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The translation of poetry stands out as a particular practice within translation, due to the complexity of the source text. As a metaphorical and emotional genre, poetry imposes a number of constraints on its translators: an edition with the original text, a translator who is a poet or who is sensitive to poetry, and a reflection on literature and language (rhythm, metrics, versification, rhyme, verse). This study will analyse what French-speaking critics have written about the translation of poetry in the last half-century, since the rise of translation studies: Béguin, Bensimon, Berman, Birkan-Berz, Bonnefoy, Deguy, Etkind, Jaccottet, Jakobson, Ladmiral, Lombez, Meschonnic, Roubaud, Roud, Scotto, Tsvetaieva, Vischer. In conclusion, we will make a proposal for the treatment of poetry as realia.

In this paper, we start from the relationship between essay and poetry to compare the video and book versions of Jean-Luc Godard's Histoire(s) du cinema (1998). By proposing a comparative study, this paper posits that the transition from screen to page, and from the essay film to the poetry book, is based on the traces of editing left in the transposition of media. Through these editing traces, we return to Godard's relationship with the essay, an articulation based on how Starobinski conceives Montaigne as someone who engages in "thinking with the hands," drawing on Rougemont's eponymous book, also cited by Godard in Histoire(s). Thus, Starobinski helps us circumscribe a central figure of thought in Godard, leading us towards poetry.. [ABSTRACT FROM AUTHOR]

This is an essayistic attempt to respond to a fetish common to essays and poetry: the flesh of language. If the hiatus between two bodies is a fundamental aspect of desire, poetry and essays are often driven by the cunning urge to establish erotic gaps within the flesh of sentences and verses, fraying the accustomed weave of words. With a keen awareness of the ruses of body and language, we aim to explore the abysses between one flesh and another, writing both against and alongside the void that separates them. Across ten sections, this essay collects pieces of essays and poems from a diverse array of authors--ranging from Georges Bataille to Lydia Davis, from Roberto Corrêa dos Santos to Adília Lopes--responding to their works with movements akin to those aroused by the risk of erotic experience: frights, ellipses, jolts. [ABSTRACT FROM AUTHOR]

The century of the essay was the century of colonization and the burning of thousands of European and non-European women. According to philosopher and historian Silvia Federici, among the women accused of witchcraft were those who shared a subversive friendship, either as a way of allying and resisting the arbitrary violence of their husbands and patriarchal society, or as a complicity between women who had abortions, spontaneously or not, against the state imperative to procreate. If the essay, as a genre, was born associated with friendship, with Montaigne, what would it be like to think of another genealogy of the essay, as a genre that was born from the subversive friendship of these women who were burned as "witches" for making a non-rational and non-Western use of language, such as, for example, talking to the snake? [ABSTRACT FROM AUTHOR]

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This article presents the methodology of an inquiry on reading: it consists in recording readers as they read a plurilingual poem and interviewing them on this experience. The aim of the inquiry is to study the readers' participation in the soundscape of the poem as well as the effects of the poem on the reader. Ultimately, the goal is to better understand how the interaction between plurilingualism and the reader may transform their relation to otherness. [ABSTRACT FROM AUTHOR]

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Copyright of Samuel Beckett Today / Aujourd'hui is the property of Brill Academic Publishers and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Le terme « désabusement » nous permet de revenir sur un aspect de la création littéraire de Cervantès : celui d’un écrivain qui suit le chemin et tire profit des ressources que lui offre la tradition. Il permet également d’examiner l’un des clichés qui a orienté le cervantisme quant à la possible évolution idéologique de son auteur, avant de proposer quelques remarques relatives à la trajectoire littéraire de Cervantès, laquelle fut bien comprise en son temps, mais moins au XXIe siècle.

Les auteurs de cet article visent à comprendre comment les conceptions de pratiques sociales de référence peuvent contribuer à reconfigurer un objet d’enseignement. Dans le cas présent, ils s’intéressent à l’objet « poésie ». Une analyse de contenu du discours de 32 poètes québécois contemporains confronté à celui de 20 enseignants du secondaire a été réalisée de façon à cerner les complémentarités et les distinctions dans leurs conceptions. Quelques aspects communs ont été identifiés à première vue : la poésie est associée à un travail sur la langue, à l’expression de soi, à des visions du monde représenté et à des dimensions de l’expérience esthétique. Toutefois, les justifications que donnent les uns et les autres pour décrire ces aspects diffèrent à plusieurs égards. Les résultats ouvrent la voie à une reconfiguration de la poésie en tant qu’objet d’enseignement. Ainsi, une transposition didactique de savoirs permettant de développer un rapport plus expérientiel et créatif à la poésie comme le défendent les poètes s’ajouterait à la dimension cognitive qui domine dans les conceptions des enseignants.

