This study examines two translation approaches prominent among English translations of modern Japanese free verse poetry. The purpose is twofold: to provide a critical history of the first book-length English translations of individual poets, published over roughly a ten-year period; and to identify and examine, among those publications, works that took a distinctive and challenging translation approach. The main argument is that the chief works examined in this study each present a differing approach that challenges the dominant postwar discourse on translation in the Japanese literary studies community. The study fills a conspicuous gap in translation studies, since it is the first in-depth examination of modern Japanese poetry in translation. It focuses on two translation approaches, specifically “interpretive” and “source-oriented” translation, which have tended to be loosely associated with the vague notions of “free” translation and “literal” translation respectively. The importance of the study stems from its clarified definitions of these approaches through analyses of published translations featuring their rigorous use. It also suggests arguments for and implications of using and identifying these approaches, both for the translator and for translation scholars. Modern poetry was chosen as a genre because it features the two approaches prominently and because it was felt important to focus on a genre somewhat marginalised among publications of Japanese literature in translation. The study focuses in particular on translations published in the period 1968-1978, because this represented a flowering period of publications of modern Japanese poetry, including the first book-length publications of individual poets. Chapter One has two parts: definitions and contexts. The definitions section is a brief discussion of translation theory focusing on views that have gone beyond the “literal” versus “free” argument, and it examines a number of significant statements in the field of translations studies in order to develop useful definitions of key terms used throughout the study. The second half contextualises the significance of the chosen publications in the Japanese literary studies community. This includes a brief history of translation and translation theory focusing on the views of the dominant translators in the early postwar years, including discussions, disagreements or criticisms concerning the “right” way to translate. It also includes an analysis of attitudes towards modern poetry among scholars and translators of Japanese literature and a brief discussion of translations of modern Japanese poetry. Chapter Two examines poet Gary Snyder’s interpretive and transformative translations of Miyazawa Kenji’s (1896-1933) poems “Haru to shura” (Spring and Asura) and “Nusubito” (The Thief). The chapter shows how Snyder’s renditions of these poems can be related to the structure and themes of his own poetry collection The Back Country (1968) in which the translations appeared. By throwing his interpretive reading of these poems into the translations, as well as making some creative adjustments, Snyder allows the translations to fit within the thematic movement of his own collection. This chapter also argues that the act of identifying interpretive approaches in the case of poet-translators can be an an important tool in establishing links between the translations and the poet’s original literary works, and even further links with the poet’s life and philosophy. Chapter Three examines Hiroaki Sato’s translations of Hagiwara Sakutarō (1886-1942) in Howling at the Moon (1978). Sato takes an estranging, source-oriented approach similar to Lawrence Venuti’s concept of “foreignisation”, an approach that signals the difference of the source text and culture by departing from accepted language usage. With Sato’s translations we can observe the estranging effect of the source-oriented approach working in two directions: suggesting the difference of source text syntax from the target language perspective; and giving an equivalent effect of some unusual language use that was already estranging for source language readers. Sato sees the estranging function of Sakutarō’s syntax as an essential element of his poetry, and has developed his whole translation strategy around this view. Chapter Four discusses Cid Corman and Kamaike Susumu’s translations of Kusano Shinpei’s frog poems in frogs &. others. (1969). As with Sato’s versions of Sakutarō, Corman and Kamaike take a source-oriented approach, and their clever use of text selection and ordering as translation strategies has enabled them to convey their interpretation of Kusano Shinpei’s frog poems as directing a defamiliarising gaze back at humans and human society. Rather than aiming for complete linguistic accuracy as Sato does, they focus on a mirror-image source-oriented approach—often reproducing the source text’s word order and line order—not only as a means to suggest Kusano’s syntax, but also as a form of language experimentation and wordplay that enables their translations to stand out as autonomous poetic texts.

