Questa testimonianza di prima mano fornisce risposte a gran parte degli interrogativi che ci poniamo da sempre. Susana writes about death in a way no journalist ever has and in a range of generic registers: Poets the world over have always translated the work of fellow poets, even without knowing a single word of the language they were translating from. This situation, more relevant for poetry than any other genre, is widespread throughout the world. Otherwise, one would use a third, known language to translate from.
Whatever the case, the source poet and the translator poet do share a language: Babel has been promoting this way of translating, less common in Western Europe, with several projects. The outcome has been brilliant and the books keep circulating widely. The result of their joint work has been presented at Leukerbad Literature Festival in July , and subsequently at Babel Festival in Bellinzona.
Here is a sample. I poeti di tutto il mondo hanno sempre tradotto altri poeti, anche senza conoscere una singola parola della lingua originale. In ogni caso, i due poeti condividono sempre una stessa lingua: I risultati del loro lavoro sono stati presentati in eventi letterari nazionali e internazionali.
Pourquoi raconte-on des histoires depuis toujours? Pour contrer le temps? La langue est une aventure en soi. Le dictionnaire est une escalade du sens. Mais aussi une impasse: These texts were selected at moments of impotence in the face of recurrent events. The motive was rather simple: Printed in Mexico City in May of , the book contains 10 Mexican blog entries translated into Arabic and 10 Palestinian blog entries translated into Spanish.
Ma naturalmente si rivelano fallimentari e pericolose, a causa della contaminazione di un virus da parte di un gruppo sovversivo. Volevo un romanzo la cui struttura rispecchiasse quella di una mente schizoide, in cui si scontrassero e sovrapponessero diversi testi e sottotesti, voci e contro-voci ermetici sutra buddhisti, teorie scientifiche e antropologiche, narrazione storica e narrazione mitologica, voci effettive e voci interiori.
In cui i personaggi stessi potessero essere letti come i cocci di una mente sofferente. It is a world in which special devices, Maternal Units, are designed to raise children. Programmed for perfect love, Maternal Units were created to create happier adults. But of course they are faulty and dangerous because of being infected by a virus from a subversive group. Then again, human love, not only algorithmic love, cannot be perfect but is always transmitted with all the traumas, complexities and imperfections of the person who transmits it. I wanted a novel whose structure reflected that of a schizoid mind, in which several texts and subtexts, voices and counter-voices hermetic Buddhist sutras, scientific and anthropological theories, historical narrative and mythological narrative, actual voices and inner voices clash and superimpose.
In which the characters themselves could be read like the cracks of a suffering mind. In which the soul, according to a Shinto view of reality, is not a prerogative of the human being, but is displaced by narrative, so that in the novel certain objects robots, other idols such as dolls are more humane than human beings Sada for example, the cruel director of the institute, or Yuki, the teacher who perceives her moods as computer calculations. It is a new, no longer anthropocentric realism that takes into account the whole reality.
I found it interesting that ancient Buddhist identity theories today correspond to what is described and diagnosed as schizophrenia. The protagonist, Sumiko, is a non-character: According to her teachers at the institute she is autistic, most likely she is a Buddha who moved beyond the common level of human interaction. It is on this level that Sumiko and Yuki, her teacher, meet.
Each reading of the book may correspond to a different interpretation path: At each reading, Sumiko may be something else. It is up to the reader: Specimen likes the web, but it likes being a book as well, so it will occasionally take the form of fine prints or digital publications on-demand. And as it likes voices, flesh and blood too, it will speak and read at events and festivals. Esistenza difficile e breve, minata da alcol, depressione e internamento psichiatrico. Posthumously recognized as one of the most important voices in twentieth century Brazilian literature, Lima Barreto led a brief and difficult existence, weakened by alcohol, depression and psychiatric institutionalization.
In his writings, he depicts the world of the defeated of his city with a moving and original outlook, without sparing criticism against the Brazilian culture of his time. The version of the short story that is published and translated here is the most recent one, published in Contos Completos de Lima Barreto , Sao Paulo, Companhia das Letras, No es lo mismo Beethoven mal interpretado que bien ejecutado.
Suscribo plenamente con Nabokov aquello de que toda lengua tiene un equivalente exacto en todo texto nacido de otra lengua. After being heavily wounded in he was discharged. Years later he published a collection of short stories describing his war experiences. Initially, even without an office space. During those years all Soviet media were heavily politicized, pushing communism propaganda and leaving almost no space for anything else. But in fact they were the most coveted pieces of information.
- Promises of Hope for Difficult Times;
- Specimen Types.
- 100 of the Most Dangerous Caves In the Canada!
- La verità del serpente (Sebastiano Guarienti indaga) (Italian Edition).
But in Kakabadze was dismissed from his position as editor-in-chief after refusing to publish a major Kremlin resolution assessing the work of the Georgian Communist Party — not related to sports at all. It was only after the fall of the Soviet empire that the Mikheil Kakabadze Award for the Best Sportswriter of the year was established in Georgia. And I felt regret that his legacy was in journalism and not in fiction. He never got to know his grandfather.
