DOCSLIB.ORG

Towards a Foreign Likeness Bent: Translation Is Published As Duration : Poetics Number One, Part of the Durationpress.Com E-Books Series

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Towards a Foreign Likeness Bent: Translation Is Published As Duration : Poetics Number One, Part of the Durationpress.Com E-Books Series towards a foreign likeness bent 1 all work is copyright their respective authors & may not be reproduced without permission. towards a foreign likeness bent: translation is published as duration : poetics number one, part of the durationpress.com e-books series. jerrold shiroma, editor http://www.durationpress.com 2 towards a foreign likeness bent : translation d u r a t i o n : p o e t i c s / 1 3 c o n t e n t s Ammiel Alcalay / Politics & Translation 6 Charles Bernstein / Breaking the Translation Curtain: The Homophonic Sublime 10 Norma Cole / Nines and Tens: A Talk on Translation 13 Marcella Durand / What Makes It New: The Secret Springs of French Poetry 26 Forrest Gander / Homage to Translation 31 Bill Marsh / Poetry in Gesturo-Haptic Translation 35 Sawako Nakayasu / Keeping it Sounding Real (Strange) 44 Kristin Prevallet / Risking It: Scandals, Teaching, Translation 47 Ryoko Sekiguchi / Self Translation, or the Artifice of Constraint 52 Jonathan Skinner / A Note On Trobar 54 / Petit Chansonnier: Provençal Lyrics 61 Rick Snyder / The Politics of Time: New American Versions of Paul Celan 78 Jalal Toufic / An Interview 91 Keith Waldrop / Translation as Collaboration 97 Rosmarie Waldrop / Irreducible Strangeness 106 Chet Wiener / The Legacy and Future of “Horizontal” and “Vertical” Translation in Contemporary Poetry 111 4 Always in a foreign country, the poet uses poetry as interpreter. --Edmond Jabès 5 A m m i e l A l c a l a y P o l i t i c s & T r a n s l a t i o n A Discussion with Ammiel Alcalay, Esther Allen, Michael Henry Heim, Michael Hoffman, Susan Sontag, and Steve Wasserman Sponsored by PEN American Center at New York University We tend to talk about translation in a very narrow context, comparing, for example, how few translations get done in this country as opposed to most other places in the world with similar or even fewer resources. Such an approach can buttress the idea that translations, ultimately, get done because of cultural importance or literary quality. Although this may occaisonally be the case, it usually isn’t. Texts that manage to sneak through the policing of our monolingual borders still only provide a mere taste — fragmented, out of context — of what such works might represent in their own cultures, languages, historical and political contexts. A single novel or book of poems by a single writer, removed from the cluster of other writers and artists from which it has emerged, without correspondence, biographies, gossip, debates or critical studies, more often than not just reinforces our uniquely military-industrial-new critical approach to the work of art as an object of contemplation rather than as part of a dense social, political, cultural and historical fabric. In other words, like so many other things in this country, we tend to talk about translation as if it was removed from either personal or collective politics, an approach that, unfortunately, reminds me of Paul Wolfowitz’s recent comments in Iraq: “You don’t build a democracy like you build a house,” Mr. Wolfowitz said over tea, honey pastries and water buffalo cheese. “Democracy grows like a garden. If you keep the weeds out and water the plants and you’re patient, eventually you’ll get something magnificent.” The fact is that, like any commodity, texts cross various borders, checkpoints, holding pens and tarrif stations along the way. And these are both internal and external, the picket lines we dare not cross in our own consciousness and imagination, and the very real political barriers that exist in the world. There are reasons why, for example, more translations from Hebrew are published by American publishers than translations from Arabic, despite the fact that there is one very small , partially Hebrew speaking country while there are more than a dozen larger Arabic speaking countries in the world. Those reasons can lead to great confusion 6 and misplaced emphasis, as when a prominent American book reviewer can write, in a major magazine, without debate, comment or consequence, something like this: “Choices and consequences are thrust upon the Israeli writer David Grossman, whether he wants them or not. There isn’t a more interesting novelist in the West today.” Given that Israel, situated along the Syrian-African rift, is actually in Asia, there is certainly geographical confusion; and one also wonders whether the choices and consequences thrust upon the Israeli novelist are of the same magnitude as those thrust upon writers living slightly to the southwest or slightly to the north, like former political prisoners Sunallah Ibrahim in Egypt or Faraj Bayraqdar in Syria or, for that matter, a