This study examines two translation approaches prominent among English translations of modern Japanese free verse poetry. The purpose is twofold: to provide a critical history of the first book-length English translations of individual poets, published over roughly a ten-year period; and to identify and examine, among those publications, works that took a distinctive and challenging translation approach. The main argument is that the chief works examined in this study each present a differing approach that challenges the dominant postwar discourse on translation in the Japanese literary studies community. The study fills a conspicuous gap in translation studies, since it is the first in-depth examination of modern Japanese poetry in translation. It focuses on two translation approaches, specifically “interpretive” and “source-oriented” translation, which have tended to be loosely associated with the vague notions of “free” translation and “literal” translation respectively. The importance of the study stems from its clarified definitions of these approaches through analyses of published translations featuring their rigorous use. It also suggests arguments for and implications of using and identifying these approaches, both for the translator and for translation scholars. Modern poetry was chosen as a genre because it features the two approaches prominently and because it was felt important to focus on a genre somewhat marginalised among publications of Japanese literature in translation. The study focuses in particular on translations published in the period 1968-1978, because this represented a flowering period of publications of modern Japanese poetry, including the first book-length publications of individual poets. Chapter One has two parts: definitions and contexts. The definitions section is a brief discussion of translation theory focusing on views that have gone beyond the “literal” versus “free” argument, and it examines a number of significant statements in the field of translations studies in order to develop useful definitions of key terms used throughout the study. The second half contextualises the significance of the chosen publications in the Japanese literary studies community. This includes a brief history of translation and translation theory focusing on the views of the dominant translators in the early postwar years, including discussions, disagreements or criticisms concerning the “right” way to translate. It also includes an analysis of attitudes towards modern poetry among scholars and translators of Japanese literature and a brief discussion of translations of modern Japanese poetry. Chapter Two examines poet Gary Snyder’s interpretive and transformative translations of Miyazawa Kenji’s (1896-1933) poems “Haru to shura” (Spring and Asura) and “Nusubito” (The Thief). The chapter shows how Snyder’s renditions of these poems can be related to the structure and themes of his own poetry collection The Back Country (1968) in which the translations appeared. By throwing his interpretive reading of these poems into the translations, as well as making some creative adjustments, Snyder allows the translations to fit within the thematic movement of his own collection. This chapter also argues that the act of identifying interpretive approaches in the case of poet-translators can be an an important tool in establishing links between the translations and the poet’s original literary works, and even further links with the poet’s life and philosophy. Chapter Three examines Hiroaki Sato’s translations of Hagiwara Sakutarō (1886-1942) in Howling at the Moon (1978). Sato takes an estranging, source-oriented approach similar to Lawrence Venuti’s concept of “foreignisation”, an approach that signals the difference of the source text and culture by departing from accepted language usage. With Sato’s translations we can observe the estranging effect of the source-oriented approach working in two directions: suggesting the difference of source text syntax from the target language perspective; and giving an equivalent effect of some unusual language use that was already estranging for source language readers. Sato sees the estranging function of Sakutarō’s syntax as an essential element of his poetry, and has developed his whole translation strategy around this view. Chapter Four discusses Cid Corman and Kamaike Susumu’s translations of Kusano Shinpei’s frog poems in frogs &. others. (1969). As with Sato’s versions of Sakutarō, Corman and Kamaike take a source-oriented approach, and their clever use of text selection and ordering as translation strategies has enabled them to convey their interpretation of Kusano Shinpei’s frog poems as directing a defamiliarising gaze back at humans and human society. Rather than aiming for complete linguistic accuracy as Sato does, they focus on a mirror-image source-oriented approach—often reproducing the source text’s word order and line order—not only as a means to suggest Kusano’s syntax, but also as a form of language experimentation and wordplay that enables their translations to stand out as autonomous poetic texts.

Esta tese oferece um panorama de ideias sobre a tradução do verso livre em inglês para o português com base em uma pesquisa feita com dez tradutores brasileiros, por meio de um questionário com 13 perguntas abordando diferentes aspectos do tema. A pesquisa contextualiza as respostas com um perfil detalhado de cada um dos tradutores que participaram dela e uma análise contrastiva do grupo em conjunto, com base nos conceitos de habitus e campo, desenvolvidos pelo sociólogo Pierre Bourdieu, aplicados à area da tradução. A tese conclui que a visão dos entrevistados reflete aspectos do conceito de verso livre, que engloba uma série de estilos poéticos, e enumera os pontos mais relevantes no conjunto das respostas, como a divisão dos poemas em versos livres em categorias, a necessidade de identificar o princípio de organização do poema e considerações a respeito da tradução do ritmo. / This thesis makes an overview of ideas on the translation of free verse from English into Portuguese based on a survey with ten Brazilian translators, who answered a questionnaire with 13 questions about different aspects of the subject. The study contextualizes the answers with a detailed profile of each participant, based on the concepts of field and habitus, developed by sociologist Pierre Bourdieu, applied to translation. It concludes that the answers reflect aspects of the concept of free verse and identifies the most important points, like the division of free verse poems into categories, the need to identify the organization principle of the poem, and considerations on translation of rhythm.