We publish the Italian, Gaelic and Spanish versions of an erotic short story by Joanna Walsh, The Princess and the Penis , a tale of sex without body, or body without love, dependence and obsession, that touches upon issues of female sexuality and desire with amused originality and coarse and piercing details.
Book and ebook are published by readux. These 5 new poems by Pulitzer Prize-winning poet Charles Simic have been written, and translated into Italian, expressly for La Milanesiana We would like to thank Charles Simic, Adelphi publishing house, and Elisabetta Sgarbi, founder and artistic director of La Milanesiana, for kindly granting us permission to publish the poems.
Le cinque poesie inedite di Charles Simic qui proposte sono state scritte e tradotte appositamente per La Milanesiana Si ringraziano Charles Simic, la casa editrice Adelphi e Elisabetta Sgarbi, ideatrice e direttrice della Milanesiana, per averci gentilmente concesso di riprodurre le poesie. Submarine convergence, submarine roots floating free: Specimen asks the web: Specimen is interactive and customizable: For translators of Italian literature from any country to celebrate their body of work.
Submissions will be accepted through September 15, Darin finden sich u. If it is true that we can think only by way of language, if, as Wittgenstein put it, every philosophical interrogation can be presented as an interrogation of the meaning of words, then translation is one of the eminent means by which man thinks his words. Culture is born out of exchanges and thrives on differences.
The death of culture lies in self-centredness, self-sufficiency and isolation. La cultura nasce dagli scambi e cresce grazie alle differenze. Super families are collections of coordinated type families that cross type classifications, and are designed to work together in perfect harmony. It becomes much more difficult because the hardest thing in the world is simplicity. And the most fearful thing, too.
You want to write a sentence as clean as a bone. That is the goal. What is a word? I think that, in the end, they are the same thing. As a word can have several dimensions, several nuances, such complexity, so does a person, and a life. The language is the mirror, the main metaphor.
Because, after all, the meaning of a word, just like the meaning of a person, is something boundless, ineffable. Cage once told me of a lesson he learned from Arnold Schoenberg, who taught him counterpoint while he was still living in Los Angeles. Cage offered many solutions to a technical problem his teacher posed, but Schoenberg kept asking for yet another answer. Then he asked what the principle underlying all the solutions was. This happened in and it would be at least fifteen more years before I could answer his question. Now I would answer that the principle underlying all of our solutions is the question we ask.
Cage aveva proposto varie soluzione a un problema tecnico postogli dal maestro, ma Schoenberg continuava a chiedergliene ancora una. Nel parcheggio di un motel di Marfa al calare della notte, Giorgio Vasta e Ramak Fazel, il fotografo che lo accompagna per i deserti e le ghost town degli Stati Uniti, si trovano a discutere, mentre preparano un piatto di maccheroni su un fornello da campo, di antropofagia e del senso ultimo del viaggio.
While cooking macaroni on a camp stove in the darkening parking lot of a motel in Marfa, Texas, Giorgio Vasta and photographer Ramak Fazel engage in a passionate discussion about anthropophagy and the ultimate meaning of travelling. Absolutely Nothing is the fifth volume of a travelogue series jointly published by Humboldt and Quodlibet.
We would like to thank the author and publishers for kindly granting us permission to reproduce this excerpt.
Un olvido animado por la vanidad, el temor de confesar procesos mentales que adivinamos peligrosamente comunes, el conato de mantener intacta y central una reserva incalculable de sombra, velan las tales escrituras directas. Bertrand Russell define un objeto externo como un sistema circular, irradiante, de impresiones posibles; lo mismo puede aseverarse de un texto, dadas las repercusiones incalculables de lo verbal. Un parcial y precioso documento de las vicisitudes que sufre queda en sus traducciones.
No problem is more consubstantial to literature and its modest mystery as the one posed by translation. The forgetfulness induced by vanity, the fear of confessing mental processes that may be divined as dangerously commonplace, the endeavour to maintain, central and intact, an incalculable reserve of obscurity: Translation, in contrast, seems destined to illustrate aesthetic debate.
The model to be imitated is a visible text, not an immeasurable labyrinth of former projects or a submission to the momentary temptation of fluency. Bertrand Russell defines an external object as a circular system radiating possible impressions; the same may be said about a text, given the incalculable repercussions of words. Translations are a partial and precious documentation of the changes the text suffers.
Are not the many versions of the Iliad —from Chapman to Magnien—merely different perspectives on a mutable fact, a long experimental game of chance played with omissions and emphases? There is no essential necessity to change language; this intentional game of attention is possible within a single literature.
To assume that all recombination of elements is necessarily inferior to its original form is to assume that draft nine is necessarily inferior to draft H—for there can be only drafts. LOWELL I think it can only have integrity apart from the beliefs; that no political position, religious position, position of generosity, or what have you, can make a poem good. But these things will never per se make a poem.