neighbor in Palestine like Mahmoud Darwish, not to mention so many others. Since the events of September 11th, oppositional voices in this country have mostly been concerned with exposing, publicizing or drawing attention to what THEY are doing, at home, in Iraq, occaisonally even in Afghanistan and other places. But very little energy has been spent on examining how we got to this point, and whether we might take some individual and collective intellectual and political responsibility for it. Translation, it seems to me, and engagement with other parts of the world is a crucial aspect of this responsibility but the American system presents some real obstacles that must be thought through and struggled against on a number of fronts. We all know, more or less, the saga of the consolidation and conglomeration of commercial publishing and the fact that we would hardly have any intellectual or literary life at all worth speaking of were it not for small, independent presses. We are a little more reticent to examine the function editing has as a form of censorship that enforces social and political assumptions and silences (the kind of editing, for instance, that allows an Israeli novelist to be Western). As far as translation and politics go, the freer space of independent publishing presents a whole other set of problems. On the literary side, we tend to privilege texts that seem formally innovative at the expense of texts that might appear more conventional but which emerge from a more radical political consciousness. This creates a kind of two-tiered set of literary neighborhoods in which there are “ethnic” or “political” enclaves and “experimental” or “sophisticated” downtowns. It is very difficult, as we also know, for translators to make a living without doing commercial work. This makes it almost impossible for small presses to support the translation of non-literary texts, since literary texts are often taken on by passionate writers and can, occasionally, be supported by grants. In order to understand how crucial this element of the whole issue is, we have to consider the structures through which we sanction and legitimize knowledge — i.e. the university system, and its growth and disciplinary arrangement during the Cold War. To put it bluntly, the Western European languages remained the domain of “legitimate” culture, the “western” tradition, while most other languages, and the area studies accompanying them, were either completely exotic or functioned as an arm of the State Department and the C.I.A. The general abdication of responsibility by writers and independent intellectuals over other languages 7 and parts of the world helped create a vacuum that could be occupied by “experts” and become a breeding ground for disinformation, at worst, or mythology, at best . Thus, we have gotten to the point where a theory that was pretty much ignored or discounted, like Huntington’s Clash of Civilizations, has come to determine our understanding of the world, whether for or against. The extent to which this is true for things relating to the Middle East is astonishing and the massive failure and acquiescence on the part of American intellectuals, a true lack not just of responsibility but of response, on the human, creative, historical and political levels to the Arab world, Palestine, sanctions against Iraq, and so many other issues, has allowed ideologues and apologists to occupy disproportionate amounts of cultural and political space. Again, were even popular scholarly texts about the Arab world generally available from other parts of the world, the occupation of this space would have to be struggled for and not simply handed over. So what I am saying is there is a real need for greater activism and advocacy by writers. This means following and reporting on things happening in other languages, demanding to review books in other languages, advocating for the appearance of other writers — in short, giving up some of one’s own space to make room for others. I would like to point out one of the great ironies about operating as a translator/writer/critic in this mass- media society. It has become very clear to me, through many years of experience working in and on different languages and different kinds of texts, that in order for translated work to be effective in this country, for it not to become a disposable item quickly consumed, it must challenge those writers who are, in effect, the custodians of our language. By this, I generally mean the poets who constitute the real mainstream of our poetic language but who have been relegated to the margins in terms of recognition and readership. Because of this, I’ve often preferred to work with small presses when I know a book will reach certain kinds of writers and readers. It is instructive to note some of the projects poets have been involved in, and the very disproportionate and deep effect their work in translation has had, if one is thinking only in terms of circulation or copies sold.
