NOTES : TRANS : LATE
ABSORBED IN FACTS AND MAGIC DEVOTION FOR PARTICULARS, FOR THE DETAILS.........
(detta kom från en italiens artikel, jag kunde inte läsa, om agamben och Benjamin.....: jag hade läst innan om/i agamben:
5 notes i made when reading giorgio agamben the coming community :
DEMONIC / It is the birth in God of love / THE CUTENESS OF GOD! / BARTLEBY: / Kant: possibility: a thing in whatever time. / aristotles: the potential to not-be / THOUGHT, IN ITS ESSENS, IS PURE POTENTIALITY.... ALSO POTENTIALITY TO NOT THINK.... AS POSSIBLE AND MATERIAL INTELLECT...: THE NOT-YET-WRITTEN / POTENTIALITET, THE THOUGHT OF THOUGHT – WHAT IT THINKS, ÄR INTE OBJECT/BEING-IN-ACT, MEN: LAYER OF WAX ACTION AND PASSION / Ethics
There is no essence, /
))))))))
KOLLAR PÅ TEXT AV SHERRY SIMON: TRANSLATING MONTREAL :
The orientation is crucial. During the hot summer of 1966, to turn east is to move in the direction of the future.--------------
FICK MINNE AV LÄSNING AV PROBYNS OUTSIDE BELONGINGS (UTSPELAR DEN SIG I MONTREAL TILL VISS DEL KANSKE?)
INSERT:
OUTSIDE BELONGINGS ELSPETH PROBYN LÄSANTECKNINGAR
(becmin-horse) – vad som ligger bortanför ”identitet” Stuart Hall… sociology of the skin Deluze varnar: against ”appying” theory heterotopia: the coexistence of different orders of space LÄS: ELIZABETH GROSZ
On the surface: specificity: necessary zones of difference – but departure. Singularity I NOT voluntary performance // NOT individualized ORDEN – dom små förskjutningarna..
BECOMING-HORSE:
Desire to become other /// ANVÄND FÖR ARTIKEL OM VAMPYR-HÄSTAR/// arv &myt - att instinktivt veta vem som tillhör… what a body can do DESIRE AS METHOD desire that translates across. Co-functioning queer points of departure pleasure that interrupts the positivity of desire DESIRE’S METHOD madness of possibilities
Suspended belongings Childhood as Event Foucault: the fictive is the distancing proper to language. Nostalgia as the impossibility of placing true origins. ////DETTA OM QUEER BARNDOM////
Disciplinary desires.
////
By turning east, Reid will be able to translate for his readers the political and literary ideas that are percolating just beyond the language line
He tries his hand at soundscape too, doing his best to notate the music of the language he hears. “What do they say? Hard to bring it back, hard to keep it out of your ears . . . When you pass through, smile at a grammatical construction that doesn’t correspond to the textbooks, repeat it to yourself” (Reid 1972: 14). He reproduces the accent, the interference of languages, the slurring, the bad grammar: “C’est pour ça que j’t’d’mandais talurr”; “mwey itou j’ai rentré”; “Kessay j’ai fait?”; “Watch out, tu vas vwere!”; “C’est pu pareil” (ibid.: 13)
LJUDET TALET I GRAMMATIKEN
Reid wants his readers to hear the joual of the streets and to understand its political meaning. He shows that French is infiltrated by English without prior permission. Short cuts, incorrect grammar – these are common to all languages. But what makes joual different is interference from another language. The English words and forms that enter the language of rue de la Visitation are not “graceful cultural borrowings, but the imprints of an English-language-using industrial system” (ibid.: 15–16). Reid will show how writers like Jacques Renaud donned “the sackcloth of joual” (ibid.: 62) and fashioned it into a literary language and an instrument of cultural redemption
Historical novels, political essays, and romances imbued French Canada with nostalgia for old-world values. Affection for Quebec was part of a search for “those corners” of America where authentic culture was thought to have survived: “preindustrial rural cultures which seemed to serve as models of resistance to the alienation of the modern order” (Russell n.d.: 2)
DETTA VAD NÅGON VILL FÅ UT AV HISTORIEN VAD MAN VILL HÖRA VEM ÄR DET SOM LYSSNAR VAD GÖR MAN SPRÅKET TILL DEN AUTENTISKA SOM KAN ANVÄNDAS SOM AUTENTISK AOM KAN SKRIVAS FRAM SOM AUTENTISK AV DEN SOM INTE ÄR AUTENTISK OSV...
