AATSEEL 2007

[DBH]

  True.  However... the argument to which I was
responding, I believe, did not advocate retaining
grammatical structures in every case, but rather
retaining the central artistic devices that make the
poem what it is.  The device in question here happens
to take the form of a use of grammar that can easily
be reproduced in Russian (although not in English).
  My own point was that Lermontov's saw his
translation, in accordance with his own age's
traditions regarding literary translation by poets, as
including an important element of adaptation.
  John William Narins


--- Yevgeniy.A.Slivkin-1 at OU.EDU wrote:

> The theory of the functional substitution (teoriia
> funktsional'noi zameny) has long since been
> developed and successfully employed in artistic
> translation.
> According to this theory, for example, "O tiazhela
> ty, shapka Monomakha" should be translated into
> English as "heavy is the head that holds the crown".
> Without this kind of deviations from the original
> the art of translation  would really become just
> "professional translation practice".
> 
> Regards,
> 
> 
> Yevgeny Slivkin, Ph.D.
> Department of Languages, Literatures, and
> Linguistics
> University of Oklahoma   
> 
> ----- Original Message -----
> From: DBH <khrysostom at YAHOO.COM>
> Date: Friday, April 6, 2007 10:15 am
> Subject: Re: [SEELANGS] AATSEEL 2007
> To: SEELANGS at BAMA.UA.EDU
> 
> 
> > I couldn't agree more as far as professional
> >  translation practice goes.  Lermontov, however,
> surely
> >  did not see himself as a "professional
> translator" in
> >  this sense; Gadamerian transparency was surely
> not his
> >  aim.
> >  
> >  Best
> >  John William Narins
> >  
> >  
> >  --- Edward M Dumanis <dumanis at BUFFALO.EDU> wrote:
> >  
> >  > It would be okay to create an original poem to
> >  > convey the corresponding
> >  > meaning of the same gender. But one must strive
> to
> >  > be as close to the
> >  > original as possible in translation. Heine's
> choice
> >  > of the trees with
> >  > the opposite grammatical gender was an immanent
> part
> >  > of his creation, and
> >  > the translator must try to carry it out for the
> >  > "true and tried"
> >  > translation.
> >  > Of course, if a new Heine lives arround us now,
> s/he
> >  > can make a different
> >  > choice of trees, and if you read contemporary
> >  > poetry, you can find many
> >  > examples of that. And we do not need even to
> >  > restrict ourselves to our
> >  > days. Sappho is an example.
> >  > 
> >  > Sincerely,
> >  > 
> >  > 
> >  > Edward Dumanis <dumanis at buffalo.edu>
> >  > 
> >  > 
> >  > On Wed, 4 Apr 2007, Daniel Rancour-Laferriere
> wrote:
> >  > 
> >  > > 4 April 07
> >  > > 
> >  > > Dear colleagues,
> >  > > This call for papers on a very interesting
> topic
> >  > reminded me of lectures 
> >  > > Roman Jakobson gave at Brown University (this
> >  > would have been in 1968 or 
> >  > > 1969, if memory serves). Professor Jakobson
> >  > expressed admiration for 
> >  > > Tiutchev's translation of Heine's poem "Ein
> >  > Fichtenbaum steht einsam," 
> >  > > where the gender opposition of "Ein
> Fichtenbaum"
> >  > (masculine) to "Die 
> >  > > Palme" (feminine) is maintained by use of
> "kedr"
> >  > vs. "pal'ma" in the 
> >  > > translation (it somehow would not have been
> >  > appropriate for a 
> >  > > grammatically feminine "el'" or "sosna" to be
> >  > longing for a 
> >  > > grammatically feminine "pal'ma," he said,
> even
> >  > though "el'" or "sosna" 
> >  > > would have been literally more accurate).
> Looking
> >  > into the matter 
> >  > > further, I found that this example goes back
> to
> >  > the work of philologist 
> >  > > Aleksandr (Oleksandr) Potebnia (IZ ZAPISOK PO
> >  > TEORII SLOVESNOSTI, 
> >  > > Khar'kov: 1905, p. 69), and that there is a
> long
> >  > tradition of citing 
> >  > > Russian translations of Heine's poem to
> illustrate
> >  > the semantic 
> >  > > importance of grammatical gender in poetry
> >  > (Veselovskii, Grigor'ev, 
> >  > > Shcherba, and others). See my "Potebnja,
> >  > Shklovskij, and the 
> >  > > Familiarity/Strangeness Paradox," RUSSIAN
> >  > LITERATURE 4 (1976, 175-198).
> >  > > 
> >  > > And what IF a "sosna" should long for a
> "pal'ma?"
> >  > Nowadays that is 
> >  > > something we can talk about openly.
> >  > > 
> >  > > Regards to the list,
> >  > > 
> >  > > Daniel Rancour-Laferriere
> >  > > UC Davis
> >  > > 
> >  > > 
> >  > > mrojavi1 at SWARTHMORE.EDU wrote:
> >  > > 
> >  > > >Dear ALL,
> >  > > >
> >  > > >I'm organizing a panel for AATSEEL 2007 in
> >  > Chicago (Dec. 27-
> >  > > >30) entitled  “Grammatical gender as a
> source of
> >  > > >metaphorical thinking.”
> >  > > >
> >  > > >
> >  > >
> >  >
> > 
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