Thesis (Ph. D.)--University of Washington, 1996. / Vita. Includes bibliographical references (leaves [170]-174).

Thesis (MA)--Stellenbosch University, 2016 / AFRIKAANSE OPSOMMING: Hierdie tesis is ’n studie van Anne Carson se boek Nox wat die vorm, voorkoms, prosesse en samestelling van die teks ondersoek en analiseer. Dit probeer tot ’n begrip kom van presies hoe Carson “a brilliantly curated heap of scraps” verwerk tot ’n outonome kunswerk, “a thing that carries itself.” In die eerste gedeelte van die tesis word Nox as voorbeeld van ’n kunsboek (“artists’ book”) beskou. Nox se inhoud en voorkoms word gemeet aan die definisie en kenmerke van kunsboeke en binne die konteks van die geskiedenis van boekkuns as praktyk geplaas. Daar word veral gefokus op die visuele aard van Nox, die maniere waarop die boek verskil van meer konvensionele tekste, die selfbewustheid en selfrefleksie wat in die teks manifesteer en die eenheid van vorm en inhoud wat die outeur/kunstenaar bewerkstellig. Die tweede gedeelte ondersoek hoe vertaling op verskillende vlakke as proses in die skep van Nox funksioneer. Die fragmente en brokstukke waaruit die teks bestaan word deur middel van vertaling tot ’n eenheid gebind. Die proses van lewensbeskrywing word op metaforiese vlak as ’n soort vertaling gesien, wat parallel staan teenoor die letterlike vertaling van Catullus se “Gedig 101” wat op die bladsye van Nox plaasvind. Terselfdertyd verteenwoordig die wyse waarop ’n private objek (Carson se notaboek waarin sy die oorspronklike brokke byeengebring het) verwerk word tot ’n publieke kunswerk (die kunsboek Nox) ’n volgende vlak van vertaling wat die ander twee vlakke omarm en bevat. Deur middel van ’n proses van intersemiotiese vertaling skep Carson in die kunsboek Nox ’n weergawe van “Gedig 101”. Die manier waarop die gedig betekenis skep word in ander tekensisteme in die kunsboek nageboots. In die laaste afdeling word semiotiek aangewend as teoretiese raamwerk waarbinne ’n teks wat uit verskillende media saamgestel is, ondersoek kan word. In dié gedeelte word ’n stiplees van Nox onderneem om te demonstreer presies hoe Carson die fragmente en brokstukke verwerk om ’n samehangende eenheid te skep. Daar word aangedui dat die teks gelees kan word as ’n vertraagde, verskerpte en ontplofte vertaalhandeling wat uitdrukking en vorm gee aan menslike smart. Die bundel Afskrif bestaan uit gedigte wat die moontlikheid van oorspronklikheid ondersoek en op verskillende maniere kyk na replikas, afskrifte, kopieë en herskrywings. / ENGLISH ABSTRACT: This thesis is a study of Anne Carson’s book Nox. It investigates the form, aesthetic, process and composition of the text, and attempts to come to an understanding of the way in which Carson transforms a “brilliantly curated heap of scraps” into an autonomous artwork, “a thing that carries itself.” The first section of the thesis discusses Nox as an example of an artist’s book. The content and appearance of the book are measured against the definition and characteristics of artist’s books, before it is placed within the context of the history of bookwork as an artistic practice. The visual nature of the book, the ways in which it challenges conventions of bookmaking, its self-consciousness and self-reflexivity, as well as the author/artist’s means of creating unity between form and content are emphasised. The second section of the thesis investigates how translation is used at different levels in the process of creating the work. Translation is used as a way of drawing together the fragments and scraps from which Nox is essentially made. At a metaphoric level, the process of life writing is seen as a form of translation, which also runs parallel to the literal translation of Catullus’ “Poem 101” contained in the pages of Nox. At the same time, the transformation of a private object (Carson’s personal notebook in which she collected the original scraps) into an artwork for public consumption (the artist’s book Nox) represents a third level of translation, which embraces and contains the other two. Through a process of intersemiotic translation, Carson creates a version of “Poem 101” in her artists’ book that mimics the way in which the poem creates meaning. In the last section of the thesis, semiotics is applied as a theoretical framework to facilitate the reading of a text in which various media is present. A close reading of Nox is undertaken to demonstrate exactly how Carson goes about processing the fragments and scraps into a coherent unity. The close reading reveals that Nox can be read as a slow, intensified and exploded exercise in translation that gives expression to grief. The collection of poems entitled Afskrif consists of poems which question the possibility of originality and investigates replicas, photocopies, copies and rewritings in different ways.