Load more

Recommended publications
  • Transatlantica, 1 | 2016 Beyond the American Difficult Poem: Paul Celan’S “Du Liegst” 2
    Transatlantica Revue d’études américaines. American Studies Journal 1 | 2016 Modernist Revolutions: American Poetry and the Paradigm of the New Beyond the American Difficult Poem: Paul Celan’s “Du liegst” Xavier Kalck Electronic version URL: http://journals.openedition.org/transatlantica/8096 DOI: 10.4000/transatlantica.8096 ISSN: 1765-2766 Publisher AFEA Electronic reference Xavier Kalck, “Beyond the American Difficult Poem: Paul Celan’s “Du liegst””, Transatlantica [Online], 1 | 2016, Online since 16 January 2017, connection on 29 April 2021. URL: http:// journals.openedition.org/transatlantica/8096 ; DOI: https://doi.org/10.4000/transatlantica.8096 This text was automatically generated on 29 April 2021. Transatlantica – Revue d'études américaines est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Beyond the American Difficult Poem: Paul Celan’s “Du liegst” 1 Beyond the American Difficult Poem: Paul Celan’s “Du liegst” Xavier Kalck 1 In the 2012 Routledge Companion to Experimental Literature, one finds the following statement: “The one feature that all literary experiments share is their commitment to raising fundamental questions about the very nature and being of verbal art itself” (Bray, 1). Quite circuitously, the definition of the thing is that it defines itself. The conclusion follows that “[e]xperiment is one of the engines of literary change and renewal; it is literature’s way of reinventing itself” (Bray, 1). But when any attribute is deemed so fundamental or substantial that it partakes of the nature of the thing described, does it still deserve to be called an attribute? The editors later attempt a measure of clarification, observing that the adjective “experimental” may be understood either as another word for “radical” or “avant-garde,” with the expected political undertones, but may also mean “innovative” in the epistemological sense of questioning cultural traditions.
    [Show full text]
  • Verandert Altijd
    verandert altijd verandert Alles Kaikki Vše Alles verandert altijd is een onmisbaar instrument voor de literair vertaler in opleiding en de beginnende en gevorderde professional bij het vertalen in en uit het Nederlands. Voor het eerst worden Everything hier alle belangrijke aspecten van het literair vertalen helder en bevattelijk samengebracht: de zakelijke en financiële aspecten, de basiskennis en vaardigheden die deze activiteit veronderstelt, vertalen op literair Perspectieven Tutto de algemene kernbegrippen en uitdagingen, het vertalen van de traditionele literaire genres, maar ook van kinder- en jeugd- literatuur, literaire non-fictie en filosofie, en de ‘nazorg’ in de vorm Alles van revisie, marketing en promotie. Het boek is een initiatief van het Expertisecentrum Literair verandert altijd Vertalen (ELV), en bevat bijdragen van 23 vertaalexperts (weten- schappers, opleiders en vertalers), onder eind redactie van Lieven D’hulst en Chris Van de Poel. Beiden zijn lid van het wetenschap- Perspectieven pelijk comité van het ELV, een partnerschap van de Taalunie, de KU Leuven en de Universiteit Utrecht, in samenwerking met het (red.) de Poel en Chris Van D’hulst Lieven Nederlands Letterenfonds en het Vlaams Fonds voor de Letteren. op literair vertalen Lieven D’hulst is gewoon hoogleraar Franstalige letter kunde en vertaalwetenschap aan de Letterenfaculteit van de KU Leuven. Lieven D’hulst en Chris Van de Poel (red.) Chris Van de Poel is coördinator van de opleiding literair vertalen i.s.m. het Expertisecentrum Literair Vertalen aan de
    [Show full text]
  • Film, Television and Video Productions Featuring Brass Bands
    Film, Television and Video productions featuring brass bands Gavin Holman, October 2019 Over the years the brass bands in the UK, and elsewhere, have appeared numerous times on screen, whether in feature films or on television programmes. In most cases they are small appearances fulfilling the role of a “local” band in the background or supporting a musical event in the plot of the drama. At other times band have a more central role in the production, featuring in a documentary or being a major part of the activity (e.g. Brassed Off, or the few situation comedies with bands as their main topic). Bands have been used to provide music in various long-running television programmes, an example is the 40 or more appearances of Chalk Farm Salvation Army Band on the Christmas Blue Peter shows on BBC1. Bands have taken part in game shows, provided the backdrop for and focus of various commercial advertisements, played bands of the past in historical dramas, and more. This listing of 450 entries is a second attempt to document these appearances on the large and small screen – an original list had been part of the original Brass Band Bibliography in the IBEW, but was dropped in the early 2000s. Some overseas bands are included. Where the details of the broadcast can be determined (or remembered) these have been listed, but in some cases all that is known is that a particular band appeared on a certain show at some point in time - a little vague to say the least, but I hope that we can add detail in future as more information comes to light.
