Monday, November 12, 2012
Dreams of a fourteen year old girl....
Living in Cambridge, Kate had always appreciated being in the city where academics meet the people. Where she fit in, was anyone’s guess? Kate was an Assistant DA in Cambridge prosecuting misdemeanors and felonies, although she was relatively new at it.
She also was part of a family squarely centered on work for fair pay and Unions. Her family was well read and the great thing was they were all glib talkers and able to back up their opinions with solid references. The talk was never empty words. The talk was always significant.
She loved talking and so, the lawyer part, suit her. Kate was an able advocate and had such a passion for the law that the rest of her life became an afterthought. She also loved to travel and so she did every chance possible. She preferred travelling solo to keep her options open and her pace, entirely her own.
At thirty, Kate should have been more attuned to the skepticism of the times, this being post Vietnam, but she remained a romantic and believed love could happen and people are basically good.
She lived close the Square, Harvard Square, and closer to Porter Square. Both places were accessible with an easy walk and a minute by car.
Dreams of a fourteen year old girl....
Thinking about dreams, I had when I was fourteen, I wished for the time I would go to Afrika & help the villagers, by bringing them books to learn to think about morethan their tiny community. To bring them ieas and the words to speak more apltly--more descriptively about their feelings, their experiences,
Monday, March 26, 2012
Horses/ Horse Farms / Horses & Nature
Some years ago, when I was young and oh, so confident, stuck in traffic next to two horses, I wrote a story - a love narrative. I wrote a lovely story about the horses on that farm, as I sat in traffic..wishing I were actually one of those horses. I wished that I were in the fields, running, and wished for a reprieve from the traffic, the noise, and the busy-ness that comes with yes, being a busy person.
Longing for peace and time to 'pause', I wrote that story and was satisfied.
And now, by chance, I am moving to live so very close, right next to..& just about in the field; yes, a horse farm. I am moving and gladly welcome the horses. Horses in view and in the fields and galloping, running, jumping..what a lovely coincidence. What a lovely 'pause' from all of that! What grace!
Longing for peace and time to 'pause', I wrote that story and was satisfied.
And now, by chance, I am moving to live so very close, right next to..& just about in the field; yes, a horse farm. I am moving and gladly welcome the horses. Horses in view and in the fields and galloping, running, jumping..what a lovely coincidence. What a lovely 'pause' from all of that! What grace!
Thursday, March 8, 2012
"A Man - A Novel" Oriana Fallaci
A Man – A Novel Oriana Fallaci
Do translations reflect the accurate intentions of the Writer?
As a journalist, courageous in interviewing world leaders, Fallaci asked the questions that some wished to ask and most feared to ask. Her first language, being Italian, the thesis of this critique is to investigate whether or not the meaning of words being translated accurately give the reader the writer’s true intentions.
This novel is her fictionalized work based on her love of the Greek poet and political activist, Alexander Panagoulis. In writing his story, she also writes her own.
It was published in Italian in 1979. The English translation was published in 1980. The nuances and finesse of her original work having been translated to English may or may not have the nuances and finesse conveying the intent of the piece. This is the basis for the analysis.
The novel discusses the actions of a Greek radical in rebelling against the leaders of Greece in the sixties and seventies, which is pivotal in the context of the development of Greek politics. Panagoulis’ attempt to assassinate the Dictator, George Papadopoulos, leads to his immediate capture. He is sentenced and incarcerated. His passion for ideals and truth resonates for Oriana. She gives up her individual former single life and freedom to support his efforts and to help him accomplish his dreams. Her interviews and journal articles far surpassed his political efforts for change. The interviews were given in Greek and translated subsequently.
The beginning, “Yia sena” is translated into ‘FOR YOU”. The words are Greek and the meaning of the original conveys a sensual and passionate meaning. The English translation is in upper case and conveys a ‘SHOUT OUT” and to some extent a wanting to belong to another person or giving something, which is not particularly part of the Greek term. How then is the translator able to take the original language and communicate a similar sensuality, passion or emotion that the English may not able to produce? Is the literature weakened by the translation? Is the writer having her work translated doing a disservice to the piece? Is the work dissipated? Does the translator take on the work of re-writing rather than translating?
Translators have a code and an association with some regulations and standards. The following is from the British Council website.
“To discuss the art of literary translation is to a large extent to mystify it if we disregard the unruly manner in which it has been practiced throughout history. For although writing between two different languages has always been integral part of national literatures and the exchanges between them, the most striking, the truly captivating thing about it is its variations rather than any single characteristic or aspect.” (The British Council is the United Kingdom's website)
The text in translation is an attempt to communicate the words of the writer, perhaps not the ideas communicated. The English language does not have the actual verbiage to effectively communicate the slight nuances of other languages. In this case, both the Italian of the original manuscript, which includes the Greek dialogue, as well as the text, are perhaps too literal and not sufficiently visionary with language.