This project consists of nineteen poems produced during my undergraduate career at the University of New Orleans. Issues concerning the female body; science (particularly astronomy and evolutionary theory); and theories about the creative process, capitalism, and relationships characterize the themes of this manuscript. Some poems are clearly part of the same narrative, while others are composed in various modes: epistle, address, self-definition, elegy, and lyric. This thesis includes prose and emblematic forms; there are poems styled after other poets and one composed entirely of “found” sentences. The poems consider what it means to be a young poet in 2017—a time when the artist must constantly argue for the importance of art and herself in an increasingly tense political and socioeconomic environment. I plan to submit these poems to literary journals.

Nîmâ Youchîdj, père de la poésie nouvelle en Iran, bénéficie d’apports culturels multiples dans le domaine de lalittérature persane et mondiale. Parmi les facteurs fondamentaux dans la réussite de ce poète novateur, la connaissancede la langue et de la littérature française apparaissent primordiales. C’est à l’école Saint-Louis que le poète s’initie à lalangue française, et que naît alors une véritable passion pour la littérature française, ses écrits en sont un témoignagefidèle. La maîtrise de cette langue lui ouvre de nouvelles perspectives littéraires. Il fréquente avec assiduité les ouvragespoétiques du XIXe siècle.Aussi le présent travail analyse l’influence d’Arthur Rimbaud, figure phare de la poésie française, sur la théorie et lapoésie de ce poète iranien. La méthodologie de base de cette thèse est puisée dans les théories de Carl Gustave Jung etde Gaston Bachelard. Afin de présenter l’importance de Nîmâ Youchîdj dans la révolution littéraire, cette étude traitedes différents styles et mouvements littéraires en Iran et du rôle de quelques poètes novateurs dans la modernisation dela poésie persane. La fréquence des éléments fondamentaux communs entre la poésie de ces deux poètes, la nature, lesconnotations symboliques et politiques et en particulier la notion de la poésie « objective » constituent le corps de cetteétude comparatiste. Celle-ci montre comment et dans quelle mesure le poète persan s’inspire des écrits d’ArthurRimbaud, précurseur de la poésie objective française pour fonder son manifeste et rompre avec la poésie classique, afinde fonder la « poésie libre » en Iran. / Youchîdj Nima, father of the new poetry in Iran, benefits from multiple cultural contributions in the field of Persian andworld literature. Among the fundamental factors in the success of this innovative poet, knowledge of the Frenchlanguage and literature seems to be of paramount importance. The poet started learning French language at the St. Louisschool where his passion for French literature is born; his writings are a true testimony to it. His command of Frenchopened up new literary perspectives for him. He studied diligently the poetic works of the 19th century.Moreover the present work analyses the influence of iconic French poet Arthur Rimbaud on the theory and poetry ofYouchîdj. The basic methodology of this thesis is drawn from the theories of Gustave Carl Jung and Gaston Bachelard.In order to present the importance of Nima Youchîdj in the literary revolution, this study deals with different styles andliterary movements in Iran and the role of several innovative poets in modernizing the Persian poetry. The frequency ofcommon fundamental elements between the poetry of these two poets forms the body of this comparative study whichincludes: nature, symbolic and political connotations, and especially the notion of the “objective” poetry. It shows howand to what extent the Persian poet was inspired to begin free poetry in Iran, following the writings of Arthur Rimbaud,the French pioneer of objective poetry who created his manifesto and broke away from classical poetry.

No description available.

