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Diplomsko delo Problems in T ranslating African American P oetry after 1950. Kristina Kočan. African American Poetry after 1950. musical aspect. cultural aspect. linguistic aspect. Linguistic Aspects of African American Poetry after 1950 The use of grammatical errors. - PowerPoint PPT Presentation
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Diplomsko delo
Problems in Translating African American Poetry after 1950
Kristina Kočan
African American Poetry after 1950
musical aspect
linguistic aspect cultural aspect
Linguistic Aspects of African American Poetry after 1950The use of grammatical errors
For Walter Washington Za Walterja Washingtona We blk blues singers
we blken the chords
with shots of blue …
we blk blues singers
we are you pleadin
I gave you all my love
please don’t abuse it
we are you cryin I tried my best
but it wasn’t worth it
we are you wishin
the rain smell would
drive away the sweary mad dreams of
last night
we are you watchin
… (Tom Dent)
Mi črni pevci bluesa
črnimo akorde
s šusi žalosti ...
mi črni pevci bluesa
mi smo tvoja prošnja
dal sem ti vso svojo ljubezen
prosim ne izdaj je
mi smo tvoj jok
potrudil sem se po najboljših močeh
a ni bilo vredno
mi smo tvoja želja
vonj po dežju bo
pregnal zaklete nore sanje
včerajšnje noči
mi smo tvoja budnost
... (Tom Dent)
Linguistic Aspects of African American Poetry after 1950Unusual typography
L L L L
O n ) G Ong) ON G L oNg
E e
place that PLACE
TH' One g'd
L place
L uN OnE
Un
ouNOUN ______
g /
_____________
/
_______ /
1
_________/ moving
poem by Russell Atkins
Unusual typography
“Most of all we have to read the absence that cannot be heard, the
absence of a closing period, the missing punctuation that poetically
carries out the prophecy written in the poem” (Nielsen).
The problems with translating the terminology for African Americans
“Since the 1800s blacks in America have moved through myriad names
and identifiers such as colored, mixed, black, mulatto, quadroon, octoroon,
nigger, Negro, people of color, Afro-American and African-American,
including a host of pejorative slurs. These changes in identity have
happened within a person’s lifetime” (Robinson).
The problems with translating the terminology for African Americans
A Dance for Militant Dilettantes Ples za bojevite diletante
Dont nobody want no nice nigger no more
these honkies man that put out
these books & things
they want an angry splib
a furious nigrah
they don't want no bourgeois woogie
they want them a militant nigger
in a fiji haircut
... (Al Young)
Naj nihče več ne želi nobenega prijaznega črnuha
tile belčki ki izdajajo
te knjige & stvari
hočejo jeznega črnuha
srditega črnuharja
nočejo nobenega meščanskega črnčka
hočejo borbenega črnuha
s fiji frizuro
... (Al Young)
The problems with translating the terminology for African Americans…
Afrikan People all over the world, the future is oursWe will create on our feet not our kneesIt is a future of Great works, and FreedomBut we can not crawl through life drunk &unconscious we cannot dance through lifeor read the NYTimes through life, or wear vests all our life give our lives to parties, & work with noreason but life in a prison of white dominationBe conscious. Black People Negroes Colored People AfroAmericans Be CONSCIOUS…All over the world AfrikansSweat Beautiful AfrikansNew ark Afrikans (Niggers too)Harlem Afrikans (or Spooks)Ghana Afrikans (bloods)San Francisco Afrikans (brothers)Afrikan Afrikans (ndugu)West Indian Afrikans (Hey man)South American Afrikans (Hermano!)Francophone Afrikans (Monsieur)Anglophone Afrikans (Mister Man)Anywhere AfrikansAfrikans Afrikans AfrikansPeople
... (Afrikan Revolution by Amiri Baraka)
Musical Aspects of African American Poetry after 1950Jazz elements
“In part, the act of visualizing jazz accounts for the range of poets engaged
in the music’s elusive accessibility: young black writers steeped in the
tradition of black music, using poetry in part to achieve a political voice; …
women lamenting over the men who have done them wrong, poets trying
to break apart the language to imitate sound; friends of jazz musicians
eager to keep their spirit alive on the page, …” (Feinstein & Komunyakaa).
Musical Aspects of African American Poetry after 1950Jazz elements
Brother John Brat John
...
Bird, buttermilk, bird –
smack, booze and bitches
I am Bird
baddest nightdreamer
on sax in the ornithology-world
I can fly – higher, high, higher –
I'm a black man;
I am, I'm a black man –
... (Michael S. Harper)
...
