compilado por M. van Muylem y Natalia Lobo.

On lira ici un double parti pris : l'atelier conçu non comme jeu mais comme enjeu, le souci d'une « poéthique », pour reprendre le terme de J.-C. Pinson, qui inscrit la subjectivité dans la circonstance, dans le monde et dans des valeurs. On reconnaîtra aussi des filiations : le « tremplin affectif et imaginaire » ouvre sur une écriture qui mobilise le collectif et les personnes ; le souci d'une communauté poétique et d'une culture partagée nourrissent le regard critique sur l'expérience poétique 1 . Toi qui fus le chant de la plaine La frakhe tentation des blés L'amande douce des cocardes Au loin la crête des clochers û fleur des temps à venir (...) René-Guy Cadou, at La vie rêvée », dans OEuvres poétiques. Séghers, 2001.

l'evento del mese the event of the month mai di discutere se re Lear, stanco e vecchio, faccia bene o faccia male a delegare il proprio potere alle figlie e a dividere fra di loro il regno, con le disastrose conseguenze che ne derivano. Alla fine, il grande teatro di Shakespeare, pur prodotto di un'epoca, è più dramma di interiorità che dramma di azione. Per questo Amleto o Otello parlano ancora non tanto e non solo ai nostri occhi, quanto alla nostra mente e alla nostra coscienza. Ma a voler scrutare l'animo più intimo del poeta ci si deve rivolgere ai Sonetti. Non tanto per spiare nella biografia di un uomo -che forse di autobiografismo non si tratta -quanto per ascoltare il sentimento del moderno che parla con voce propria, rifiutando i modelli e gli stereotipi del sonetto petrarchesco ed elisabettiano. La sua voce entra nella gabbia formale del sonetto e fa implodere il genere in modo che più sovversivo e moderno non si può immaginare. Il testo che per lei meglio sintetizza la poetica e l'etica del Bardo. Difficile scegliere. Ma se devo proprio farlo, dico La tempesta. Forse non sintetizza, ma dà un ultimo messaggio. Ciascun testo parla per sé in Shakespeare, e ciascun testo dice qualcosa di diverso. Alla fine ne risulta una visione della vita caleidoscopica. La tempesta mostra come, vicino al termine dell'esistenza, o quanto meno alla fine della sua attività di drammaturgo, Shakespeare metta in scena la ricerca di conciliazione. Conciliazione con gli altri e con la vita, dopo la distruzione, dopo gli inganni, dopo i tradimenti, dopo le battaglie dell'esistenza. Ma la vita è quello che è, non c'è spazio per l'illusione. L'espiazione dei personaggi in quello spazio teatrale che è l'isola utopica de La tempesta avviene attraverso altri tradimenti, altri inganni, altre cospirazioni. L'armonia finale, che prelude al ritorno alla realtà nel Ducato di Milano, è un'armonia parziale e incompleta. È più una speranza che una realtà acquisita. Il pentimento dei personaggi e il perdono loro concesso sono un miracolo prodotto dalle arti magiche del mago Prospero, e avvengono sull'isola incantata, dove tutto è possibile, anche l'impossibile. Ma anche nella realtà di Milano si confermerà la stessa armonia? E già Antonio, il fratello traditore di Prospero, per nulla pentito, è un'incrinatura pronta a trasformarsi, nella realtà, in un nuovo e distruttivo squarcio dell'ordine raggiunto. Il teatro ha risanato la realtà, ma si tratta di illusione. Il testo shakespeariano ha sempre due facce: non la semplicistica soluzione dell'utopia, ma la complessa e aperta tensione del reale. Celebrare è sempre un azzardo, specie quando si cade nella retorica vuota, magari quando non si sa neppure esattamente che cosa si stia celebrando. Oltretutto, Shakespeare è già 'celebre' di per sé, non ha bisogno di essere solennizzato. Ha bisogno di essere frequentato, studiato e goduto per quello che è e per quello che propone. Il problema, piuttosto, è come leggerlo oggi, perché rileggere, tasia. Un'operazione azzardata, oltre i limiti del lecito. Proprio questa carenza di informazioni sul più grande drammaturgo inglese ha fatto sospettare che a scrivere le sue opere sia stato qualcuno che non voleva legare il proprio nome alla sconveniente attività di drammaturgo. All'epoca, infatti, l'attività teatrale era considerata un mezzo di corruzione per le fanciulle timorate di Dio; i puritani scagliavano anatemi infuocati contro il teatro. Quella che oggi consideriamo la produzione letteraria dell'epoca d'oro della letteratura inglese era considerata allora un basso intrattenimento per il popolo ignorante. Alla fine, tuttavia, chi cerca di dimostrare che dietro Shakespeare si nasconde Edward de Vere, conte di Oxford, o il drammaturgo Christopher Marlowe, o Francis Bacon, o John Florio, o Sir Henry Neville, non riesce a produrre prove o documenti che siano più credibili di chi si batte per lo Shakespeare di Stratford-upon-Avon. Quale la modernità letteraria di Shakespeare? Quali gli elementi che lo rendono così universale e contemporaneo? Shakespeare è sorprendente per la capacità di leggere nell'animo dei personaggi. E non si tratta di un'affermazione ad effetto. I suoi testi, talora anche i più semplici, i più diretti, le commedie che si rivolgono di più al gusto popolare, mostrano dietro alle azioni la contraddizione dei sentimenti, la tensione fra apparenza e realtà, lo scarto fra le parole e i sentimenti, o fra le parole e i fatti, insomma, la difficoltà di leggere e interpretare il reale. La realtà dei suoi testi è sempre mobile, non facilmente afferrabile. L'equilibrio e l'ordine sono momenti di gratificazione spesso fittizia. Quando si scava sotto la superficie del testo ci si rende conto quanto l'armonia sia un'illusione, e anche quando la si raggiunga promette un'esistenza precaria. Un po' come nella vita. Non a caso un grande critico americano, Harold Bloom, ha affermato che Shakespeare ha inventato l'umano. Shakespeare non ama gli stereotipi, non ama modelli morali prestabiliti. Il testo shakespeariano pensa in proprio, ti fa pensare e ti mette in crisi. Ama molto le domande, poco le risposte certe e definitive. Non finiremo

