Post Avant-Garde Styles of Translational Production
DOI:
https://doi.org/10.31261/PLS.2020.10.01.15Keywords:
postmodern translation, “creative turn”, post avant-garde, pastiche, disillusionAbstract
The analysis of stylistic, compositional, and typographic devices used in postmodernist translational experiments shows that they predominantly rely on repetition and reminiscence of artistic ideas of the historical avant-garde as a source of their innovativeness. This paper examines the creative potential of (post) avant-garde styles of translational production, associated not merely with applying, adapting, and improving the various avant-garde techniques of disillusion but rather with transferring the avant-garde disillusion into the environment of translation with all its norms, conventions, semantics, and pragmatics of interlingual and intercultural communication.
References
Apollinaire G., 1918: Calligrammes: Poèmes de la paix et de la guerre (1913—1916). Paris, Mercure de France.
Apollinaire G., 1975: Wybór wierszy. M. Żurawski, przeł. Wrocław, Zakład Narodowy im. Ossolińskich.
Aru E., 2012: Visual Surrealisation: Translation and the Ludic. [PhD Thesis]. London, University College.
Aru E., 2013: Ludicity in Surrealism and in Translation. „Essays in French Literature and Culture”, nr 50, s. 1—17.
Aru E., 2016: The Night of the Sunflower. „Peculiar Mormyrid”, nr 3, s. 10.
Aru E., [online]: Travaux. Laboratoire de traduction. http://www.elisearu.com/11/travaux [dostęp: 14.01.2018].
Balcerzan E., 2009: Tłumaczenie jako „wojna światów”. Poznań, Wydawnictwo Naukowe UAM.
Brzostowska-Tereszkiewicz T., 2016: Modernist Translation. An Eastern European Perspective. Models, Semantics, Functions. Frankfurt/ M., Peter Lang.
Brzostowska-Tereszkiewicz T., 2019: The Conceptual Art of Translation. W: P. de Bończa Bukowski, M. Heydel, eds.: Polish Translation Studies in Action. Concepts — Methodologies — Applications. A Reader. Berlin, Peter Lang, s. 343—368.
Buzzi P., 1915: L’ellisse e la spirale: Film + parole in libertà. Milano, Edizioni Futuriste di „Poesia”.
Cicero M.T.: Aratea, with 22 constellation figures containing extracts from Hyginus, Astronomica (Harley MS 647, ff 2v—17v), British Library Digitised Manuscripts, http://www.bl.uk/manuscripts/FullDisplay.aspx?Source=BrowseTitles&letter=M&ref=Harley_MS_647 [dostęp: 30.10.2019].
Fox H., 1987: Avant-Garde in the Eighties. W: Ch. Jencks, ed.: The Post-Avant-Garde: Painting in the Eighties. London, Academy Editions, s. 29—30.
Gentzler E., 2017: Translation and Rewriting in the Age of Post-Translation Studies. New York, Routledge.
Goethe J.W., 2012: Poezje; Faust I. A. Lam, przeł., oprac. i wyb. ryc. Pułtusk, Akademia Humanistyczna im. A. Gieysztora—Warszawa, Oficyna Wydawnicza Aspra-JR.
Goethes Werke, 1952. Bd. 1: Gedichte und Epen, erster Band. Textkritisch durchgesehen und mit Anmerkungen versehen von E. Trunz. Hamburg, Christian Wegner Verlag.
http://proa.org/eng/exhibition-el-universo-futurista-obras-sala-3-6.php [dostęp: 25.05.2020].
https://commons.wikimedia.org/wiki/File:Guillaume_Apollinaire_-_Calligramme_-_Venu_de_Dieuze.png [dostęp: 25.05.2020].
https://garadinervi.tumblr.com/post/171410544746/from-tristan-tzara-la-roseet-le-chien-poème [dostęp: 25.05.2020].
https://www.artsy.net/artwork/fortunato-depero-paesaggio-guerresco-numerico [dostęp: 25.05.2020].
https://www.artsy.net/artwork/francesco-cangiullo-large-crowd-in-the-piazzadel-popolo-grande-folla-in-piazza-del-popolo [dostęp: 25.05.2020].
Jarmuszkiewicz A., Tabaszewska J., 2012: Tradycja współcześnie — repetycja czy innowacja. Kraków, Wydawnictwo Uniwersytetu Jagiellońskiego.
Jencks Ch., 1987: The Post-Avant-Garde, “Art & Design”. W: Ch. Jencks, ed.: The Post-Avant-Garde: Painting in the Eighties. London, Academy Editions, s. 5—20.