Bird, pinjenec, ptič –
tlesk, pijača in psice
jaz sem Bird
najhujši nočni sanjač
na saksu v ornitološkem svetu
lahko letim – višje, visoko, višje –
jaz sem črn moški;
jaz sem, sem črn moški –
... (Michael S. Harper)
Musical Aspects of African American Poetry after 1950Blues elements
All night my bed was rocky, all night nobody by my side;
My bed was cold and rocky, all night no good man by my side.
The radiator sputtered, the furnace gave a groan and died.
... (Naomi Long Madgett)
Moja postelja vso noč bila je majava, vso noč sama sem ležala;
Moja postelja bila je mrzla in majava, vso noč brez dobrega moškega ležala.
V radiatorju je pokalo, peč je zastokala in zaspala.
... (Naomi Long Madgett)
Monday morning Blues
Blues ponedeljkovega jutra
Musical Aspects of African American Poetry after 1950Blues elements
Blues Blues
...
like when he took me to his
home away from home place
and i died the long sought after
death he'd planned for me.
Yeah, bessie he put in the bacon
and it overflowed the pot.
and two days later
when i was talking
i started to grin.
as everyone knows
i am still grinning. (Sonia Sanchez)
...
kot takrat ko me je peljal k sebi
domov stran od domačega kraja
in sem umrla dolgo iskano
smrt ki jo je načrtoval zame.
Ja, bessie, dal je not klobasico
in je zavrelo preko lonca.
in dva dni kasneje
ko sem govorila
sem se začela režati.
kot vsi vedo
se še vedno režim. (Sonia Sanchez)
Cultural Aspects of African American Poetry after 1950
“Literary translation is the most important form of intercultural
mediation of fiction, ever since the term literature exists in the
present meaning of the word” (Grosman, my translation).
Cultural Aspects of African American Poetry after 1950Style and Fashion
Beautiful Black Men Čudoviti črni moški
i wanta say just gotta say something
bout those beautiful beautiful beautiful outasight
black men
with they afros
...
dashiki suits with shirts that match
... (Nikki Giovanni)
želela sem reči samo moram nekaj reči
o tistih čudovitih čudovitih čudovitih
črnih moških
z njihovimi afro frizurami
...
dashiki oblekah s srajcami ki se ujemajo
... (Nikki Giovanni)
Cultural Aspects of African American Poetry after 1950Food items
Knoxville, Tennessee Knoxville, Tennessee
I always like summer
best
you can eat fresh corn
from daddy's garden
and okra
and greens
and cabbage
and lots of
barbeque
and buttermilk
and homemade ice-cream
at the church picnic
... (Nikki Giovanni)
Vedno imam poletja
najraje
lahko ješ svežo koruzo
z očkovega vrta
in okro
in listje špinače
in zelje
in ogromno z
žara
in pinjenec
in domači sladoled
na cerkvenem pikniku
... (Nikki Giovanni)
Cultural Aspects of African American Poetry after 1950Food items
Magnolia Street Magnolijina ulica
…
music for siesta and dreaming
and funerals
& sun-happiness Saturday nights
& your clumsy heavy winding
stairsteps
& the circular room that looked
like a lighthouse
& gumbo
... (Tom Dent)
…
glasba za siesto in sanjarjenje
in pogrebe
& sončno-srečne sobotne noči
& vaše nerodne naporne vijugaste
stopnice
& okrogla soba ki je izgledala
kakor svetilnik
& gumbo
... (Tom Dent)
“Surprisingly, there are times when the best way of dealing with seemingly opaque items in the
source culture is not to translate them at all” (Landers 79).
Cultural Aspects of African American Poetry after 1950Gospel
Dear John, Dear Coltrane Dragi John, dragi Coltrane
Why you so black?
cause I am
why you so funky?
cause I am
why you so black?
cause I am
why you so sweet?
cause I am
why you so black?
cause I am
... (Michael S. Harper)
Zakaj ti tako črn?
zato ker sem
zakaj ti tako funky?
zato ker sem
zakaj ti tako črn?
zato ker sem
zakaj ti tako sladek?
zato ker sem
zakaj ti tako črn?
zato ker sem
... (Michael S. Harper)
Cultural Aspects of African American Poetry after 1950
“On the micro level translators can use all the linguistic and
hermeneutic techniques they have learned, but the finality of their
endeavor is the text a part of the culture, not the much vaunted
struggle with the word the sentence, the line. For this reason
potential translators need to learn about the conditions or
constraints – ideological, poetological, sociocultural, linguistic –
under which texts come into being...” (Lefevere).