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Modernist Temporalities: the Orpheu Generation and the Impact of History
Modernist temporalities: the Orpheu generation and the impact of history António Sousa Ribeiro* Keywords Fernando Pessoa, First World War, Modernism, Violence. Abstract Taking the year 1915 as a reference, the essay analyses some aspects of the relationship of modernist writing with the Great War. In Portugal, this relationship appears in many cases in the form of an absence whose scattered traces can only be apprehended through ways of reading which are well aware of the complexities of the articulation between violence and discourse. Palavras-chave Fernando Pessoa, Primeira Guerra Mundial, Modernismo, Violência. Resumo Tomando como referência o ano de 1915, analisam-se aspetos da relação entre a escrita modernista e a Primeira Guerra Mundial. Em Portugal, esta relação assume em muitos casos a forma de uma ausência, cujos traços dispersos apenas podem ser captados por modos de ler suficientemente atentos às complexidades da articulação entre a violência e o discurso. * School of Humanities and Centre for Social Studies of the University of Coimbra. Ribeiro Modernist temporalities (There is so much to do, My God! and these people distracted by war!)1 José de Almada Negreiros, “A Cena do Ódio” Let me start with a short reflection on the year 1915: it would seem that the mention of the year by itself points simply to the simultaneity of a variety of events happening synchronically in different locations. This is not so, however. Upon a closer look, it becomes apparent that 1915 is but the sign uniting what are in fact quite different temporalities. The figure of exile, surfacing metaphorically – e.g. -
Jennings on the Trail of Pessoa Or Dimensions of Poetical Music
Jennings on the Trail of Pessoa or dimensions of poetical music Pedro Marques* Keywords Fernando Pessoa, Hubert Jennings, Roy Campbell, Peter Rickart, translation, versification, musicality, The thing that hurts and wrings, What grieves me is not, What saddens me is not. Abstract Here we present two unpublished essays by Hubert Jennings about the challenges of translating the poetry of Fernando Pessoa: the first one of them, brief and fragmentary, is analyzed in the introduction; the second, longer and also covering issues besides translation, is presented in the postscript. Having as a starting point the Pessoan poem “O que me doe” and three translations compared by Hubert Jennings, this presentation examines some aspects of poetic musicality in the Portuguese language: verse measurement, stress dynamics, rhymes, anaphors, and parallelisms. The introduction also discusses how much the English versions of the poem, which are presented by Jennings, recreate (or not) the musical-poetic dimensions of the original text. Palavras-chave Fernando Pessoa, Hubert Jennings, Roy Campbell, Peter Rickart, tradução, versificação, musicalidade, O que me doe, O que me dói. Resumo Reproduzem-se aqui dois ensaios inéditos de Hubert Jennings sobre os desafios de se traduzir a poesia de Fernando Pessoa: o primeiro deles, breve e fragmentário, é analisado numa introdução; o segundo, mais longo e versando também sobre questões alheias à tradução, é apresentado em postscriptum. A partir do poema pessoano “O que me dói” e de três traduções comparadas por Hubert Jennings, esta apresentação enfoca alguns aspectos da música poética em língua portuguesa: medida do verso, dinâmica dos acentos, rimas, anáforas e paralelismos. -
The Poetic Utilization of Dialectal Varieties of the Afrikaans Language for Strategic Purposes in the Southern African Context
Bernard J. Odendaal The Poetic Utilization of Dialectal Varieties of the Afrikaans Language for Strategic Purposes in the Southern African Context Abstract: Afrikaans is a southern African language named after the continent on which it has evolved from seventeenth-century Dutch in a complex contact situa- tion between European settlers, their imported slaves, and indigenous peoples. It was standardized in the late nineteenth and early twentieth centuries for literary purposes, among others. The poetic utilization of dialectal or colloquial varieties of Afrikaans, however, has been an important trend in its literary history, espe- cially since the advent of the so-called Movement of the 1960s. The relevant vari- eties include geolects like Karoo Afrikaans, but also sociolects like “Loslitafri- kaans” (informal Afrikaans, characterized by being mixed with English), Cape Afrikaans, and Griqua Afrikaans. As a stylistic device, the use of dialectal Afri- kaans has served both literary-strategic purposes (literary renewal) and socio-po- litical aims (as actuality literature or socio-politically engaged poetry). As a whole, it transpires that the pressing socio-political and broader cultural condi- tions that have dictated past developments, or are driving present ones, in South and southern Africa (resistance to nineteenth-century efforts at anglicizing south- ern Africa, the advent and decline of Apartheid, the increasingly hegemonic posi- tion of English in the post-Apartheid dispensation) loom large behind the relative importance of this trend in Afrikaans poetry. Keywords: actuality, Afrikaans geolects and sociolects, socio-political and cultur- al conditions, socio-political engagement, strategic poetic utilization, stylistic re- newal 1 Introductory notes on the origins of the Afrikaans language and literature Afrikaans is a southern African language, named after the continent on which it originated. -
