Tradition, Translation, Trauma: The Classic and the Modern by Jan Parker, Timothy Mathews

By Jan Parker, Timothy Mathews

Tradition, Trauma, Translation is worried with how vintage texts - customarily Greek and Latin but additionally Arabic and Portuguese - turn into found in later cultures and the way they resonate within the sleek. A exceptional overseas staff of participants and responders learn the subject in numerous methods. a few talk about singular encounters with the vintage - these of Heaney, Pope, Fellini, Freud, Ibn Qutayba, Cavafy and others - and exhibit how translations have interaction with the affective impression of texts through the years and area. Poet-translator individuals draw all alone event the following. Others supply photos of translation: as circulate of a textual content through the years, area, language, and tradition. a few of these photographs are resistant, even violent: culture as silencing, translation as decapitation, cannibalistic reception. Others pose looking questions about the interplay of modernity with culture: what's entailed in 'The fee of the Modern'? Drawing, because it does, on Classical, Modernist, Translation, Reception, Comparative Literary, and Intercultural reviews, the quantity has the capability to indicate evaluations of perform in those disciplines but additionally issues which are universal to these types of fields.

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Knew what the fate of Troy would be . . When Calchas found his priestly computation . . For by his divinations well he knew That Troy was doomed . . 2 Krapp resisted bowdlerizing Chaucer: ‘It cannot be denied that there are several moments in the progress of the narrative when one would gladly omit passages of the text. . ’3 But it never occurred to him that removing Chaucer’s wordplay was also omitting parts of his original. Ancient epics are arguably, like operas, complex polyphonic scores; in epic, ambiguity and wordplay provide the pivotal chords.

Ancient poetry designed for public performance more often describes or deconstructs the concepts readers have accepted. Translating ancient poets into prose, then, usually reverses their rhetorical poles. Poets who challenge readers’ beliefs are transformed into instructors who tell readers 2 3 Krapp (1932), 5. Krapp (1932), xii–xiii. Proemion: Translating a Paean of Praise 33 what to believe. A prose Aeneid gives exactly the effect Victorian educators wanted. Teachers of literature, following Aristotle in the Poetics, cannot resist prescribing what poetic forms should be while trying to describe what they are.

I agreed, therefore, to let the press substitute an introduction by my friend Elaine Fantham for my own, since her view of Virgil was closer to the conventional than mine. No objection was raised to my notes. Few readers, apparently, look at the notes. ’ What the second half of the sentence means eludes me. I disagree entirely with the first half. But the words cited are on the dustcover of my own translation. So even there the paean for Rome and Augustus is sung as it was in my classroom more than fifty years ago.

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