“UM MICH NEU ZU MACHEN” Switching the Language of Poetry by Jacques Jouet (original) (raw)
Related papers
Jacques Jouet : PPP - Projet poétique planétaire
HAL (Le Centre pour la Communication Scientifique Directe), 2018
Le poème adressé du jour devenu le PPP (Projet poétique planétaire) - Jacques Jouet (L’exposé du projet PPP et une première série de poèmes de Jacques Jouet, dans une traduction anglaise d’Ian Monk, sont publiés dans l’American Book Review, Houston-Victoria, USA, en juillet-août 2016.) Je compose, depuis le 1er avril 1992, le poème du jour, poème daté, localisé, frais du jour. Plus de vingt ans après, ils sont nombreux. Les quatre premières années ont été publiées en 1999 par les éditions P.O.L. sous le titre Navet, linge, œil-de-vieux. Les quatre suivantes Du jour ont paru chez le même éditeur en 2013. Diverses procédures ont été adoptées au fil des années : séries de natures mortes, de poèmes-portraits, de poèmes adressés, de poèmes sur écoute musicale, etc… J’ai commencé le 29 mai 2013 ce qui sera la dernière procédure – inachevable – de cette entreprise, le poème adressé du jour ou PPP, projet poétique planétaire. Cette proposition reprend un poème adressé écrit à Limerick lors de la 17ème conférence annuelle de l’ADEFFI (Association des Etudes Françaises d’Irlande). Il répond à son "rêve" que "chaque être humain, semblable, co-listier, amie inconnue, frère… ait un jour le sien". Pour cela il dit " j’aurai peut-être été aidé par d’autres, de mon vivant ; ils continueront peut-être après ma mort." Ce texte raconte la dissémination du poème de langue en langue et de place en place.
Translations| The Stimulating Challenges of Translating Contemporary Swiss German Poetry
International Journal of Communication, 2016
This article addresses the linguistic and cultural challenges that contemporary Swiss German poetry presented to an Italian translator. It is an outcome of a two-year experience of translating more than 100 short poems by Werner Lutz from German into Italian. The poems were translated based on a complementary twofold, seemingly contradictory approach comprising both a source-oriented viewpoint emphasizing nostalgia for the original and the unavoidable target-oriented perspective that stresses “an ultimate untranslatability” of many expressions. To highlight both aspects, the poetic language of Lutz is examined in terms of linguistic and cultural differences between German and Italian, and by presenting a comparative treatment of the translation problems.
The Stimulating Challenges of Translating Contemporary Swiss German Poetry
2016
This article addresses the linguistic and cultural challenges that contemporary Swiss German poetry presented to an Italian translator. It is an outcome of a two-year experience of translating more than 100 short poems by Werner Lutz from German into Italian. The poems were translated based on a complementary twofold, seemingly contradictory approach comprising both a source-oriented viewpoint emphasizing nostalgia for the original and the unavoidable target-oriented perspective that stresses "an ultimate untranslatability" of many expressions. To highlight both aspects, the poetic language of Lutz is examined in terms of linguistic and cultural differences between German and Italian, and by presenting a comparative treatment of the translation problems.
2015
Eugene Jolas, the first-time publisher of James Joyce's Finnegans Wake (1939/2012), started his career as a translingual journalist and poet. A French-German bilingual, Jolas acquired English in adolescence, crossing the Atlantic to refashion himself as an American man of letters. A "Man from Babel," as he styles himself in his posthumous autobiography of the same title (1998), Jolas published poetry in English, French, and German and eventually arrived to an understanding of his linguistic predicament as representative of humanity's path back to a pre-Babel state. Thus, he repeatedly called for a new language, a poetically-charged polygloss, Atlantica, that would surpass Esperanto and allow poets to lead humanity out of a postwar "malady of language." 1 Here as elsewhere, this self-identified "homme migrateur presque symbolique" was right in his claim: "je fais toujours partie du cosmos inter-racial et inter-linguistique, …. j'appartiens au futur ("The Migrator and His Language," 1948; French draft Box 4, Folder 100; translation Jolas, 2009, p. 458). This paper explores Jolas' largely unpublished legacy as a multilingual poet. In addition to published collections of poems in three languages, Jolas left a largely forgotten legacy of multilingual, macaronic, and outright nonsense texts that baffle by their inventiveness. These curious poems, which oscillate between virtuosic linguistic creativity and the construction of a new language, carve out a niche within the modernist movement for literally and metaphorically non-native use of poetic language. Jolas does more than simply create a multilingual collage; he is reconstructing the experience of a creative mind that knows no borders between linguistic systems. By forcing us into a world where any words can enter into any relationships, this experiment in a multilingual poetics invites the critic to think not in terms of poetic value alone but also in terms of method, and it is an extrapolation of this method that this article seeks to achieve.. _______________ The author wishes to thank the Beinecke Rare Book and Manuscript Library for a generous fellowship to work with the Eugene and Maria Jolas papers, Betsy Jolas for her kind support at the research stage of this work, Timothy Young, and the guest editors of the L2 Journal.