The phrases in the text infer a sense of struggle with vocabulary and takes away from the original work and intent of Fallaci.
“If you asked him about the old man he would answer with singsong nonsense: ‘I am I. I with him am I with him, I with you am I with you, so I remain always I.’
He also made rather silly plays on words, happy to be a master of my language: ‘non voglio te, volglio il te! I don’t want thee, I want tea!’” (178).
In the novel, the passage uses the word, “papadopoulaki” referencing the guards watching over Panagoulis, as he awaits his execution. They ask him, “Why do you always call us papadopoulaki, what does it mean?” (70). The word as most Greeks understand it to mean is a term of endearment, as term with the “laki”: or “taki” is something or someone small, not literally, but it means either a child or a person that you find dear or is cherished. The response to this question by Alekos is “a smile: “Sometimes it means little Papadopoulos and sometimes servant of Papadopoulos.” (70). My sense of this passage is that Fallaci attempts to integrate the Greek words used by the love of her life. She attempts to distinguish terms used by Greeks and used by “xeni” or “strangers”.
An example of the usage of the phrase attached to a legitimate word is Panayioti means Peter and Panayiotaki means Peter who is dear and lovely or cherished. The actual usage may be shortened by those using the phrase and Panayiotaki becomes “Taki”. It is common and there are passages that exemplify some of these characteristics in usage of language being translated.
The English word choices have some flavor of the man and the plot. How do literary translations retain the emphasis and tone of the original language? Translations may enhance meaning, however, the “tonos” or “emphasis” of language is not word to word, as phrases and usage by the various personalities are one more method of characterizing who they are and what they value. The person translating, as is more commonplace presently, has a clear sense of the culture, traditions and history, as well as the language. This new enlightened persona of a translator has an advantage over counterparts from just a few decades ago.
“And besides we’ll see each other again soon, we’ll see each other at Easter.” (411). The translator uses the word “Easter”, however, I am confident that Fallaci used the word that would be translated more accurately as “Pascha”. Perhaps, the slight difference appears just that, slight. However, to Greek Orthodox the latter term is the only one that reflects the season that is the center of their faith. The language choice of “Easter” is not accurate and although Fallaci is from Italy, she is clearly a person that adopts Greece as her own, when she chooses to have both a physical and a spiritual connection to Alekos Panagoulis.
The words of her book and her interviews are significant and powerful. That significance and power moves and delivers a record of history with a female perspective. Her perspective is of a person with genuine heroic proportions. How does that translate?
Works Cited:
Fallaci, Oriana, A Man-A Novel, Simon & Schuster, NY 1979.
The British Council is the United Kingdom's
Do translations reflect the accurate intentions of the Writer?
As a journalist, courageous in interviewing world leaders, Fallaci asked the questions that some wished to ask and most feared to ask. Her first language, being Italian, the thesis of this critique is to investigate whether or not the meaning of words being translated accurately give the reader the writer’s true intentions.
This novel is her fictionalized work based on her love of the Greek poet and political activist, Alexander Panagoulis. In writing his story, she also writes her own.
It was published in Italian in 1979. The English translation was published in 1980. The nuances and finesse of her original work having been translated to English may or may not have the nuances and finesse conveying the intent of the piece. This is the basis for the analysis.
The novel discusses the actions of a Greek radical in rebelling against the leaders of Greece in the sixties and seventies, which is pivotal in the context of the development of Greek politics. Panagoulis’ attempt to assassinate the Dictator, George Papadopoulos, leads to his immediate capture. He is sentenced and incarcerated. His passion for ideals and truth resonates for Oriana. She gives up her individual former single life and freedom to support his efforts and to help him accomplish his dreams. Her interviews and journal articles far surpassed his political efforts for change. The interviews were given in Greek and translated subsequently.
The beginning, “Yia sena” is translated into ‘FOR YOU”. The words are Greek and the meaning of the original conveys a sensual and passionate meaning. The English translation is in upper case and conveys a ‘SHOUT OUT” and to some extent a wanting to belong to another person or giving something, which is not particularly part of the Greek term. How then is the translator able to take the original language and communicate a similar sensuality, passion or emotion that the English may not able to produce? Is the literature weakened by the translation? Is the writer having her work translated doing a disservice to the piece? Is the work dissipated? Does the translator take on the work of re-writing rather than translating?
Translators have a code and an association with some regulations and standards. The following is from the British Council website.
