Fragments blessants (MON PETIT EDITE) (French Edition)

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I, pp. I , de Wilken. IV, p. VIII, pp.

Dele- court, op. II, p.

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literary translation |

XII , pp. V, Bruxelles , p. Je me fais un vrai plaisir de M. John H. Notes 1. Les Belges : Les Belges aux Croisades. Alvin, op. Reichert, op.

“There is nothing so practical as a good theory.”

Still, the change was not a sufficient match for the spatial, the typographic variability of the poems. A striking feature of his poetry is what it does physically, materially, before or as it succumbs to reading for content. Hints of strange visual and, out of these, cognitive-acoustic patterns emerge then slip away. Moving forward on the assertion of space as the fundamental sensory datum and that from the inference of matter in it, its observation and grammatization, duration follows, I tried to achieve a level of spatial heterogeneity in the notes tantamount to what existed in the poems.

This decision of course proved subversive to traditional notions of translation. But more interestingly it also subverted, in tandem with the text and in however minute a measure, the growing, globally socialized construction of time as one homogeneous present wherein the tripartite temporal paradigm of past, present, and future, dissolves. The more closely we hew to vectors of technicization bent on turning time into an infinitesimal interval, the more rapidly our individual procedures for constructing duration recede from us.

This recession runs apace with the technological apparatus enabling global sociability, which remove matter — so necessary for constructing duration — from physical space and replace it with immediate, virtual omnipresence. Meanwhile the devilish irony looming over this whole enterprise is that my collaboration with Sayuri depended on devices conducive to just this distortion. Our communication often skipped instantaneously back and fourth between different parts of the United States, Europe, and Japan, but we did not once meet in person while working on the translation; our schedules simply prevented all such encounters.

Our means of interaction could scarcely have been at greater odds with the theoretical conventions I had devised to solve the problem of the notes. Without the support of integrated, digital communication networks, our work would likely have foundered. Do the circumstances under which Sayuri and I translated together undermine the credibility of how I spatially translated the notes and why I chose to translate them the way I did?

I do not think so; not quite. Sayuri and I communicated via e-mail daily, sometimes once or twice hourly within the span of a day, at which point the pace of our exchanges grew so rapid that we both found it more productive to withdraw from the immediate, integrated present. What became apparent was our desire for actual rather than virtual space and for presence within that space, diachronically cordoned off outside of global synchrony, where we could feel our own time pass at the pace of gesture observed, of spatially and materially present conversation as we traded ideas and suggestions.

The Internet was and continues to be a means of overdetermining the present, and also of mitigating distance, but not of obliterating it. For us it was always a second choice even if, practically, the only choice. And inasmuch as it continues to neglect certain necessities of human interaction, it turns our attention, through their absence, to a reconsideration of just what those necessities may be. If I were to begin compiling a list, near its top would be, as it were, a time apart.

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Elle avait dix ans. I was with Marcel, when it came to the kid. She needed to be pretty, she had to be. She was ten. I would have loved to be ten. Life made me sick.

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Each day proved it anew. An overwhelming desire to be ten. Life made me sick, it was a loathsome dirty gristmill, and all of us made it sicker. But the phrase needs to stand alone. Malet was at the end of a long engagement with the Surrealists, and the hero he created is a disillusioned anarchist, more interested in violence than ideology and plagued by deviant dreams. I wanted something that sounded more colloquial, something you could find scratched on the wall of a bathroom stall.

For a few months I would run the phrase by any French speaker I ran into.

French-English Dictionary (35,273 Entries)

Neither my friend nor I knew that at the time, but his instinct created a basically literal translation, from an etymological viewpoint. He is currently a middle school English teacher in Japan. When you read it as a writer, you want to believe that there is a formula. That if you had this formula, your writing would be as good as hers. You must translate her to realize the formula is not there.

The author did not revise her prose; rather, she allowed it to blaze forth without respite. This lack of rest and revision is one that is difficult to retrace while translating her. In any case, with Duras, retracing of any kind would be a mistake. The recurring seagull la mouette may be representative of Duras in that it struggles against the wind, but does not ever give in to it, and, in fact, acquires its grace from the struggle. In my first draft, I stumbled over this seemingly simple phrase, but one which, in French, is subtly beautiful for both its internal rhyme and the overall ease with which it rolls off the tongue.

No other adjectives seemed to work either: persistent, stubborn, tireless. I have to use a verb rather than an adjective to keep the seagull closer to the wind, so to speak. It turns out that my voice as translator can weave together mystery too. Brouillon — the French word for draft — is a place for translators of all languages to explore and examine those endlessly fascinating and infinitely frustrating words, phrases, and motifs that seem impossible to translate. Brouillon is a collection of these moments. Comments and discussion are encouraged.

Leave a comment. Post to Cancel. Linguistic Syncretism as a Marker of Ethnic Purity? English Words in War-Time. Back Matter Pages About this book Introduction This book examines language change and documentation during the First World War.

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With contributions from international academics, the chapters cover all aspects of communicating in a transnational war including languages at the front; interpretation, translation and parallels between languages; communication with the home front; propaganda and language manipulation; and recording language during the war. Julian Walker is a British Library educator, an artist and writer. On the subject, he has spoken widely at conferences in both Britain and Belgium, has worked with the BBC and VRT Belgian television and manages several social media outlets.

Fragments blessants (MON PETIT EDITE) (French Edition) Fragments blessants (MON PETIT EDITE) (French Edition)
Fragments blessants (MON PETIT EDITE) (French Edition) Fragments blessants (MON PETIT EDITE) (French Edition)
Fragments blessants (MON PETIT EDITE) (French Edition) Fragments blessants (MON PETIT EDITE) (French Edition)
Fragments blessants (MON PETIT EDITE) (French Edition) Fragments blessants (MON PETIT EDITE) (French Edition)
Fragments blessants (MON PETIT EDITE) (French Edition) Fragments blessants (MON PETIT EDITE) (French Edition)
Fragments blessants (MON PETIT EDITE) (French Edition) Fragments blessants (MON PETIT EDITE) (French Edition)
Fragments blessants (MON PETIT EDITE) (French Edition) Fragments blessants (MON PETIT EDITE) (French Edition)

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