Kukułka M., Gotlib D., 2014: Wpływ zjawiska neokartografii na rozwój serwisów internetowych udostępniających informacje przestrzenne. „Polski Przegląd Kartograficzny”, nr 1, s. 34—46.
Levý J., 2011: The Art of Translation [1963]. P. Corness, trans. Z. Jettmarová, ed. with a critical foreword. Amsterdam—Philadelphia, John Benjamins.
Lightman I., 2008: Commentary. W: E. Loffredo, M. Perteghella, eds.: One Poem in Search of a Translator: Rewriting Apollinaire’s “Les Fenêtres”. Bern, Peter Lang, s. 253—261.
Littau K., 1997: Translation in the Age of Postmodern Production: From Text to Intertext to Hypertext. „Modern Language Studies”, nr 1, s. 81—96.
Loffredo E., Perteghella M., eds., 2008: One Poem in Search of a Translator: Rewriting Apollinaire’s “Les Fenêtres”. Bern, Peter Lang.
Loffredo E., Perteghella M., 2008: The Genesis of the Project: A Translational Journey. W: E. Loffredo, M. Perteghella, eds.: One Poem in Search of
a Translator: Rewriting Apollinaire’s “Les Fenêtres”. Bern, Peter Lang, s. 13—28.
Martes C., 2012: Translation in Conceptual Writing. „UC Berkeley Comparative Literature Undergraduate Journal”, nr 1, https://ucbcluj.org/current-issue/vol-21-spring-2012/2571-2/ [dostęp: 24.05.2020].
Matthews T., 2008: Reading Translation in Apollinaire. W: E. Loffredo, M. Perteghella, eds.: One Poem in Search of a Translator: Rewriting Apollinaire’s“Les Fenêtres”. Bern, Peter Lang, s. 29—50.
Munro T., 1967: The Arts and Their Interrelations. [2nd rev. ed.]. Cleveland, Ohio, Press of Western Reserve University.
Nergaard S., Arduini S., 2011: Translation: A New Paradigm. „Translation: A Transdisciplinary Journal”, nr 1, s. 8—17.
Papadima M., 2011: Głos tłumacza w peritekście jego przekładu: przedmowa, posłowie, przypisy i inne zwierzenia. „Między Oryginałem a Przekładem”, t. 17: Parateksty przekładu, s. 13—32.
Perloff M., 2010: Unoriginal Genius: Poetry by Other Means in the New Century. Chicago—London, The University of Chicago Press.
Perteghella M., Loffredo E., 2007: Translation and Creativity. Perspectives on Creative Writing and Translation Studies. London, Continuum.
Perteghella M., Loffredo E., [online]: The Creative Literary Studio. Explorations in Writing, Translation, and the Art of Text Making, https://thecreativeliterarystudio.wordpress.com [dostęp: 31.10.2019].
Preda R., 2001: Ezra Pound’s (Post)Modern Poetics and Politic Logocentrism, Language, and Truth. New York, Peter Lang.
Scott C., 2006: Translating Rimbaud’s “Illuminations”. Exeter, University of Exeter Press.
Scott C., 2010: Intermediality and Synaesthesia: Literary Translation as Centrifugal Practice. „Art in Translation”, nr 2, s. 163—168.
Scott C., 2012a: Literary Translation and the Rediscovery of Reading. Cambridge, Cambridge University Press.
Scott C., 2012b: Translating the Perception of Text: Literary Translation and Phenomenology. Cambridge, Legenda.
Scott C., 2014a: Przekład i przestrzenie lektury. T. Brzostowska-Tereszkiewicz, przeł. „Poznańskie Studia Polonistyczne. Seria Literacka”, nr 23: Wyobraźnia w przekładzie, s. 209—226.
Scott C., 2014b: Translating Apollinaire. Exeter, University of Exeter Press.
Scott C., 2018: The Work of Literary Translation. Cambridge, Cambridge University Press.
Scott C., 2019: Understanding Understanding. Literary Translation as a Special Case of Interference. W: T. Brzostowska-Tereszkiewicz, M. Rembowska-Płuciennik, B. Śniecikowska, eds.: Understanding Misunderstanding. Vol. 1: Cross-Cultural Translation. Berlin, Peter Lang, s. 17—40.
Śniecikowska B., 2018: Awangardowe widokówki dźwiękowe. W: A. Stankowska, M. Telicki, A. Lewandowska, red.: Widzenie awangardy. Poznań, Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk, s. 35—54.
Tabaszewska J., 2012: Nieoryginalna ariergarda. Koncepcja Marjorie Perloff jako próba diagnozy statusu współczesnej poezji. „Teksty Drugie”, nr 3, s. 197—212.