L’exposition collective « Les voi·es·x de la carte. Tonkörper Berlin », basée sur des projets en sciences humaines et sociales menés par les chercheur·e·s du Centre Marc Bloch Berlin, met en relation des travaux cartographiques sur la ville de Berlin et des créations sonores composées d’interviews, de textes littéraires et de bruits urbains. Présentant des modèles d’une ville qui invitent à une considération de différents projets de société, elle donne ici lieu à une réflexion sur l’équilibre au sein d’un « ensemble ».

This work stems from a question that I have tried to answer. Is Les Murray, an Australian poet of great stature who is little known in France, an autistic person, as Daniel Tammet, who translated some of his poems into French, claims ? To answer this question, I had to take a closer look and explore the many facets of his life and work: his written work first of all, but also his numerous public readings and the many interviews he has given to various media. Along the way, I became convinced that Les Murray is more a case of melancholia, and thus his work constitutes a testimony of this terrible illness. I was then able to pinpoint some of its aspects: the pain of existing, the relation to the body, the misadventures of desire, and finally the suppletion found in writing: an everlasting body of poetry [ABSTRACT FROM AUTHOR]

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This study aims to investigate the image reconstrual of Shan Gui 山鬼 in the multimodal translation from the poem Shan Gui to three renowned paintings, i.e., Li Gonglin's 李公麟 (date unknown; 1049–1106), Fu Baoshi's 傅抱石 's (1945) and Xu Beihong's 徐悲鸿 (1943), within the framework of social semiotics, and to explore the reason why the image changed through recontextualization. It is found that the image of Shan Gui reconstrued by Li looks like a detached sprite; Fu is a sentimental goddess, while Xu is a mundane human girl. Contextual factors, including scholastic explanations of the poem, the individual orientation of painters, and their media choices, contribute to such image divergence. [ABSTRACT FROM AUTHOR]

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The aim of the paper is to analyze Enfants du lichen, a book of poems by Maya Cousineau Mollen, an Innu poet born in 1975, in order to see if the labyrinth can be considered as a figure of the postcolonial Native American experience. Although the word « labyrinth » does not make its explicit emergence in the poems, their lexical field evokes a whole imagination which makes it emerge implicitly and allows us to believe that the figure of the labyrinth corresponds to the situation of the former colonized. Our contribution is divided into three parts. The first characterizes the postcolonial Native American experience, as described in the poems, and explains why it may be seen as a labyrinth. The second shows the exploration of the paths of possible escape and the last focuses on the exit, the « passage from darkness to light », which can be read as a new era in the life of Canadian Native Americans. [ABSTRACT FROM AUTHOR]

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L’œuvre poétique de Dôvy est créée à partir de la poésie orale tsimihety. Elle quête de surprise en exploitant le flot d’image et de symboles tirés de la nature et de la société malgache pour transmettre un message sur d’un fait social. Sa poésie n’est plus donc déclamée comme dans son stade oral. L’objectif de cet article est de démonter la beauté de mode d’expression poétique de ce poète à partir de l'intertextualité de son œuvre avec le proverbe. Comment peut-on dégager la beauté de l’intertextualité de ces deux genres poétiques ? La beauté de son œuvre se trouve au niveau satirique par son usage de la métaphore et de l’image ironique qui amène son public dans une harmonie créée par le rire, car la poésie se mêle entre le vrai et la vraie semblance. Alors que dans l’aspect poétique de son œuvre, le poète essaie à impliquer son public passif contre la malhonnêteté et l’injustice sociale dans son pays.