Translated Poe
UC Santa Barbara Journal of Transnational American Studies Title Excerpt from Translated Poe Permalink https://escholarship.org/uc/item/1c13k85x Journal Journal of Transnational American Studies, 6(1) Authors Esplin, Emron Vale de Gato, Margarida Publication Date 2015 DOI 10.5070/T861025842 eScholarship.org Powered by the California Digital Library University of California Excerpted from Emron Esplin and Margarida Vale de Gato, eds., Translated Poe (Bethlehem, PA: Lehigh University Press, 2014). Reprinted with permission from Lehigh University Press (http://inpress.sites.lehigh.edu/) and Rowman & Littlefield Publishing Group (https://rowman.com/ISBN/9781611461725). Esplin and Vale de Gato Esplin and Vale Literary Studies | Translation Studies | Nineteenth-Century Studies Perspectives on Edgar Allan Poe Translated Series Editor: Barbara Cantalupo Few, if any, U.S. writers are as important to the history of world literature as Edgar Allan Poe; and few, if any, U.S. authors owe so much of their current reputations to the process of translation. Translated Poe brings together thirty-one essays from nineteen different national/literary traditions to demonstrate Poe’s extensive influence on world literature and thought while revealing the importance of the vehicle that delivers Poe to the world—translation. Translated Poe is not preoccupied with judging the “quality” of any given Poe translation or with assessing what a specific translation of Poe must or should have done. Rather, this volume demonstrates how Poe’s translations constitute multiple contextual interpretations, testifying to how this prolific author continues to help us read ourselves and the world(s) we live in. The examples of how Poe’s works were spread abroad remind us that literature depends as much on authorial creation and timely readership as on the languages and worlds through which a piece of literature circulates after its initial publication in its first language. -
Fernando Pessoa: a Peripheral Shakespearean out of His Time
Vincenzo Russo Fernando Pessoa: A Peripheral Shakespearean out of his Time I was a poet animated by philosophy, not a philosopher with poetic faculties. I loved to admire the beauty of things, to trace in the imperceptible through the minute the poetic soul of the universe. he poetry of the earth is never dead. — Fernando Pessoa Traces of Portuguese Modernism he irst historical avant-garde of Portuguese literature may be easily iden- tiied from a chronological point of view. he blaze of avant-garde icono- clasm burned itself out in a little less than two years, as part of a modernist experience which, by contrast, was to continue in its various forms and recurrences at least until the Second World War. his period of the irst avant-garde falls between the publication dates of two short-lived but highly signiicant journals, Orpheu (1915) and Portugal Futurista (1917). he irst two issues of Orpheu – a third was on the brink of publication but was never printed for inancial reasons – came out in March and June of 1915 and, for all the critical complications involved, mark the beginning of Modernism in Portugal. In Fernando Pessoa’s words, Orpheu was the ‘sum and synthesis of all modern literary movements’ and was to prove capable of absorbing Europe’s disruptive literary aesthetic movements (Futurism, Cubism, Vorticism, Orphism) through a process which was not merely 192 Vincenzo Russo of imitation but transposition, as became a peripheral context such as Portugal: with a hallmark of originality which best represents the form, transitory perhaps, but also highly typical, of early Portuguese Modernism. -
One Hundred Years of the Kwazulu-Natal Bench by LB Broster SC, a Coutsoudis and AJ Boulle, Kwazulu-Natal Bar
SA JUDICIARY100 YEARS OLD Juta, Kotzé and rule from 1949-1959), and Munnik CJ (from 1981-1992). Hlophe Menzies who were CJ, the first black JP of the division, is perhaps the best-known of either judges of the the current group of Judges President in the country. Amongst court or members of other things, he was responsible for the controversial decision in the families of judges of dispute between the Pharmaceutical Society of South Africa, New the court. Clicks South Africa (Pty) Ltd and the Minister of Health (New Clicks Perhaps the most South Africa (Pty) Ltd v Tshabalala-Msimang and Another NNO; well-known advocate Pharmaceutical Society of South Africa and Others v Tshabalala- ever to practise in Msimang and Another NNO 2005 (2) SA 530 (C)). the Cape was Harry The CPD also made important contributions to the development Snitcher QC, who also of the new constitutional law in