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The medium of the page usually requires that we settle on one rendering, even though we may have considered hundreds of other possibilities before we arrive at the final text.The gestures of words expand, but often at the expense of other words.
And then rippling in ways that are individual, unpredictable, private.
To put it more simply, if writers are observers of life, then translators are observers of language.
P2 – Same, but apply to a cultural event – ballet – opera??
Text Shadow and the Moving Translation: An Essay by Laura Marris When I began to talk to artists about translating poetry, I said I wanted to make a text that could contain multiple interpretations.
Some words are momentary slips, while others stick for longer.
The conversation between poet and translator remains visible.Which is another way of saying the translator must choose between possible shades of meaning. Which can, of course, range from literal to wild, but I wanted to know what might happen if a translation was animated and faithful, if it was allowed to reflect the whole spectrum of meanings.Almost every word in a poetry translation could be another word, each phrase could be another phrase. In the video, new versions of words and lines substitute themselves into the text.Here is a very brief method I have taught for years that helps solve this exact problem, for the complete tutorial click here.Structure is quite essential when writing a fully relevant and well formatted essay.Instead of settling on one final version of the poem, the text remains unsettled, allowing a more complex portrait of a translator’s knowledge to remain on the page.This is not so much a process of revision as a process of recreating the state of mind that produces translated work.I wanted to work with Matt because his pieces react to the world, incorporating data to become reflections of the systems they study.His sculpture produces foam buildings that shrink or grow depending on housing prices.“I never set foot/ in the same river twice,” poet Paol Keineg writes, and it’s true—for each poem in his book-length sequence (Bad Language) there is a slight shift in landscape, a view from another day in a familiar place, another layer of lived experience.This is the first book Keineg wrote when, after living in America for thirty-five years, he returned to Kimerc’h, Brittany, the town he grew up in.