The legacy of apartheid continues to impact South African education, specifically the teaching of Afrikaans literature. After South Africa's first democratic elections in 1994, curriculum design for schools in post-apartheid South Africa was aimed at correcting historical injustices. Efforts have been made to transform the teaching and learning of Afrikaans at school level by, among other things, making the literature prescribed at school level more inclusive. The current school curriculum (the Curriculum and Assessment Policy Statement [CAPS]) builds on previous curricula in that it also aims to address the historical injustices of the South African educational model. In the CAPS for Afrikaans Home Language grades 10 to 12, it is advised that social transformation is to be achieved by promoting a sensitivity to diversity and an appreciation for indigenous knowledge systems (Department of Basic Education [DvBO] 2011:9; Schultz & Le Cordeur, 2019:549). Although the CAPS in principle regards learners' lived experiences as valuable, Schultz and Le Cordeur (2019:555) find that teachers and postgraduate education students are of the opinion that the aforementioned principles are not realised in practice in the literature classroom. This gap between the principles and practice can be attributed to the selection of prescribed literary texts that do not represent the socio-cultural diversity of the learners in the Afrikaans classroom as well as a preference for the "universal value judgement" approach to literature teaching which leaves little room for interpretations of literary texts that are informed by the diverse socio-cultural lived experiences of the learners in the Afrikaans classroom. As a response to the lack of diversity in the prescribed poetry as well as the need for pedagogical approaches empowering marginalised communities and valuing their knowledges, this paper proposes applying culturally sustaining pedagogy (CSP) principles to teaching Lynthia Julius's debut poetry collection, Uit die kroes (2020) in the Afrikaans Home Language classroom. CSP is a pedagogical approach developed by Django Paris and H. Samy Alim which centres students' culturally embedded ways of knowing, rather than viewing their existing knowledge as a stepping stone to sanctioned knowledge. By validating linguistic and cultural diversity, CSP can be employed to address the ongoing influence of apartheid on contemporary Afrikaans literature instruction while fulfilling the previously mentioned curriculum goals of social transformation. CSP offers an approach to education that positions marginalised students' own cultural backgrounds and linguistic practices as essential rather than supplementary to the pedagogical endeavour. Paris and Alim argue that the sustainment of non-dominant cultures and languages should be as important a pedagogical goal as the transference of subject knowledge. This article argues that CSP can provide significant benefits for the teaching of Afrikaans literature by considering students' own language varieties and cultural knowledge as classroom resources, while also enabling critical examination of hegemonic linguistic ideologies and the erasure of non-standard varieties and cultures. Rejecting assimilationist models, CSP validates fluidity and heterogeneity within communities. It also fosters critical examination of learners' own cultural practices including intracultural oppressive aspects, such as the sexism or homophobia within marginalised groups. CSP aligns well with the ways in which Julius's collection thematically engages history through what Barbara Boswell (following on Gqola) calls the "re-memorying" of silenced perspectives. Its restorative ethics centre marginalised subjects and uphold pluralism, showing literary analysis' potential for recognition and engagement with the process of identity construction and marginalisation. As a case study, we examine how two poems from Uit die kroes, "Ouma Xhau" and "Ontheemding," could be productively taught to highlight features of the Oranjerivierafrikaans language variety, Nama cultural and its linguistic influences on Oranjerivierafrikaans, oral literary traditions, and personal experiences of cultural displacement and discrimination. The article outlines practical classroom strategies grounded in CSP for teaching these poems in order to centre marginalised cultural histories and sustain non-standard varieties of Afrikaans. We contend that "Ouma Xhau" can be considered a lyrical portrait of a historical figure, whereas "Ontheemding" rather functions as a type of autobiographical self-portrait. "Ouma Xhau" portrays an indigenous woman in what is today the Northern Cape, sharing her people's dispossession by colonialism. A CSP analysis of this poem involves contextualising oral traditions' importance as knowledge systems by explaining literary conventions like collective storytelling. As assessment, we suggest that students could create oral histories or rap "portraits". Opportunities arise for learners from varied backgrounds to engage marginalised perspectives and enrich one another interculturally. "Ontheemding" depicts intergenerational displacement from the Nama language and culture caused by, amongst other things, urbanisation. Taking a CSP approach to teaching this poem acknowledges linguistic heterogeneity by validating students' own backgrounds and experiences. Building sociolinguistic awareness, assessments like the writing of "self-portrait" poems encourage critical examination of the learners' linguistic experiences and community norms. Inclusion of diverse voices resists monolingual framings of literary pedagogy. Together, the teaching of these two poems offer opportunities for the sustaining of culture by focussing on absented histories through creative reimaginings. Themes of loss, identity negotiation and societal constraints promote development of analytical skills when approached via CSP. Its restorative ethics uphold pluralism through the inclusion of marginalised subjectivities. The teaching of literature can serve as a vehicle of reconstructing knowledge pluralistically when analysed through frameworks attentive to lived diversity and the power dynamics shaping meaning-making. Research into CSP's impacts is still emerging but indicates benefits for empowering marginalised learners and transforming discriminatory educational dynamics. Its varietiesinclusive, community-centred nature demonstrates potential for decolonising curricula historically privileging monolingual, Afrikaner-centric canons. Most essentially, CSP shows how literary analysis situates aesthetics within the socio-political by fostering critical thought around linguistic justice, cultural recognition and plurality through including and championing silenced subjectivities in knowledge production. Adopting CSP principles allows the teaching of Julius's collection to address the lack of non-standard language representation in Afrikaans literature curricula while achieving curriculum goals through a transformative lens attentive to diversity and social problems. Its restorative ethics reconstruct education as community-oriented rather than a process of assimilationist knowledge transfer. Analysis of the two poems highlights literature's capacity for enrichment when diverse experiences, marginalised histories and fluid cultural realities are taken as point of departure. Most significantly, CSP validates plurality as an intellectual and pedagogical strength central to knowledge formation compatible with democratic principles of inclusion and multivocality. [ABSTRACT FROM AUTHOR]