The contrast between the mind-set of these travellers and that of Malcolm Reid is dramatic. Reid shares with Blake a fascination for language. But the lessons learned from language have changed. For Blake, the habitants were an unwitting conduit to values greater than themselves; their language was a link with nature and with the past. Reid introduces us to an urban milieu where language is consciously manipulated in the name of progressive ideals. The revaluation of the debased joual becomes the distinguishing feature of the new Quebec. It lives and thrives on the city streets. Reid’s pioneering turns Montreal into the site of a new ethnographic quest. Backwardness is no longer a sign of authenticity; what is important is the resolutely modern
DETTA
et tant pis si j’assassine la poésie ce que vous appelleriez vous la poésie et qui pour moi n’est qu’un hochet (Chamberland 1964: 10) and too bad if I assassinate poetry what you would call poetry what for me is a rattle (Reid 1972: 115), to the angry forewarnings: j’entends remuer le jour québécois et c’est un mauvais roman un film stupide qui tourne et retourne tant de fois dans le cinéma Amérique que personne n’entend plus ne vois plus ne cherche plus à comprendre la douleur de mon pays (Chamberland 1964: 14) I hear the rumble rising daily from Quebec and it’s a bad novel a stupid movie continuous showing in the movie-house America with nobody watching nobody interested any more in comprehending the torment of my land (Reid 1972: 116)
KOLLAR PÅ:
The poet's version; or, An ethics of translation Lawrence Venuti
The poet’s version, a second-order creation that mixes translation and adaptation, emerged in the twentieth century distinct from early modern notions of imitation.
ÄR DETTA VAD JAG GÖR ÄR DET EN MODERNISTISK PRAKTIK HUR GÖR JAG MODERNISM.
as an interpretive inscription through the application of formal and thematic interpretants which vary the form, meaning and effect of the source material, constrained by the receiving medium and culture. If second-order creation is by definition variation, an interpretive act that submits the source material to degrees of loss and gain, then the poet’s version cannot be evaluated simply on the basis of a comparison to its source text. Attention must rather be given to the impact of the version on the receiving culture, a relation that can be construed as properly ethical. The ethics of a version hinges on whether it points to a lack or plenitude in the translating language and culture, challenging or confirming institutionalized knowledge.
JAG TÄNKER PÅ RELATIONEN MELLAN DET ÖVERSATTA OCH DEN SOM ÖVERSÄTTER VARIFRÅN HAR DEN MAN HÄRMAR LIKSOM SKRIVIT VILKEN RIKTNING KAN BEVARAS ELLER FÖRSKJUTAS VAD ÄR ETT BEHOV I KULTUREN
Not only has it been viewed as ethically questionable, but the poets who have practiced it have not always been forthright about what exactly they have done
ATT FÖRKLARA VAD MAN KHAR GJORT
HUR KANMAN ELLER KAN MAN INTE!!!!! FÖRKLARA DEN ÖVERSÄTTANDE OCH HÄRMANDE PRAKTIKEN I VERKET I SIG SJÄLV MÅSTE MAN OMGÄRDA MED ANNAN TEXT OCH VAD INNEBÄR DET ATT DENNA TEXT DÅ KOMMER TA SÅ MYCKET PLATS, ETIKEN I PLATSTAGANDE AV ÖVERSÄTTAREN
Dryden put imitation under the rubric of translation, even if he entertained some doubt about this classification because the poet-translator assumes the liberty not only to vary from the words and sence, but to forsake them both as he sees occasion: and taking only some general hints from the Original, to run division on the ground-work, as he pleases. (Dryden 1956, 11415
In the twentieth century, in contrast, the poet’s version routinely involved departures from the source text that were motivated by the imposition of a different poetics or by mere ignorance of the source language, although in some cases both factors were operating.