cases such as the Grootboom deci- acted for appellants sion that enforced the right to housing (Government of the Republic Judge President John Hlophe, in the Harris decision, and Cape High Court of South Africa and Others v Grootboom and Others 2001 (1) SA 46 many another similar cause (CC)) and the Metrorail decision which enforced the right to life (Rail celebre. Commuters Action Group and Others v Transnet Ltd t/a Metrorail Of the Judges President of the court, several stand out purely and Others 2005 (2) SA 359 (CC)). because of the long duration of their tenure. These were Van Zyl CJ In this way the division has contributed to a process of constitu- (who took the court through the difficult years of the aftermath of tional development - from Slave Lodge to beacon of Good Hope. -
Natalia V28 Obituaries Didcott.Pdf
Obituaries John Mowbray Didcott (1931-1998) John Didcott spent 23 years as a judge, first in the Natal Supreme Court and, since 1994, as a member of the Constitutional Court. He became a human rights legend because of his strong support ofjustice and individual liberties. During the worst years of apartheid his scathing attacks on the unjust policies of the previous government were pored over with delight by opponents of those policies. Chief Justice Ismail Mahomed recalls his 'sparkling moral courage' and says Judge Didcott's instinctive abhorrence of injustice will ensure he is remembered as one of the greatest figures of South African law. John Mobray Didcott was born in Durban on 14 August 1931, and matriculated in 1948 from Hilton College. He graduated from the University of Cape Town with a B A degree in 1951 and an LI.B in 1953. But he was not merely a successful swot he also flourished in student politics. In his first year he was elected to the Students' Representative Council and served as its president from 1952 to 1954. He was also vice-president of the National Union of South African Students in 1953 and 1954, and its president for the next two years. Durban attorney Graham Cox, a long-time friend, recalls those days with relish. 'He was a brilliant fellow, but in addition to being an incredible scholar, he was a magnificent speaker - quite superb as a demagogue. When he, Zach de Beer and Sharkey King (now judge-president-elect of the High Court in Cape Town) debated the government's race policies, there would be standing room only in Jamieson Hall. -
Redalyc.Fernando Pessoa's Fausto and the Concept of Subjective
Acta Scientiarum. Language and Culture ISSN: 1983-4675 [email protected] Universidade Estadual de Maringá Brasil de Carvalho Xavier, Rodrigo Alexandre Fernando Pessoa’s Fausto and the concept of Subjective Tragedy Acta Scientiarum. Language and Culture, vol. 38, núm. 3, 2016, pp. 271-279 Universidade Estadual de Maringá Maringá, Brasil Available in: http://www.redalyc.org/articulo.oa?id=307446626006 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Acta Scientiarum http://www.uem.br/acta ISSN printed: 1983-4675 ISSN on-line: 1983-4683 Doi: 10.4025/actascilangcult.v38i3.30901 Fernando Pessoa’s Fausto and the concept of Subjective Tragedy Rodrigo Alexandre de Carvalho Xavier Universidade Tecnológica Federal do Paraná, Campus Pato Branco, Via do Conhecimento, Km1, 85503390, Pato Branco, Paraná, Brasil. E-mail: [email protected] ABSTRACT. This paper intends to show, in an embryonic format, how Fernando Pessoa embodied the subjective process, presented in all his work through a heteronimic construction, in his writing project of Portuguese Faust. Consistent with the idea of Static Drama, Pessoa’s Fausto sights the construction of an animistic and apathetic tragedy, supported on a discursive monologism and the tragic conception of existence. Keywords: Fernando Pessoa, Faust, drama, tragedy, subjectivity. O Fausto de Fernando Pessoa e o conceito de Tragédia Subjetiva RESUMO. O presente texto busca apresentar, ainda que de forma embrionária, como Fernando Pessoa incorporou o processo de subjetivação presente em toda a sua obra por meio da construção heteronímica no seu projeto de escritura de um Fausto português. -
Modernism, Joyce, and Portuguese Literature
CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 8 (2006) Issue 1 Article 5 Modernism, Joyce, and Portuguese Literature Carlos Ceia New University of Lisboa Follow this and additional works at: https://docs.lib.purdue.edu/clcweb Part of the Comparative Literature Commons, and the Critical and Cultural Studies Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities Index (Wilson), Humanities International Complete (EBSCO), the International Bibliography of the Modern Language Association of America, and Scopus (Elsevier). The journal is affiliated with the Purdue University Press monograph series of Books in Comparative Cultural Studies. Contact: <[email protected]> Recommended Citation Ceia, Carlos. "Modernism, Joyce, and Portuguese Literature." CLCWeb: Comparative Literature and Culture 8.1 (2006): <https://doi.org/10.7771/1481-4374.1293> This text has been double-blind peer reviewed by 2+1 experts in the field. The above text, published by Purdue University Press ©Purdue University, has been downloaded 5051 times as of 11/ 07/19. -