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Copyright of Organisationsberatung, Supervision, Coaching is the property of Springer Nature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Witnessing some of the most horrific scenes of terror, hate, and harassment, this work is about "evincing"—evincing in and with the stories, voices, screams, hurt, and pain of the victims, the racially and culturally marginalized scholars who are harassed for their research. My reflections, while they led to a poetic art piece, are about the critical "ongoingness" of continuously revealing the evidence and truth of the unsafe world of doing, being, and sitting with online research. In the evincing, we censure and condemn hate and harassment while vituperating and execrating the perpetrators, cyberspaces, systems, and institutions that target, abuse, mistreat, and malign women; Black, Indigenous, and people of colour (BIPOC); queer; disabled; and other marginalized scholars. Evincing is the ways in which their research work and lives remain present and alive through this art and those to come. In this evincing, their experiences of racism, misogyny, violence, isolation, powerlessness, helplessness, frustration, and fear are not simply spectacles for awareness. Rather, they are the grounds from which our methodologies for witnessing these scenes become our vocabularies in resistance, solidarities, and solutions. Evincing, then, is how we mobilize against these encounters of hate and harassment in celebration of safe, brave, healthy, and continuous academic journeys for all scholars. [ABSTRACT FROM AUTHOR]

This article was created based on a talk given by Canisia Lubrin with the Black Canadian Studies Association (BCSA) for their 2022 conference, "Black Solidarities, Thought and the Quest for Black Freedom." It engages with the theme of Black solidarities, thought, and the quest for Black freedom, in the interest of recognizing the complexities of its range. In this era of new forms of Black dispersement, the author offers this as a care work in the core character of Blackness. It is a wish for a kind of respite from the ontological over-determinism that bares down on us from all directions, from the restlessness that forms the tenor of our being in this world. [ABSTRACT FROM AUTHOR]

À San Mauro Pascoli et à Castelvecchio Pascoli, respectivement dans la région de la Romagne et dans la Garfagnana, se trouvent les deux maisons principales où le poète Giovanni Pascoli a vécu. Le village natal de San Mauro se présente comme une sorte de maison étendue qui part du 46 de la rue Pascoli pour arriver à la propriété de Villa Torlonia, dont le père du poète, Ruggero Pascoli, a été l’administrateur. Cet espace accueille des expositions et des spectacles tout le long de l’année et il est destiné à s’enrichir grâce à l’ouverture prochaine d’un important centre de documentation. En revanche, la maison de Castelvecchio est un lieu intime, calme, enfermé dans une bulle de souvenirs, au charme indéniable, siège d’un immense fonds d’archives ainsi que de la bibliothèque de l’auteur. Entre innovation et tradition, les deux demeures de Pascoli jouent un rôle complémentaire et s’avèrent être la double voie d’accès à “l’ailleurs” où le poète habite véritablement.

Écrivain autodidacte et paysan, Delavouët édifia une œuvre riche d’où émerge Pouèmo, une vaste composition poétique qui, mêlant l’évocation de la Provence à de multiples échos mythiques, constitue une puissante fresque de l’existence. Par cette œuvre écrite en provençal, Delavouët offre au lecteur une poésie porteuse d’un patrimoine précieux. Il donne à voir un patrimoine naturel menacé ; il invite à comprendre la valeur du patrimoine culturel que représente la civilisation paysanne ; enfin, il montre la dignité du patrimoine linguistique que constitue la langue provençale. Cet article parcourt la biographie et l’œuvre de Delavouët avant de montrer comment le Centre d’étude qui lui est consacré développe des initiatives visant à la valorisation de ce patrimoine naturel, littéraire, culturel et linguistique.