京都大学 / 0048 / 新制・課程博士 / 博士(人間・環境学) / 甲第20474号 / 人博第824号 / 新制||人||197(附属図書館) / 28||人博||824(吉田南総合図書館) / 京都大学大学院人間・環境学研究科共生文明学専攻 / (主査)教授 桂山 康司, 教授 水野 眞理, 准教授 池田 寛子, 教授 長畑 明利 / 学位規則第4条第1項該当 / Doctor of Human and Environmental Studies / Kyoto University / DGAM

This is a collection of poems that are confrontations with the self – the self as a vessel of memory (hence the “Post” in the title, in addition to its double-meaning of “Post,” as in online self-revelation), as writer, as mother of a young child, as wife, as lover, writer, psyche, self-reflexive animal. The voice is private, heightened, direct, and colloquial, engaging in unexpected imagery, figurative language, and grammatical-play, and drawing from all levels of language and culture. The poems often record the process of trying to untangle the complexity of the self at the moment of writing, and they incorporate the particulars of the moment of writing, or associations at the moment of writing, as scaffolding for self-reflection. They are philosophical in a personal sense. Some of areas of concern explored or touched on in the poems include place, privilege, God, music, contradiction, ambivalence, the intersections of pain and pleasure, family, community, isolation, connection/disconnection, romantic love, gender, sexuality, victimization, morality language, and depression, but most of all, the state and degree and struggle for self-awareness vis-à-vis these issues. Most of these poems come through a self or a self-persona, and that self is a sensitive, even volatile character – through childhood, adolescence, marriage & martial separation, and motherhood. Often, in these poems, this self seeks refuge, escape, and redemption through language and through the body. The poet also explores form and poetic mode, in disrupted or reimagined narrative, villanelle, elegy, and sonnet form. / Master of Fine Arts

[pt] Esta pesquisa propõe uma reflexão sobre as gravações de voz realizadas por poetas e o desenvolvimento do verso livre novo. Partindo da hipótese de que este tipo de gravação teria se tornado, para poetas que trabalham com o verso livre, um efetivo modo de escrita e entendendo as gravações como possível prática artística mais do que mero registro ou arquivo, os poemas, escritos e gravados, são analisados aqui principalmente a partir da relação entre sua dimensão gráfica e sonora. O trabalho do poeta estadunidense Frank O Hara é o principal objeto da análise. / [en] This research analyzes the act of recording the voice when made by poets. Looking at this type of recording as a possible way of writing, and understanding it also as an artistic practice more than merely a kind of archive, the poems, written and recorded, are analyzed here mainly as regards their relationship between their graphic and sound dimension. The American poet Frank O Hara is taken and analyzed as the main example of this practice.

This diploma work is mainly a monography of a Czech author Pavel Zajicek. The base of this study is the analysis and the interpretation of his lifelong official and samizdat literary work. In the analysis of some of his prerevolutionary books as the main source I used mainly the critiques of the contemporary literary magazines. I also present the life of the author itself, especially in the context of the period he lived in. I will briefly mention two musical bands that are closely related to this personality {--} DG 307 and PPU. In my studies I use my personal e-mail with Pavel Z. and I do not forget to observe all accesible dialogues with this poet. This diploma work is mainly a monography of a Czech author Pavel Zajicek. The base of this study is the analysis and the interpretation of his lifelong official and samizdat literary work. In the analysis of some of his prerevolutionary books as the main source I used mainly the critiques of the contemporary literary magazines. I also present the life of the author itself, especially in the context of the period he lived in. I will briefly mention two musical bands that are closely related to this personality {--} DG 307 and PPU. In my studies I use my personal e-mail with Pavel Z. and I do not forget to observe all accesible dialogues with this poet. This diploma work is mainly a monography of a Czech author Pavel Zajicek. The base of this study is the analysis and the interpretation of his lifelong official and samizdat literary work. In the analysis of some of his prerevolutionary books as the main source I used mainly the critiques of the contemporary literary magazines. I also present the life of the author itself, especially in the context of the period he lived in. I will briefly mention two musical bands that are closely related to this personality {--} DG 307 and PPU. In my studies I use my personal e-mail with Pavel Z. and I do not forget to observe all accesible dialogues with this poet.