    [Show full text]
  • © in This Web Service Cambridge University
    Cambridge University Press 978-1-107-10803-5 - Modernism and Homer: The Odysseys of H.D., James Joyce, Osip Mandelstam, and Ezra Pound Leah Culligan Flack Index More information Index “A Slap in the Face of Public Taste” Classics (1912), 3 and pedantry, 132, 193 Abyssinia crisis, 140–1 decline in the study of, 13, 133 Acmeism, 15, 59, 70 Coburn, Alvin Langdon, 157 Adams, John, 2, 128, 130–1, 142–3, 153 Crisis in the humanities, 19, 206 Aeneid. See Virgil Aeschylus, 165–6, 173 d’Este, Niccolo, 53 Akhmatova, Anna, 15, 59, 63, 78, 82, 88 Dante, 37, 50, 69, 93, 157 Anderson, Margaret, 100 Dickinson, Emily, 190 Apollinaire, Guillaume, 197 Divus, Andreas (Justinopolitanus), 14, 25, 36–43, Arnold, Matthew, 10, 136, 166 50, 154 Atwood, Margaret, 203 Dörpfeld, Wilhelm, 11 Austin, Norman, 177 Downes, Jeremy, 180 DuPlessis, Rachel Blau, 9, 162 Balfour, Arthur James, 140 Barnhisel, Gregory, 8, 128, 158–9 Ehrenburg, Ilya, 78 Barthes, Roland, 79–80 Eliot, T. S., 4, 6, 28, 95, 151, 159, 162, 165–6, 181 Bate, W. Jackson, 21 mythic method, 8 Beecroft, Alexander, 180 The Waste Land, 16, 42, 47, 165, 195, 199 Benjamin, Walter, 196 Ellison, Ralph Bérard, Victor, 15, 99, 103 Invisible Man, 201–2 Bethea, David, 13, 60 Ellmann, Richard, 96, 107, 114, 197 Bishop, Elizabeth, 160–1 Emerson, Ralph Waldo, 29, 190 Brodsky, Joseph, 200 Emmet, Robert, 108, 115 Brooke, Rupert, 1 epic, 164, 180, 186, See also Pound, Ezra and epic; Brown, Clarence, 93 Mandelstam, Osip and epic; and H.D. Brown, Richard, 95 and epic Budgen, Frank, 104 epic vs.
    [Show full text]
  • Myth, the Marvelous, the Exotic, and the Hero in the Roman D'alexandre
    Myth, the Marvelous, the Exotic, and the Hero in the Roman d’Alexandre Paul Henri Rogers A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Romance Languages (French) Chapel Hill 2008 Approved by: Dr. Edward D. Montgomery Dr. Frank A. Domínguez Dr. Edward D. Kennedy Dr. Hassan Melehy Dr. Monica P. Rector © 2008 Paul Henri Rogers ALL RIGHTS RESERVED ii Abstract Paul Henri Rogers Myth, the Marvelous, the Exotic, and the Hero in the Roman d’Alexandre Under the direction of Dr. Edward D. Montgomery In the Roman d’Alexandre , Alexandre de Paris generates new myth by depicting Alexander the Great as willfully seeking to inscribe himself and his deeds within the extant mythical tradition, and as deliberately rivaling the divine authority. The contemporary literary tradition based on Quintus Curtius’s Gesta Alexandri Magni of which Alexandre de Paris may have been aware eliminates many of the marvelous episodes of the king’s life but focuses instead on Alexander’s conquests and drive to compete with the gods’ accomplishments. The depiction of his premature death within this work and the Roman raises the question of whether or not an individual can actively seek deification. Heroic figures are at the origin of divinity and myth, and the Roman d’Alexandre portrays Alexander as an essentially very human character who is nevertheless dispossessed of the powerful attributes normally associated with heroic protagonists.