PÅ VILKA SÄTT ÄR IGNORANSEN POLITISK – OCH NÄR ÄR IGORANSEN FRIVILLIG, INTENTIONELL OCH NÄR ÄR DEN NÖDVÄNDIG (ORKAR INTE, FÖRMÅR INTE) NÄR ÄR DEN ICKE-INTENTIONELL – KAN DEN LÄSAS SOM ETT MISSLYCKANDE AV FÖRSÖK TIL ICKE-IGNORANS OCH HUR FUNGERAR DEN SORTENS MISSLYCKANDE
An ethics of translation Here I am drawing on Alain Badiou’s thinking, specifically his concept of a truth[1]based ethics. For Badiou, truth is not adequacy to reality or illumination; it is rather an investigative process set going by an ‘‘event, which brings to pass ‘something other’ than the situation’’ defined by ‘‘opinions’’ and ‘‘instituted knowledges’’ (Badiou 2001, 67). The event simultaneously locates and supplements a ‘‘void’’ or lack in that situation, creating a subject who committedly maintains a ‘‘break’’ with it by articulating and investigating the consequences of the event, the ramifications of the idea, form or practice that acquires such value as to be called a ‘‘truth’’. ‘‘It is by violating established and circulating knowledges,’’ remarks Badiou, ‘‘that a truth returns to the immediacy of the situation, or reworks that sort of portable encyclopedia from which opinions, communications and sociality draw their meaning’’ (ibid., 70). A truth is specific to the situation from which it arises, yet its address is universal, equally applicable to every individual who becomes a subject committed to the truth process, who works within the universe constructed by that process. A truth, however, stops short of asserting a totalizing power that is exclusionary or repressive because it is grounded on an ‘‘unnameable’’, an element that lies outside its conceptual grasp. ‘‘Unnameable,’’ Badiou points out, ‘‘should be understood not in terms of the available resources of knowledge and the encyclopedia, but in the precise sense in which it remains out of reach for the veridical anticipations founded on truth’’ (Badiou 2004, 130). To acknowledge the existence of an unnameable, a point of indiscernment that escapes the truth process, is to refuse to impose the truth as definitive.
DET SOM INTE KAN NÄMNAS VID NAMN
MEN BENÄMNANDE AV ETT ANNAT SOM SANNING JUST MED ORDET SANNING?
translation, then, might be evaluated according to its impact, potential or real, on cultural and social institutions in the receiving situation, according to whether it challenges the styles, genres and discourses that have gained institutional authority, according to whether it stimulates innovative thinking, research and writing. The bad in translation is ‘‘the desire to name at any price’’ (ibid., 127), imposing cultural norms that seek to master cognitively and thereby deny the singularity that stands beyond them, excluding the alternative set of interpretants that enable a different translation, a different interpretation. Hence a translation, including a poet’s version, should not be faulted merely for exhibiting features that are commonly called unethical: wholesale manipulation of the source text, ignorance of the source language, even plagiarism of other translations. W
DETTA
We can grasp the Heideggerian assumptions in Berman’s thinking by substituting, in this passage, ‘‘the foreignness of the foreign text’’ for ‘‘being’’, ‘‘translators’’ for ‘‘human beings’’ and ‘‘translations’’ for ‘‘saying’’. Thus, in Berman’s formulation, the ethical dimension of translation is ‘‘to disclose the Foreign as Foreign in its own linguistic space’’ (‘‘d’ouvrir l’E´ tranger en tant qu’E´ tranger a` son propre espace de langue’’; Berman 1985/1999, 75; italics in original). To achieve this Heideggerian manifestation of the foreign, Berman recommends a particular formal interpretant: ‘‘fidelity’’ to the ‘‘letter’’, to the linguistic features and signifying structures of the source text, or what is in effect a literalizing strategy (‘‘fide´lite´ [...] a` la lettre’’; ibid., 77). He finds Ho¨lderlin’s versions of Sophocles exemplary precisely because the German poet’s strategies include ‘‘etymologizing literalism’’ (‘‘litte´ralisme e´tymolo[1]gisant’’), whereby ‘‘Greek invests the German’’ (‘‘le grec investit l’allemand’’; ibid., 88, 91)
MÖTA SOM FRÄMLING...
KOLLAR PÅ TOVAS TEXT OM SHAKESPEARE..
DÖDEN OCH DET DOLDA
ÖDET
ÖVERSÄTTNINGEN SOM SPEKULATIV NEKROMANTIK ELLER PARODISK VILD OCH HOMOEROTISK
ATT LEKA GUD
ANAKRONISMEN SOM QUEER TEMPORALITET GENOM ÖVERSÄTTNING