Tokarz B., 1995: Tłumacz w centrum idei awangardowości. W: P. Fast, red.: Klasyczność i awangardowość w przekładzie. Katowice, Wydawnictwo Naukowe „Śląsk”, s. 43—49.
Tokarz B., 2010: Spotkania. Czasoprzestrzeń przekładu artystycznego. Katowice, Wydawnictwo Uniwersytetu Śląskiego.
Tomaszewski M., 1991: „Über allen Gipfeln ist Ruh” Goethego w pieśniach Zeltera, Schuberta, Schumanna i Liszta. W: M. Tomaszewski, red.: Wiersz i jego pieśniowe interpretacje. Zagadnienie tekstów wielokrotnie umuzycznionych. Studia porównawcze. Kraków, Akademia Muzyczna, s. 83—102.
Torah, [ok. 1250—1299]. Bodleian Library, Add 21160, fol. 19r, https://discardingimages.tumblr.com/post/153295485018/calligraphic-dragon-torah-germany-ca-1250-1299 [dostęp: 30.10.2019]; Pentateuch, ok. 1275—1325 (Bodleian Library, Canonici Or. 137, fol. 70v).
TransARTation! wandering texts, travelling objects 2017 (kuratorki: M. Perteghella, E. Loffredo, A. Milsom), http://transartation.co.uk/exhibition [dostęp: 31.10.2019].
Tyc G., 2017: Post-Avant-Garde Synthesis of Architecture and Art. W: A. Mielnik, ed.: Defining the architectural space: transmutations of concrete: monograph. Vol. 6. Kraków, Wydawnictwo Politechniki Krakowskiej, s. 87—94.
Tzara T., 1958: La Rose et le Chien: poème perpétuel. Pablo Picasso, illustré. Ales, PAB [P.A. Benoit].
Ulicka D., 2004: Ja czytam moje czytanie (o podmiocie wypowiedzi literackiej i literaturoznawczej). W: W. Bolecki, R. Nycz, red.: Narracja i tożsamość (II). Antropologiczne problemy literatury. Warszawa, Wydawnictwo IBL PAN i Fundacja „Centrum Międzynarodowych Badań Polonistycznych”, s. 152—179.
Vidal R., Chamarette J., [online]: Translation Games, http://translationgames.net [dostęp: 31.10.2019].
Vieira E.R.P., 1994: A Postmodern Translation Aesthetics in Brazil. W: M. Snell-Hornby, F. Pochhacker, K. Kaindl, eds.: Translation Studies: An Interdiscipline. Amsterdam, John Benjamins, s. 65—72.
Downloads
Published
How to Cite
Issue
Section
License
The Copyright Owners of the submitted texts grant the Reader the right to use the pdf documents under the provisions of the Creative Commons 4.0 International License: Attribution-Share-Alike (CC BY-SA). The user can copy and redistribute the material in any medium or format and remix, transform, and build upon the material for any purpose.
1. License
The University of Silesia Press provides immediate open access to journal’s content under the Creative Commons BY-SA 4.0 license (http://creativecommons.org/licenses/by-sa/4.0/). Authors who publish with this journal retain all copyrights and agree to the terms of the above-mentioned CC BY-SA 4.0 license.
2. Author’s Warranties
The author warrants that the article is original, written by stated author/s, has not been published before, contains no unlawful statements, does not infringe the rights of others, is subject to copyright that is vested exclusively in the author and free of any third party rights, and that any necessary written permissions to quote from other sources have been obtained by the author/s.
If the article contains illustrative material (drawings, photos, graphs, maps), the author declares that the said works are of his authorship, they do not infringe the rights of the third party (including personal rights, i.a. the authorization to reproduce physical likeness) and the author holds exclusive proprietary copyrights. The author publishes the above works as part of the article under the licence "Creative Commons Attribution-ShareAlike 4.0 International".
ATTENTION! When the legal situation of the illustrative material has not been determined and the necessary consent has not been granted by the proprietary copyrights holders, the submitted material will not be accepted for editorial process. At the same time the author takes full responsibility for providing false data (this also regards covering the costs incurred by the University of Silesia Press and financial claims of the third party).
3. User Rights
Under the CC BY-SA 4.0 license, the users are free to share (copy, distribute and transmit the contribution) and adapt (remix, transform, and build upon the material) the article for any purpose, provided they attribute the contribution in the manner specified by the author or licensor.
4. Co-Authorship
If the article was prepared jointly with other authors, the signatory of this form warrants that he/she has been authorized by all co-authors to sign this agreement on their behalf, and agrees to inform his/her co-authors of the terms of this agreement.
I hereby declare that in the event of withdrawal of the text from the publishing process or submitting it to another publisher without agreement from the editorial office, I agree to cover all costs incurred by the University of Silesia in connection with my application.
