By Jan Parker, Timothy Mathews
Tradition, Trauma, Translation is worried with how vintage texts - mostly Greek and Latin but additionally Arabic and Portuguese - develop into found in later cultures and the way they resonate within the glossy. A wonderful foreign crew of participants and responders research the subject in several methods. a few talk about singular encounters with the vintage - these of Heaney, Pope, Fellini, Freud, Ibn Qutayba, Cavafy and others - and exhibit how translations have interaction with the affective impression of texts over the years and area. Poet-translator individuals draw all alone event right here. Others provide photos of translation: as flow of a textual content through the years, house, language, and tradition. a few of these photographs are resistant, even violent: culture as silencing, translation as decapitation, cannibalistic reception. Others pose looking questions on the interplay of modernity with culture: what's entailed in 'The expense of the Modern'? Drawing, because it does, on Classical, Modernist, Translation, Reception, Comparative Literary, and Intercultural experiences, the quantity has the capability to signify reviews of perform in those disciplines but additionally matters which are universal to these kind of fields.
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Additional resources for Tradition, Translation, Trauma: The Classic and the Modern
For wel wiste he, by sort, that Troye sholde Destroyed ben . . (Troilus and Criseyde I, lines 66–77) 1 Empson (1973), 110–11. See also Redfern (1985), 46 and Culler (1988). 32 Frederick Ahl Krapp translated: Calchas . . knew what the fate of Troy would be . . When Calchas found his priestly computation . . For by his divinations well he knew That Troy was doomed . . 2 Krapp resisted bowdlerizing Chaucer: ‘It cannot be denied that there are several moments in the progress of the narrative when one would gladly omit passages of the text.
Student audiences are youthful, inexperienced, often coerced and unwilling. And they have no prior investment in or knowledge of, say, either ancient Rome or Octavian. We teachers are empowered and required to shape their thoughts and to instil the habit of orthodoxy if only because we know that student and teacher alike are held to account by examiners who reward orthodoxy and often punish heterodoxy. Poets, particularly ancient poets, had less predictable and homogeneous audiences. Sophocles wrote for thousands, from philosophers to illiterate peasants.
He began to contribute to journals such as the Spectator, John O’London’s, and the Dublin Magazine. Initially he was regarded (and patronized) as a ‘peasant poet’. Antoinette Quinn comments in her introduction to the Collected Poems: ‘peasantry, made fashionable by Literary Revival writers such as Douglas Hyde, J. M. 20 A farmer turned poet was a curiosity and Kavanagh’s ﬁrst collection was published by Macmillan in 1936 as Ploughman and other Poems. In 1937 Kavanagh decided to go to London.