“To discuss the art of literary translation is to a large extent to mystify it if we disregard the unruly manner in which it has been practiced throughout history. For although writing between two different languages has always been integral part of national literatures and the exchanges between them, the most striking, the truly captivating thing about it is its variations rather than any single characteristic or aspect.” (The British Council is the United Kingdom's website)
The text in translation is an attempt to communicate the words of the writer, perhaps not the ideas communicated. The English language does not have the actual verbiage to effectively communicate the slight nuances of other languages. In this case, both the Italian of the original manuscript, which includes the Greek dialogue, as well as the text, are perhaps too literal and not sufficiently visionary with language.
The phrases in the text infer a sense of struggle with vocabulary and takes away from the original work and intent of Fallaci.
“If you asked him about the old man he would answer with singsong nonsense: ‘I am I. I with him am I with him, I with you am I with you, so I remain always I.’
He also made rather silly plays on words, happy to be a master of my language: ‘non voglio te, volglio il te! I don’t want thee, I want tea!’” (178).
In the novel, the passage uses the word, “papadopoulaki” referencing the guards watching over Panagoulis, as he awaits his execution. They ask him, “Why do you always call us papadopoulaki, what does it mean?” (70). The word as most Greeks understand it to mean is a term of endearment, as term with the “laki”: or “taki” is something or someone small, not literally, but it means either a child or a person that you find dear or is cherished. The response to this question by Alekos is “a smile: “Sometimes it means little Papadopoulos and sometimes servant of Papadopoulos.” (70). My sense of this passage is that Fallaci attempts to integrate the Greek words used by the love of her life. She attempts to distinguish terms used by Greeks and used by “xeni” or “strangers”.
An example of the usage of the phrase attached to a legitimate word is Panayioti means Peter and Panayiotaki means Peter who is dear and lovely or cherished. The actual usage may be shortened by those using the phrase and Panayiotaki becomes “Taki”. It is common and there are passages that exemplify some of these characteristics in usage of language being translated.
The English word choices have some flavor of the man and the plot. How do literary translations retain the emphasis and tone of the original language? Translations may enhance meaning, however, the “tonos” or “emphasis” of language is not word to word, as phrases and usage by the various personalities are one more method of characterizing who they are and what they value. The person translating, as is more commonplace presently, has a clear sense of the culture, traditions and history, as well as the language. This new enlightened persona of a translator has an advantage over counterparts from just a few decades ago.
“And besides we’ll see each other again soon, we’ll see each other at Easter.” (411). The translator uses the word “Easter”, however, I am confident that Fallaci used the word that would be translated more accurately as “Pascha”. Perhaps, the slight difference appears just that, slight. However, to Greek Orthodox the latter term is the only one that reflects the season that is the center of their faith. The language choice of “Easter” is not accurate and although Fallaci is from Italy, she is clearly a person that adopts Greece as her own, when she chooses to have both a physical and a spiritual connection to Alekos Panagoulis.
The words of her book and her interviews are significant and powerful. That significance and power moves and delivers a record of history with a female perspective. Her perspective is of a person with genuine heroic proportions. How does that translate?
Works Cited:
Fallaci, Oriana, A Man-A Novel, Simon & Schuster, NY 1979.
The British Council is the United Kingdom's
My Fantoms - Theophile Gautier - JK Cosmos
My Fantoms – Theophile Gautier (translated Richard Holmes)
Details, A Very Close Look / “The Actor” & “The Opium Smoker”
Details, readily transporting the images and emotions of the piece, and yet, if the writer is not effective in the details, the work fails. In the writings of Gautier, details is one component of his craft that works.
How to write in details, without sounding like a list or a work for a business endeavor? Gautier wrote in poetry/prose, actually. His writings are fluid, are transformative and knowing how to structure the piece without the effort showing is a skill well worth the effort.
“….and a sharp breeze whirled among the saffron yellow leaves, blackened at the edges by the first nip of early frost. The rose-bushes along the flowerbeds were twisted and broken by the wind, their long stems left trailing disconsolately through the mud; but the main alley, with its graveled surface, still remained passably dry.” The Actor P.101.
The short stories in the anthology are phenomenally close up and detailed. The use of description and language that closes us in and around and very engaged is how the narratives are related and communicated. Why are all stories not as perfect? How does Gautier keep the pace and not bore the reader?
“Altogether it would have been the ideal place for a poet to have turned his meditative steps. Indeed at that very moment a young man was pacing up and down the central avenue, though with every visible sing of impatience. His dress was elegant to the point of theatricality, consisting of a black velvet frock-coat with gold military frog-ging and collar trimmed with fur, tight-fitting grey wool trousers, and a pair of soft leather boots reaching to the knee and decorated with tassels.” P.101. The Actor. Fabulous use of language and movement, of fluidity and a graceful introduction to the narration is the process that catches ones breathe as we read on.
The details in both stories enhance and develop the characters. How much more of a visual is portrayed in each story, than with the adjectives and phrases to describe all of it.