    [Show full text]
  • Alles Verandert Altijd P Erspectieven Op Literair Vertalen
    verandert altijd verandert Alles Kaikki Vše Alles verandert altijd is een onmisbaar instrument voor de literair vertaler in opleiding en de beginnende en gevorderde professional bij het vertalen in en uit het Nederlands. Voor het eerst worden Everything hier alle belangrijke aspecten van het literair vertalen helder en bevattelijk samengebracht: de zakelijke en financiële aspecten, de basiskennis en vaardigheden die deze activiteit veronderstelt, vertalen op literair Perspectieven Tutto de algemene kernbegrippen en uitdagingen, het vertalen van de traditionele literaire genres, maar ook van kinder- en jeugd- literatuur, literaire non-fictie en filosofie, en de ‘nazorg’ in de vorm Alles van revisie, marketing en promotie. Het boek is een initiatief van het Expertisecentrum Literair verandert altijd Vertalen (ELV), en bevat bijdragen van 23 vertaalexperts (weten- schappers, opleiders en vertalers), onder eind redactie van Lieven D’hulst en Chris Van de Poel. Beiden zijn lid van het wetenschap- Perspectieven pelijk comité van het ELV, een partnerschap van de Taalunie, de KU Leuven en de Universiteit Utrecht, in samenwerking met het (red.) de Poel en Chris Van D’hulst Lieven Nederlands Letterenfonds en het Vlaams Fonds voor de Letteren. op literair vertalen Lieven D’hulst is gewoon hoogleraar Franstalige letter kunde en vertaalwetenschap aan de Letterenfaculteit van de KU Leuven. Lieven D’hulst en Chris Van de Poel (red.) Chris Van de Poel is coördinator van de opleiding literair vertalen i.s.m. het Expertisecentrum Literair Vertalen aan de
    [Show full text]
  • Evading Frames: D'antin Van Rooten's Homophonic Mother Goose
    Document generated on 10/02/2021 8 a.m. TTR Traduction, terminologie, rédaction Evading Frames: D’Antin van Rooten’s Homophonic Mother Goose Hors-cadre : la traduction homophonique de Mother Goose de d’Antin van Rooten Ryan Fraser Méthodologie de la recherche en traductologie : applications Article abstract Applied Research Methods in Translation Studies In 1967, American dialect actor Luis d’Antin van Rooten published his Volume 25, Number 1, 1er semestre 2012 now-classic Mots d’Heures: Gousses, Rames, a non-organic arrangement of French-language words and phrases designed to approximate the speech URI: https://id.erudit.org/iderudit/1015347ar sounds of Mother Goose Rhymes. Though much read and imitated, these DOI: https://doi.org/10.7202/1015347ar homophonic translations have largely evaded theoretical focus. Perhaps this is because their unique structuring allows them to evade anchorage in any specific contextual frame, and to send up the researcher’s own efforts toward See table of contents contextualization, which has been prescribed as the methodological “first step” in Translation Studies since the Cultural Turn. Presented here, first of all, is a search for the potential frames of the Mots d’Heures–biographical, Publisher(s) inter-textual, cinematic. These homophonic translations, I will then contend with reference to Jean-Jacques Lecercle (1990), exist to defy these frames by Association canadienne de traductologie collapsing together, at the phono-articulate level, the target text with its most obvious context: the English-language source. Finally, I would contend, this ISSN collapse exemplifies the phenomena of “weaning,” “trans-contextual drift,” and 0835-8443 (print) “remainder” argued by Derrida (1988) as the enduring property of the 1708-2188 (digital) signifying structure.
