An Armamentarium for the Study of Poetic Discourse in Translation
Author: Cees Koster
Category: Literary Criticism
In this book one of the old traditions of translation studies is revived: the tradition of the comparative study of translation and original. The aim of the author is to develop an armamentarium, a set of analytical instruments and a procedure, for the systematic study of poetic discourse in translation. The armamentarium provides the means to describe the 'translational interpretation', that is: the interpretation of the original as it emerges from the translation and may be constructed in the course of a comparison between the two texts. The practical result of this study is based on a solid theoretical foundation. This study most of all reflects on the possibilities of translation comparison and description per se. It is one of the few books in which an in-depth study is undertaken into the principles of translation comparison itself, into its limits and possibilities, and into its central concepts ('shift', 'unit of comparison' etcetera). Before presenting his own proposal for a comparative procedure, the author critically evaluates several existing methods, particularly those of Toury, Van Leuven-Zwart and the German transfer-oriented approach. The theoretical considerations in this book are amply illustrated by analyses of translated works of poets as Rutger Kopland and Robert Lowell. The book also contains an extensive case study into the translations, by the German poet Paul Celan, of a selection of William Shakespeare's sonnets.
FAMOUS CHAGGA STORIES from O. Mtuweta H. Tesha, translated by his granddaughter. Beroemde Chagga Verhalen. Tanzania. Tweetalig Nederlands en Engels. Auteur O. Mtuweta H. Tesha, ingeleid en vertaald vanuit het Engels door zijn kleindochter Melissa Yvonne Tesha. Co-vertaler: Hannie Rouweler.
One of the aims of the book is to shed more light on the notion Neue Sachlichkeit in its appearance in a variety of fields as painting, architecture, music, photography and literature, in order to get a clearer idea of its scope. Several contributions will do so by analysing the heterogeneity in the use of the term concerning its function in the fight for recognition in the art-fields around 1930 - in other words, Neue Sachlichkeit will be analysed as a positioning strategy. Especially its participation in the broader discourse on modernity, as well as its international and intermedial dimension will be highlighted, often using the historical avant-garde as point of reference. From this perspective, the present volume wants to be read as a plea for a differentiated description of the many shared aspects and some differences between the avant-garde and Neue Sachlichkeit.