“Without hesitation I replied that her name was Carlotta (which was true). She then told me that she had been a singer, and that she had died so young she had never tasted any of the pleasures of existence.” P. 99. The Opium Smoker.
How does the flow of language and detail enhance the work without bearing down on it? When does Gautier realize that the phrase, the sentence, the thought have enough detail? Gautier was a critic and wrote in various genres, including short essays. The sense of use of space and the constraints of a short story or essay may allow Gautier only a few concise ways to articulate and to narrate, which is perhaps the best use of language and poetic word choices.
Works Cited:
Gautier, Theophile. My Fantoms. Translated – Richard Holmes. New York Review Books.NYC, NY. 1976.
Details, A Very Close Look / “The Actor” & “The Opium Smoker”
Details, readily transporting the images and emotions of the piece, and yet, if the writer is not effective in the details, the work fails. In the writings of Gautier, details is one component of his craft that works.
How to write in details, without sounding like a list or a work for a business endeavor? Gautier wrote in poetry/prose, actually. His writings are fluid, are transformative and knowing how to structure the piece without the effort showing is a skill well worth the effort.
“….and a sharp breeze whirled among the saffron yellow leaves, blackened at the edges by the first nip of early frost. The rose-bushes along the flowerbeds were twisted and broken by the wind, their long stems left trailing disconsolately through the mud; but the main alley, with its graveled surface, still remained passably dry.” The Actor P.101.
The short stories in the anthology are phenomenally close up and detailed. The use of description and language that closes us in and around and very engaged is how the narratives are related and communicated. Why are all stories not as perfect? How does Gautier keep the pace and not bore the reader?
“Altogether it would have been the ideal place for a poet to have turned his meditative steps. Indeed at that very moment a young man was pacing up and down the central avenue, though with every visible sing of impatience. His dress was elegant to the point of theatricality, consisting of a black velvet frock-coat with gold military frog-ging and collar trimmed with fur, tight-fitting grey wool trousers, and a pair of soft leather boots reaching to the knee and decorated with tassels.” P.101. The Actor. Fabulous use of language and movement, of fluidity and a graceful introduction to the narration is the process that catches ones breathe as we read on.
The details in both stories enhance and develop the characters. How much more of a visual is portrayed in each story, than with the adjectives and phrases to describe all of it.
“Without hesitation I replied that her name was Carlotta (which was true). She then told me that she had been a singer, and that she had died so young she had never tasted any of the pleasures of existence.” P. 99. The Opium Smoker.
How does the flow of language and detail enhance the work without bearing down on it? When does Gautier realize that the phrase, the sentence, the thought have enough detail? Gautier was a critic and wrote in various genres, including short essays. The sense of use of space and the constraints of a short story or essay may allow Gautier only a few concise ways to articulate and to narrate, which is perhaps the best use of language and poetic word choices.
Works Cited:
Gautier, Theophile. My Fantoms. Translated – Richard Holmes. New York Review Books.NYC, NY. 1976.
Tuesday, January 3, 2012
Value of Time
Time is the coin of your life. It is the only coin you have, and only you can determine how it will be spent. Be careful, lest you let other people spend it for you.” —Carl Sandburg
“Guard well your spare moments. They are like uncut diamonds. Discard them, and their value will never be known. Improve them, and they will become the brightest gems in a useful life.” —Ralph Waldo Emerson
“Guard well your spare moments. They are like uncut diamonds. Discard them, and their value will never be known. Improve them, and they will become the brightest gems in a useful life.” —Ralph Waldo Emerson
Welcome 2012 - JK Cosmos
Welcome 2012! Another New Year to reflect and plan, to be resolved.
Having taught too many college classes at a few local colleges, the time to think and to recollect is bitter-sweet. Another year past and done with and what's been accomplished. The regret at not having done as much, not having accomplished the goals of last year's resolve - forever gone. How many more years of good health and motivation, inspiration, active life and living? How much to be done and how much will actually be accomplished? The never-ending, always hopeful questions with some sense of loss and some sense of being in the void, that vacuous and open place of time and effort and time and wishful thinking. How to bring it all home, bring it together; really matter? Questioning the purpose and purposeful life, and the ability to move forward with some sense of having mattered...is this the question most people pose?
Hope! Hope to matter, to leave a positive impact or to motivate, inspire another person to matter...time and effort - how to bring it to fruition.
And so it goes...and so we aspire to do better...and how to take away that poignancy and urgency..or is that part of the life-force and the movement towards a better life and more significant existence?
Hope! Hope to matter, to leave a positive impact or to motivate, inspire another person to matter...time and effort - how to bring it to fruition.
And so it goes...and so we aspire to do better...and how to take away that poignancy and urgency..or is that part of the life-force and the movement towards a better life and more significant existence?
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