Rua Augusta / Baixa Street Sounds Sofia
Episode 9. Mouth of Hell Location: Rua Augusta / Baixa Street sounds Sofia: You should now walk down Rua Augusta towards Terreiro do Paço. In 1929 Fernando Pessoa is reading the first volume of the Confessions of Aleister Crowley. Crowley was a notorious British magician and occultist. [00:00:29.09] Steffen Dix: He knew several famous figures. He was in contact with Aldous Huxley, with Albert Einstein. He prepared an exhibition in Berlin with some great German modernists, so Crowley was a very international figure. He lived between Berlin, London and Paris and travelled around the world, while Pessoa never left downtown Lisbon. And in this sense there couldn’t be a greater contrast than Crowley and Pessoa. Aleister Crowley voice recording Aleister Crowley: In the Years of the Primal Course, in the dawn of terrestrial birth, Man mastered the mammoth and horse, and Man was the Lord of the Earth. Sofia: The press dubbed Crowley "the wickedest man in the world". He identified himself as the “Antichrist” and he called himself "The Beast 666". On December 4th, 1929 Fernando Pessoa wrote to Crowley's publisher, Mandrake Press. It was to correct a mistake in the magician's astrological chart. Street sounds Steffen Dix: And he asked if the publisher could tell Crowley and the publisher did so. Then Crowley got in touch, maybe he found some interest in Pessoa and he was fairly quick to state that he was coming to Portugal. Sofia: This started a correspondence that led to a meeting between Pessoa and Crowley on September 2nd, 1930, in Lisbon. -
Ingrid: Una Vida Después De La Muerte
TRADUCCIÓN Ingrid: una vida después de la muerte André Brink Tweesprong – Zuid-Afrikaanse memories (Bifurcación – Memorias sudafricanas) Traducción del neerlandés al español: Agustín B. Sequeros. Edición número 7 / Enero - junio de 2018 ISSN 2389 - 9794 INGRID: UNA VIDA DESPUÉS DE LA MUERTE ANDRÉ BRINK TWEESPRONG – ZUID-AFRIKAANSE MEMORIES (BIFURCACIÓN – MEMORIAS SUDAFRICANAS)1 Traducción del neerlandés al español: Agustín B. Sequeros Nota sobre la traducción El texto presentado en esta publicación, INGRID: UNA VIDA DESPUÉS DE LA MUERTE, es la traducción al español de uno de los capítulos de las memo- rias del escritor sudafricano André Brink (1935 – 2015), publicadas en 2009. El libro apareció, casi al mismo tiempo, en afrikáans, inglés y neerlandés. El título del original en afrikáans era: ‘n Vurk in die Pad (“Una bifurcación en el camino”); el de la versión neerlandesa: Tweesprong. Zuid-Afrikaanse memoi- res (“Bifurcación. Memorias sudafricanas”), y fue publicado por la editorial Meulenhoff, de Ámsterdam, en ese mismo año de 2009. La presente traduc- ción se ha hecho partiendo del texto de la edición neerlandesa, págs. 110-134. En este capítulo, André Brink relata su relación con la poeta sudafricana Ingrid Jonker (1933- 1965), con la que mantuvo una relación pasional y ator- mentada desde abril de 1963 hasta abril de 1965, tres meses antes de que 1. Copyright © 2009 de André Brink. Extracto de A Fork in the Road, publicado originalmente por Harvill Secker, 2009. 142 Ingrid Jonker se suicidara (lo que sucedió en la madrugada del domingo 19 de julio de 1965, poco antes de cumplir Ingrid los 32 años de edad). -
Año 1999 Die Vindingryke Ridder Don Quijote De La Mancha by Migu
Hermēneus. Revista de Traducción e Interpretación Núm. 1 - Año 1999 Die vindingryke ridder Don Quijote de la Mancha by Miguel de Cervantes, Gustave Doré and André Brink. Cape Town/Kaaps- tad, Human & Rousseau, 1966. Juan Miguel ZARANDONA Universidad de Valladolid E-mail:[email protected] There might be a future country in Southern Africa named Azania, nobody knows, but its current name in English is the Republic of South Africa, Republiek van Suid-Afrika in Afrikaans, this prodigious, beautiful, kitchen language in origin of former slaves and servants. In such a com- plicated but lovely country André Philippus Brink was born in 1935, in the Orange Free State –now Free State only in the exciting New South Africa– when things were quite different. André Brink is a recognized academic (I) –Rhodes University, University of Cape Town (Kaapstad)– a talented writer (II) and both an industrious translator and a self-translator (III). I As a academic, his students, his colleagues and his audiences in various continents know him well. II As a novelist, playwright and writer of essays, articles and speeches, his literary career consolidated in 1962 with Lobola vir die lewe (Bride-price for life), in 1963 with Die Ambassadeur (The Ambassador), in 1965 with Orgie (Orgy), and in 1967 with Miskien nooit (Perhaps never). He belonged to the so-called emergent Sestigers or Afrikaner literary generation that during the sixties brought to this tradition a profound interest in the complexities of human existence and a formal renewal with fresh modernist techniques never used before in Afrikaans, such as stream of consciousness, achronological presentation, typographical experimentation, or different narrators.