This thesis argues that François Villon becomes a significant, but overlooked, influence in the tradition of English poetry, and that this influence reveals itself in translations, adaptations, and responses to his work. By focusing on the way in which numerous high profile poets in the United Kingdom and the United States have reacted to Villon, this study will posit that the reasons behind the appeal of his oeuvre as a source text lie both in the protean nature of his narrative voice and in the myth of his life. The inter-lingual intertextual relationships established through translation and the residue of Villon in English poetic tradition will be presented by means of five case studies, all taking the work of a specific poet as their theme: Algernon Charles Swinburne; Dante Gabriel Rossetti; Ezra Pound; Basil Bunting; and Robert Lowell. These five poets are presented as being exemplary of a greater tradition of translating Villon into English, and will take the reader from the first verse translations of his work in the nineteenth century, to postmodern adaptations and parodies of Villon in the twentieth. They will illustrate the specified intertextual relationships that exist both between source text and target text, and the work of one translator and another, thereby demonstrating the accumulation of influences at play in any one translation of this medieval French poet. In so doing, this thesis will also explore translation and adaptation as dialogical and transformative spaces, distinct from other genres in their ability to establish cross-cultural and interlingual intertexts. Translation and adaptation as spaces of cultural and linguistic hybridity will be demonstrated by observing some of the ways in which Villon has left his mark on English verse, and some of the Villons that anglophone poets have created in their turn.

Roy Campbell (1901-1957), who ranks among South Africa's leading poets, was also a gifted and skilled translator. Shortly after the Second World War he was commissioned by the Spanish scholar Rafael Martinez Nadal to supply the English translations for a planned edition of the complete works of the Spanish poet and dramatist, Federico Garcia Lorca, to be published by Faber and Faber, London. However, most of these translations remained unpublished until 1985, when the poetry translations (but not the translations of the plays) were included in Volume II of a four-volume edition entitled Campbell: Collected Works, edited by Alexander, Chapman and Leveson, and published in South Africa. In 198617, Eisenberg published a collection of letters from the archives of the Spanish poet and publisher Guillermo de Torre in a Spanish journal, Ana/es de Literatura Espanola, Alicante, which revealed that the politically-motivated intervention in 1946 of Arturo and Ilsa Barea, Republican supporters who were living in exile in London, prevented the publication of Campbell's Lorca translations. These poetry translations are studied here and compared with the work of other translators of Lorca, ranging from Lloyd (1937) to Havard (1990), and including some Afrikaans versions by Uys Krige (1987). For the analysis an eclectic framework is used that incorporates ideas from work on the relevance theory of communication (Sperber and Wilson 1986) as applied to translation theory by Gutt (1990, 1991) and Bell (1991), among others, together with Eco's (1979, 1990) semiotic-interpretive approach. The analysis shows that although Campbell's translating is constrained by its purpose of forming part of a Lorca edition, his versions of Lorca' s poetry are nevertheless predominantly oriented towards the target-language reader. In striving to communicate Lorca's poetry to an English audience, Campbell demonstrates his skill and creativity at all levels of language. Campbell's translations that were published during his lifetime earned him a place among the best poetry translators of this century. The Lorca translations, posthumously added to the corpus of his published work, enhance an already established reputation as a fine translator of poetry. / Classics & Modern European Languages / D. Lit. et Phil. (Spanish)

Roy Campbell (1901-1957), who ranks among South Africa's leading poets, was also a gifted and skilled translator. Shortly after the Second World War he was commissioned by the Spanish scholar Rafael Martinez Nadal to supply the English translations for a planned edition of the complete works of the Spanish poet and dramatist, Federico Garcia Lorca, to be published by Faber and Faber, London. However, most of these translations remained unpublished until 1985, when the poetry translations (but not the translations of the plays) were included in Volume II of a four-volume edition entitled Campbell: Collected Works, edited by Alexander, Chapman and Leveson, and published in South Africa. In 198617, Eisenberg published a collection of letters from the archives of the Spanish poet and publisher Guillermo de Torre in a Spanish journal, Ana/es de Literatura Espanola, Alicante, which revealed that the politically-motivated intervention in 1946 of Arturo and Ilsa Barea, Republican supporters who were living in exile in London, prevented the publication of Campbell's Lorca translations. These poetry translations are studied here and compared with the work of other translators of Lorca, ranging from Lloyd (1937) to Havard (1990), and including some Afrikaans versions by Uys Krige (1987). For the analysis an eclectic framework is used that incorporates ideas from work on the relevance theory of communication (Sperber and Wilson 1986) as applied to translation theory by Gutt (1990, 1991) and Bell (1991), among others, together with Eco's (1979, 1990) semiotic-interpretive approach. The analysis shows that although Campbell's translating is constrained by its purpose of forming part of a Lorca edition, his versions of Lorca' s poetry are nevertheless predominantly oriented towards the target-language reader. In striving to communicate Lorca's poetry to an English audience, Campbell demonstrates his skill and creativity at all levels of language. Campbell's translations that were published during his lifetime earned him a place among the best poetry translators of this century. The Lorca translations, posthumously added to the corpus of his published work, enhance an already established reputation as a fine translator of poetry. / Classics and Modern European Languages / D. Lit. et Phil. (Spanish)