    [Show full text]
  • A Poem Containing History": Pound As a Poet of Deep Time Newell Scott Orp Ter Brigham Young University
    Brigham Young University BYU ScholarsArchive All Theses and Dissertations 2017-03-01 "A poem containing history": Pound as a Poet of Deep Time Newell Scott orP ter Brigham Young University Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the English Language and Literature Commons BYU ScholarsArchive Citation Porter, Newell Scott, ""A poem containing history": Pound as a Poet of Deep Time" (2017). All Theses and Dissertations. 6326. https://scholarsarchive.byu.edu/etd/6326 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in All Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. “A poem containing history”: Pound as a Poet of Deep Time Newell Scott Porter A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts Edward Cutler, Chair Jarica Watts John Talbot Department of English Brigham Young University Copyright © 2017 Newell Scott Porter All Rights Reserved ABSTRACT “A poem containing history”: Pound as a Poet of Deep Time Newell Scott Porter Department of English, BYU Master of Arts There has been an emergent trend in literary studies that challenges the tendency to categorize our approach to literature. This new investment in the idea of “world literature,” while exciting, is also both theoretically and pragmatically problematic. While theorists can usually articulate a defense of a wider approach to literature, they struggle to develop a tangible approach to such an ideal.
    [Show full text]
  • UC Santa Cruz UC Santa Cruz Electronic Theses and Dissertations
    UC Santa Cruz UC Santa Cruz Electronic Theses and Dissertations Title The Currant Permalink https://escholarship.org/uc/item/86s062s0 Author Harvey, Jared Publication Date 2020 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California University of California Santa Cruz THE CURRANT A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in LITERATURE by Jared Harvey June 2020 The Dissertation of Jared Harvey is approved: _______________________________________ Professor Susan Gillman, co-chair _______________________________________ Professor Ronaldo V. Wilson, co-chair _______________________________________ Professor Vilashini Cooppan _______________________________________ Professor Juan Poblete _______________________________________ Professor Camilo Gomez-Rivas _________________________________________ Quentin Williams, Acting Vice Provost and Dean of Graduate Students Table of Contents List of Figures iv Abstract v Dedication vi Critical Introduction 1 • Memory Palaces 10 • Tradutore, Tradittore 44 • The Current 76 The Currant 91 • Exit / (Jarcha / (Kharja / Close 102 • oh an immense talking 143 • Out / (Jarcha / (Kharja / Nearby 161 • Passes through the wonderful land Gain 216 • my name and a visual experience / smiled 259 • Foreign 306 • Textual Notes 352 • Errata 387 Bibliography 393 iii List of Figures “bol / berselo” 70 Bilingual quote from the “Corán de Toledo” anonymous translator-scribe. iv Abstract The Currant
    [Show full text]
  • 5.00 #214 February/MARCH 2008 the Jack Kerouac School of Disembodied Poetics Summer Writing Program 2008
    $5.00 #214 FEBRUARY/MARCH 2008 The Jack Kerouac School of Disembodied Poetics Summer Writing Program 2008 7EEKLY7ORKSHOPSs*UNEn*ULYs"OULDER #/ WEEK ONE: June 16–22 The Wall: Troubling of Race, Class, Economics, Gender and Imagination Samuel R. Delany, Marcella Durand, Laird Hunt, Brenda Iijima, Bhanu Kapil, Miranda Mellis, Akilah Oliver, Maureen Owen, Margaret Randall, Max Regan, Joe Richey, Roberto Tejada and Julia Seko (printshop) WEEK TWO: June 23–29 Elective Affinities: Against the Grain: Writerly Utopias Will Alexander, Sinan Antoon, Jack Collom, Linh Dinh, Anselm Hollo, Daniel Kane, Douglas Martin, Harryette Mullen, Laura Mullen, Alice Notley, Elizabeth Robinson, Eleni Sikelianos, Orlando White and Charles Alexander (printshop) WEEK THREE: June 30–July 6 Activism, Environmentalism: The Big Picture Amiri Baraka, Lee Ann Brown, Junior Burke, George Evans, Bobbie Louise Hawkins, Lewis MacAdams, Eileen Myles, Kristin Prevallet, Selah Saterstrom, Stacy Szymaszek, Anne Waldman, Daisy Zamora and Karen Randall (printshop) WEEK FOUR: July 7–13 Performance, Community: Policies of the USA in the Larger World Dodie Bellamy, Rikki Ducornet, Brian Evenson, Raymond Federman, Forrest Gander, Bob Holman,Pierre Joris, Ilya Kaminsky, Kevin Killian, Anna Moschovakis, Sawako Nakayasu, Anne Tardos, Steven Taylor, Peter & Donna Thomas (printshop) Credit and noncredit programs available Poetry s&ICTIONs4RANSLATION Letterpress Printing For more information on workshops, visit www.naropa.edu/swp. To request a catalog, call 303-245-4600 or email [email protected]. Keeping the world safe for poetry since 1974 THE POETRY PROJECT ST. MARK’S CHURCH in-the-BowerY 131 EAST 10TH STREET NEW YORK NY 10003 NEWSLETTER www.poetryproject.com #214 FEBRUARY/MARCH 2008 NEWSLETTER EDITOR John Coletti 4 ANNOUNCEMENTS DISTRIBUTION Small Press Distribution, 1341 Seventh St., Berkeley, CA 94710 6 READING REPORTS THE POETRY PROJECT LTD.