?Le Style, C'Est Le Diable?: Twentieth-Century German Poetry in Dialogue with Paul Val�ry
German Life and Letters, 2007
This article explores the dialectic of rejection and affinity shared by the responses to Paul Valéry of three non-German German-language poets. Despite significant affinities in cultural ambition and poetics (notably between 'L'Âme et la danse' and 'Das Gesprächüber Gedichte'), there is little evidence of an influence exerted by Valéry on Hofmannsthal, who was strangely suspicious of him. In contrast, Rilke was hugely enthusiastic, and although his translations of Valéry did not give the often asserted impetus for the creative flowering of 1922, other somewhat uncharacteristic poems (such as 'Zueignung an M.' and 'Der Magier') positively reflect his encounter with Valéry's Mallarméan conception of the poet. However, his versions of Charmes display less poetological proximité than the revisionary effects of a much less overtly self-conscious view of poetry, shown here with 'Les Grenades'. Celan's translation of La Jeune Parque was a systematic attempt to subvert the solipsism of the original study in self-consciousness and ostensibly incarnates his rejection of the aesthetics of an overly intellectual poetry. However, possible reasons why his initial reluctance to translate Valéry was eventually overcome are discernible in the nearcontemporaneous speech, 'Der Meridian', which explores the utopian notion of 'freiwerdende Sprache', partly in response to Valéry.
Deganutti Domokos Mudriczki Code Switching in Arts open access pages 3 63 69
Switching the Language of Poetry by Jacques Jouet tut Levente Seláf Very recently, by an act that surprised the entire French literary public interested in poetry, the well-known French author Jacques Jouet (1947), member of the Oulipo, took the drastic decision to give up publishing poetry in his French mother tongue and switch to German. After writing an important oeuvre in French, including a dozen novels and books of poetry, widely read all over the French-speaking world, and also known in English translations, his decision came very abruptly in Spring 2022, at the age of 74. Since 1983, his entry to the Oulipo, Jouet was a prolific author. He invented several poetical constraints, and most of his poems were composed in an Oulipian spirit, following (complex) formal rules. While his elder colleague and co-member, the poet and former mathematician Jacques Roubaud is obsessed by numbers and all poetical devices based on them, the new poetic forms invented by Jouet seem to reflect a major interest in time and space: for instance the "monostiques paysagers," 1 and the "chronopoèmes," poems whose length is calculated in advance with the time necessary to their reading out, controlled with the help of a chronometer, 2 etc. His self-constraining practice of "poèmes du jour" (daily poems) is also related to his attachment to time as a major motif, or a principle of poetical creation: 1 st April 1992 Jouet decided to compose at least one poem per day, and he has continued to do so since then without interruption; a good part of these "daily poems" have been published in several volumes. 3 Some 21 years later, 29 May 2013, Jouet launched another initiative, the "ppp"-projet poétique planétaire. 4 It consists of sending his daily poems day after day to a single person. The final goal of this radical initiative is to offer a
Translating Linguistic Poetry: Mario Martín Gijón's "Rendicción" in Polish, English and French
Przekładaniec, 2023
The lyrical work of Spanish poet Mario Martín Gijón is linguistic in the extreme. Not only does he juxtapose similar-sounding words, but he fuses them graphically into one, with parentheses containing a word fragment [me(re)ce, entreg(u)arme] or two fragments separated by a slash [conju(r/nt)os, in(v/f)ierno]; he also uses enjambment within words (cor / reo, tarde / seosa). These techniques result in a multiplication of readings, which constitutes a major challenge for translators. Terence Dooley, Miguel Ángel Real and the author of this essay (here in the dual role of translator and researcher) translated Martín Gijón's poetry into English, French and Polish, respectively. Each translator had at their disposal language matter with very distinctive characteristics. The translator into French was able to take advantage of the largely convergent Romance roots, which made it possible to recreate many word games on a one-to-one scale or with only minimal changes. The English language afforded such a possibility much less frequently, and Polish, just once. As a result, the English and Polish translations are recreations to a much larger extent than the French one. However, the significant differences between each of the versions stem not only from the properties of the target languages, but also from the different approaches of the translators.
Translating the poetry of Apollinaire: Description of a project
2013
This article outlines founding principles and a guiding strategy for the translation of Apollinaire’s poetry; many aspects of the strategy reflect the convictions and practices of Apollinaire’s own poetics. But the article is particularly concerned to argue that translation’s task is the projection of the source text into its future, rather than being an act of recuperation or preservation; this argument is pursued and evaluated with reference to the thinking of Yves Bonnefoy, and entails the differentiation of sense and meaning. The closing section is concerned with the part that might be played in this ‘multilingual’ translational project by photography, and, more particularly, by collages of photographic fragments.