A jelzős főnévi csoport viselkedése a fordításban 1 A kontrasztív nyelvészet, amely a fordítástudomány keletkezésekor nagy szerepet játszott a fordítás vizsgálatában , Barhudarov 1975 századunk 80-as éveiben visszaszorult, sőt heves támadások célpontjává vált, mint olyan megközelítés, amely megengedhetetlenül leegyszerűsíti a fordítás bonyolult folyamatát (Snell-Horby 1988). Susan Bassnett és Andre Lefevere a 90-es években új fordítástudományi sorozatot indított a Routledege kiadónál, amelynek bevezetőjében kijelentik, hogy "kulturális fordulat" (cultural turn) ment végbe a fordítástudományban, vége a forrásnyelvi szöveg és a célnyelvi szöveg összehasonlítgatásának, ehelyett a fordítástudománynak a kultúrakutatás (culture studies or cultural studies) legújabb eredményeit felhasználva azt kell vizsgálnia, hogy a társadalmi viszonyok, az uralkodó ideológiák, a hatalmi viszonyok, a társadalmi szerepek, a nemi szerepek stb. hogyan tükröződnek a fordítói tevékenységben a fordítások funkciójában stb.(1990:4). Ha örvendetesen új szempontokkal gazdagítja is a fordítástudományt a kulturális fordulat -bár meg kell jegyezni, hogy a hagyományos értelemben vett kulturális aspektus sosem hiányzott a fordítás kutatásából, legfeljebb az a vitatható új megközelítés, amely a kultúra kutatását a hatalmi viszonyok vagy a nemi szerepek kutatásával azonosítja (Baker 1996),  nem szabad megfeledkeznünk arról, hogy a fordítás elsősorban mégiscsak kétnyelvű beszédtevékenység, ami azt jelenti, hogy bármely nyelvből fordítunk bármely nyelvre a fordítás folyamata sohasem lehet független a fordítás folyamatában összetalálkozó illetve szembekerülő 1 Ezúton szeretném hálás köszönetemet kifejezni Dezső Lászlónak, aki a 70-es években, amikor nyelvtanárként és fordítóként dolgoztam, felkeltette érdeklődésemet a nyelvészeti kutatás iránt. Az alcím utalás Dezső Lászlónak A jelzős "főnévi csoport" kérdései a magyarban című tanulmányára (NytudÉrt 76.sz.) amely egyik első nyelvészeti olvasmányom volt, és nagy hatást tett rám.