    [Show full text]
  • Aeschylus and O'neill: a Study in Tragedy
    Colby College Digital Commons @ Colby Senior Scholar Papers Student Research 1958 Aeschylus and O'Neill: a study in tragedy Philippa Blume Colby College Follow this and additional works at: https://digitalcommons.colby.edu/seniorscholars Colby College theses are protected by copyright. They may be viewed or downloaded from this site for the purposes of research and scholarship. Reproduction or distribution for commercial purposes is prohibited without written permission of the author. Recommended Citation Blume, Philippa, "Aeschylus and O'Neill: a study in tragedy" (1958). Senior Scholar Papers. Paper 30. https://digitalcommons.colby.edu/seniorscholars/30 This Senior Scholars Paper (Open Access) is brought to you for free and open access by the Student Research at Digital Commons @ Colby. It has been accepted for inclusion in Senior Scholar Papers by an authorized administrator of Digital Commons @ Colby. A: : RCV=:J BY INTRODUCTION:..................................... i PtLttT I: GRf~E.K 'I'RA:J2DY Introduc ti on ••••••••••••• , .......... • " A. Plot Hnd 'I'heme •••• J •• .......... • • • 2 3. Ideas on the Universe and Gods. • • • 11 C. Ideas on Man ••••• ............. 15 D. The Nature of the Trl-lE:ic Hero. • • • • 29 PART II: """' Oili,S'I'BIA end HCURNING BECCMES ELECTRA Introduction. • .... .. • • • • • -'"" ! A. 3tructur8 • .• • • ... • • • • • c,.,' c:" ;3. CharF-cterizat1on. • • • • • • • • • • • • 1-,-9 C. .-rrlel'le ani Imager-y • • • • 9L:­ CC~·;CLU.:'IC:': ••••••••.••••••••••••.•••••••.••••••••••112 ?CCT::;CT2S to :::',:.R:'
    [Show full text]
  • Musical Athleticism: Victorian Brass Band Contests and the Shaping of Working-Class Men Denise Odello
    University of Minnesota Morris Digital Well University of Minnesota Morris Digital Well Music Publications Faculty and Staff choS larship 2-12-2016 Musical Athleticism: Victorian Brass Band Contests and the Shaping of Working-Class Men Denise Odello Follow this and additional works at: https://digitalcommons.morris.umn.edu/music Part of the Other History Commons, and the Other Music Commons Musical Athleticism: Victorian Brass Band Contests and the Shaping of Working-Class Men Denise Odello Department of Music, University of Minnesota, Morris In June of 1884, Brass Band News, published an anecdote about an apparent lack of drinking of a small village in Dorset. When the musical rector of the village noted that he “hadn’t a drunken man in the village,” the author responded by questioning how such a feat was possible. He asked, “Have you no public-house, and is all the village tee- total?” The musical rector answered: “Teetotal! [N]o, not at all; I have a band and choral society, and the members are too busy practicing to find time for immoderate drinking, and the village generally is musical, consequently music, as a means of relaxation and recreation, carries the day.” The Dorset rector’s faith represents the broader assumption of Victorians that music, in this case both instrumental and vocal ensembles, was not only an outlet for recreation but also an agent of morality, “the true end and aim of music” (2). The British brass band of the nineteenth and early twentieth centuries is a particularly notable example of music as a morally edifying activity, as referenced in the anecdote above.
    [Show full text]