Nous analysons les stratégies stylistiques employées par Andrea Zanzotto pour la représentation des paysages en nous concentrant notamment sur ses premiers recueils, de Dietro il paesaggio (1951) à Il Galateo in Bosco (1978). D’abord, nous identifions le recours à la défamiliarisation, à la stratification symbolique et à la poly-isotopie textuelle, dans le cadre d’une poétique du refoulement. Puis, nous analysons comment l’usage complémentaire de ces stratégies textuelles devient plus explicite et évolue vers l’allégorie et le paysage métapoétique. Enfin, nous observons la création d’un véritable paysage allégorique et patrimonialisant par le biais de ces stratégies. Dans toutes ces étapes, pour le poète il s’agit de déconstruire une hiérarchie héritée afin de reconstruire une relation nouvelle à travers l’écriture.

Prenant pour point de départ le statut particulier de l’écrivain ligure Camillo Sbarbaro (1888-1967), qui était à la fois poète et lichénologue, cet article tente de montrer que ses recueils de poèmes et de fragments de prose peuvent être lus comme une sorte d’herbier des lieux parcourus et aimés, comme un inventaire intime où une mémoire anhistorique des paysages ligures se construit à travers une célébration du monde végétal sous ses formes les plus infimes. On propose ici une approche écopoétique de la production sbarbarienne, au sens où une sensibilité presque écologiste à la précarité du monde conduit le poète-botaniste à transformer l’écriture en un geste de préservation de la nature.

L’importance du paysage dans toute l’œuvre en vers de Vittorio Bodini est parcourue par la récurrence d’isotopies sémantiques et de stylèmes visuels durables en rapport avec le territoire d’appartenance et avec sa codification littéraire, comme la géographie fictive liée aux contrastes chromatiques entre lumière et obscurité, ou liée à certains motifs récurrents, la lune et le coucher du soleil, les éléments naturels, les phytonymes et les bestiaires, le cycle des saisons. L’article cherche à suivre les manifestations du chronotope de la région du Salento présentes dans les vers de Bodini depuis le premier recueil, La luna dei Borboni (1952), jusqu’aux derniers poèmes.

Nous verrons d’abord comment l’eau constitue un motif poétique essentiel et récurrent dans la démarche autobiographique poétique de Bertolucci, mais aussi un thème consubstantiel à la définition de limites spatiales, temporelles et sociales dans ses poèmes et son roman en vers. Il s’agira également d’expliquer comment l’eau a pu servir parfois de cadre à des moments d’initiation dans l’œuvre poétique. Enfin, l’article présentera une forme de patrimonialisation des lieux biographiques bertolucciens dans un parc naturel de la province de Parme.

L’article propose une analyse de la fonction des lieux biographiques dans le recueil poétique de Cesare Pavese Lavorare stanca. Il sera notamment question de la manière dont l’auteur exploite ces lieux en tant qu’objets symboliques à travers un processus d’abstraction obtenu grâce à des stratégies dont on donnera plusieurs exemples. Les lieux biographiques de la région des Langhe, la colline en particulier, deviennent la clef d’accès au mythe, point de mire de l’écriture et de la poétique de Pavese. Ainsi, en approfondissant le thème du paysage, on cherche à mettre en évidence la démarche mythopoïétique de l’écriture de l’auteur piémontais.

Nous étudions l’usage du plurilinguisme externe chez Sanguineti, c’est-à-dire la coprésence de l’italien et de certaines langues étrangères, notamment le français, dans les phases avant-gardiste et néocrépusculaire du poète. D’abord, nous analysons Laborintus 20 (1956) afin de mettre en relief la création d’un langage multilinguiste, qui utilise le contrepoint de plusieurs langues pour créer une voix polyphonique et subversive. Ensuite, nous prenons en examen des extraits de Postkarten (1978), dont nous mettons en lumière l’usage polyglotte des langues. Il s’agit, dans ce deuxième cas, de créer une langue orale, mais cosmopolite et cultivée, conforme à l’image caricaturale de l’auteur.

Cet article aborde l’œuvre de Charles Lévesque (1817-1859) à partir de l’idée d’une « étiologie de l’oubli » afin de faire l’hypothèse d’une liminarité constitutive où jouent des ressorts esthétiques et formels lui permettant de se décentrer par rapport aux enjeux consacrés de la littérature canadienne-française d’alors. Lue à partir de ses jeux formels et rythmiques tout autant que depuis la singularité de sa voix, l’œuvre de Lévesque montre en effet son originalité pleine, alors qu’elle se situe entre les genres (ce mot étant entendu tout autant au sens de « catégorie littéraire » que du « genre sexué »).