Despite the growing interest in AI, poetic machine translation remains a less explored area. Against this backdrop, this paper offers a quality assessment of automatic poetry translation on the Italian-English language pair. It uses a selection of poems by the 19 th-century poet Giacomo Leopardi as a case study and compares the outputs produced by three freely accessible MT systems (Google, DeepL, Yandex) to determine which tool better performs with poetry and which are the linguistic areas calling for improvement. This paper does not suggest that AI should be used to translate poetry but rather demonstrates that, due to its stylistic and semantic complexities, poetic language can be used as a tool to improve MT efficiency. It concludes with some considerations on the impact that poetic machine translation may have on authorial representation.

L'ouvrage collectif Circulations littéraires. Transferts et traductions dans l'Europe en guerre (1939)(1940)(1941)(1942)(1943)(1944)(1945) sous la direction de Christine Lombez nous montre un côté de la Seconde Guerre mondiale méconnu du grand public. Il révèle qu'au cours de cette période peu favorable aux échanges intellectuels, « les personnes, les idées et les livres ont continué à circuler (...) à la faveur d'initiatives, de réseaux et de personnalités spécifiques » 1 . Cette conclusion s'appuie sur les résultats des recherches menées dans le cadre du programme « La traduction littéraire sous l' Occupation -France, Belgique, 1940-1944 » (TSOcc) 2 . Dans l'avant-propos, nous apprenons que près de 5 000 traductions littéraires ont vu le jour sous l'Occupation en France et Belgique, ce qui témoigne de l'intensité des échanges entre les pays, malgré les ténèbres de la guerre. Publié en 2021 dans la collection Traductions dans l'histoire, l'ouvrage fait suite à Traduire, Collaborer, Résister. Traducteurs et traductrices sous l'Occupation (2019), également dirigé par cette spécialiste de l'histoire des traductions 3 . La publication s'adresse surtout aux chercheurs, étudiants et lecteurs intéressés par la traduction et le transfert culturel dans le contexte de la guerre, la littérature comparée et les études interculturelles. La question de la traduction en temps de guerre est de plus en plus abordée par des chercheurs 4 , mais il convient de souligner que ce volume est issu de l'étude de la traduction littéraire. L'ouvrage se compose de dix articles regroupés en cinq parties qui se donnent pour objectif d'interroger les échanges interculturels dans les pays francophones (France et Belgique) pendant la période de l'Occupation. Les deux dernières 1 C. Lombez (dir.), Circulations littéraires. Transferts et traductions dans l'Europe en guerre (1939)(1940)(1941)(1942)(1943)(1944)(1945), Presses universitaires François-Rabelais, Tours 2021, p. 10. 2 Programme de recherche dirigé par Christine Lombez en 2014-2019 à Nantes Université,

The aim of the present paper is to offer a generic historical overview of the nascence of translation studies as an institutionalized and a full fledged discipline. The study underscores the rudimentary approaches and concepts to translation that have come to the fore at various points in time of the western culture, starting from the work of Roman commentators (Cicero and Horace more specifically) through the second half of the twentieth century when translation studies presented itself as a new discipline. It is, without argument, James Holmes' famous and widely cited paper, in which he delineated the scope and structure of the field of translation studies, that served as a valid reference for translation scholars to formulate translation theories, gave rise to empirical research and envisaged the future of the discipline. Establishing itself as a standalone field of scholarly study, Translation studies has been observed to gradually expand and interface with different disciplines bringing a new perspective to translation theory.

This paper examines the interdisciplinary evolution of Translation Studies, highlighting its expansion from a linguistics-centered discipline to a multifaceted field incorporating insights from sociology, psychology, cultural studies, and technology. Translation is framed as more than linguistic transfer—it is a mediator of cultural exchange, power relations, and identity formation across societies. Drawing on key theories and works such as Susan Bassnett's Translation Studies (1980), which introduces the foundational frameworks of the discipline; Maria Tymoczko's Translation in a Postcolonial Context (1999), which explores translation as a tool for decolonization and cultural hybridity; and Lawrence Venuti's The Translator's Invisibility: A History of Translation (1995), which develops the concept of ‘domestication’ and ‘foreignization’ strategies by referring translation historical development of translation as well as power dynamics, cultural and ideological implicatio, the study explores how Translation Studies now engages with global issues such as migration, multilingualism, and cultural hybridity. It also addresses the impact of technology, such as machine translation and digital tools, on reshaping translation practices and redefining the translator’s role. By adopting an interdisciplinary approach, the paper emphasizes the need for Translation Studies to continuously adapt to evolving societal and technological landscapes. This study concludes that Translation Studies has positioned itself as a critical field for understanding complex cultural and communicative dynamics in an increasingly interconnected world.

This essay investigates how Walt Whitman’s “Song of Myself” and William Wordsworth’s “A Slumber Did My Spirit Seal” employ poetic form and structure to convey profound meanings and interpretations. Both poets utilize elements such as rhyme schemes, meters, line breaks, and stanzas not merely for aesthetic appeal but to enhance thematic depth and reader understanding. Wordsworth’s structured rhyme scheme and parallelism reflect his adherence to poetic norms, capturing the speaker’s emotional transition from grief to acceptance. Conversely, Whitman’s free-verse style showcases his nonconformity and celebration of individuality, inviting readers into a dialogue about shared humanity and personal identity. By employing a formalistic approach, this analysis reveals how structural elements in each poem independently guide interpretation, enabling readers to construct meaning through textual features without reliance on external contexts.

Mirzadeh Eshghi, a famous and political poet of the constitutional period, presents a bitter and stinging picture of the status of women in traditional Iranian society in the play The Black Shroud and the Ideal Old Man of the Peasant (The Three Tableaus of Maryam), which are known as the newest dramatic poems. By analyzing the character of the woman in the play The Ideal Peasant Man (The Three Tableaus of Maryam) and the Black Shroud to investigate the components of the feeling of inferiority and their impact on the behavior and speech of women according to the ruling system in the society, we can answer the question raised in this research that why female characters Available in the play Black Shroud and Ideal Rural Old Man (Three Tableaus of Maryam), despite having feelings of inferiority, they are on the path of growth and perfection. Don’t they get it? And what is the effect of social conditions on the intensification of the feeling of inferiority that has led to the inferiority complex in the female characters of the play? Replied. In this article, we also analyze the female character from the perspective of Alfred Adler using the descriptive-analytical method. Alfred Adler, an Austrian psychologist, believes humans are influenced by their inherent inferiority complex and strive to compensate for this feeling. These efforts can be constructive or destructive. On the constructive path, people seek perfection and excellence in various fields. On the unhealthy path, people cannot solve their problems and fall into a harmful path. Also, Mirzadeh Eshghi’s view of women in these two works is somewhat stereotypical and one-dimensional because the woman in these two works has no power to change her destiny and does not make any effort to change the situation. On the destructive path, she is faced with feelings of inferiority. Mirzadeh Eshghi tries to pave the way for the growth and productive path of women by making society aware.