I say once because when I arrived to London, I decided to forget it i. I had to replace it from scratch, and perhaps without being conscious of it, with the language of another master. Perhaps, that is why I studied art and design: In translating the story, I was also unearthing memories.
For when I was searching for words, online or in dictionaries, and found a few alternative meanings, I found myself exclaiming: I remember this word. I remember that word. I felt enriched by both, the past and the present associations. My sensations and feelings about those words sometimes veered from their given meaning in the dictionary. Arabic is a decorative language. I could needlessly have been lost in sea of adjectives and seduced by its lyrically derived words from mostly three root letters.
I am struck by the child-like intensity of feeling I get upon reading an Arabic word aloud now. However, writing the stories in the limited English I have acquired over these odd years made me write very slowly, as the right words would not come easily. This failure to find the words to express my thoughts and the failure to write a sentence correctly after repeated attempts would often lead me to abandon my writing for long periods. Though time-consuming, this slowness gave me more time to think about what I was writing, until perhaps, my intentions had matured. This delay then would become a creative act.
Writing in English, the thoughts lead my writing; were I to write in Arabic, the words would. I am half Eritrean, half Ethiopian. We escaped the war to Sudan when I was 3 or 4 years old. I speak Arabic as well as the Arabs and I speak English well enough in my own accent to communicate my ideas. For all of you, art provided an escape. When did you realise you wanted to be an artist? In the book I describe meeting some art students on the beach in Shitang as a very young child, and immediately feeling a connection with them.
But it was when I started reading western books as a teenager that I felt rage about my own childhood. It was this rage and bitterness that sent me into the world of literature. I testi scelti dalla scrittrice sono: The distinguishing nature of something. Any letter, numeral, punctuation mark, and other sign included in a font. The quality of being an individual in an interesting way. Also, in unusual ways. And there, they are instantly recognised and greeted by a host of other words, with whom they have an affinity of meaning, or of opposition, or of metaphor or alliteration or rhythm.
They are questioning the roles I allotted them. So I modify the lines, change a word or two, and submit them again. Specimen stems from Babel, which was born in the middle of the Swiss Alps. Switzerland, Babel and Specimen have the same mother tongue, translation. Italian, French, German, English. Le altre sezioni parlano del risveglio la mattina del compleanno, della separazione, di una casa lasciata e delle strade di Londra. The day is January 7, He is a writer unafraid of deep silences and of holding us there. But underneath the narratives, buried in a phrase or a thought, is a glimpse of humor, the scent of bitter oranges, the smell of fresh rain after a drought — through small but powerful images of beauty, he manages to connect us with something greater than human misery, and that is simply the fact of being human.
One or another circumstance blocked the road. Brodsky was not a Christian in the strict sense of the term—definitely not a churchgoer—but he possessed a profound sense of the Christian tradition as a major force in the shaping of Western culture. And he was invariably drawn, in his poetry and his life, by the metaphysics of the Gospel and the Ancient Testament alike, which he often found himself expanding beyond the limits of doctrine.
Iosif Brodskij non era cristiano nel senso stretto del termine — certamente non era un praticante — ma possedeva un profondo senso della tradizione cristiana quale elemento fondante della cultura occidentale. Ed era invariabilmente attratto, sia nella poesia che nella vita, dalla metafisica delle storie neo e veterotestamentarie, che spesso si trovava ad espandere oltre i limiti della dottrina.
Specimen chases second languages in all their forms because translations, multilingualism, echolalias and linguistic hospitalities multiply the layers of language and pronounce diversities. They force us to have second thoughts. They give us a second chance. The first poems date back to the s, and the last, to , the year of his death. Orelli had a long life, but he was a poet of relatively scant output and he was, above all, very selective. His books show a continuous formal evolution and, at the same time, a tenacious loyalty to his themes and locations. The consistency and overall quality of his work are impressive.
Even among the texts he wrote at the age of 90, there are some masterpieces that seem to reach a new level of simplicity and transparency. Themes of transience and death are always present in his work, but they appear as shadows and outlines that, however threatening, render the colours of life even brighter. Or they appear as the opposite: Orelli is fundamentally a realist poet; he loved day-to-day reality too much to distance himself from it completely, but that did not stop him from writing poems that have aspects of fantasy and fable to them, sometimes even the dreamlike and the metaphysical, because these dimensions are part of our lives as well.
Among his best-known poems, there are encounters on the streets of Bellinzona; adventures that are slight, but still adventures; dialogues composed of a few memorable lines. For him, each encounter is also a linguistic event into which he can introduce the Italian poetic tradition that of Dante, first and foremost , puns and Freudian slips, the wonderful inventions of children, the sometimes alienating snippets of a foreign language or the telling witticisms of a dialect. All of this coexists in the poetry of Orelli — just as it was embodied in the poet himself — with extraordinary vivacity and naturalness.
What keeps them at such times from disintegration is not legions but language. Such was the case of Rome, and before that, of Hellenic Greece. The job of holding the center at such times is often done by the men from the provinces, from the outskirts.
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Contrary to popular belief, the outskirts are not where the world ends — they are precisely where it begins to unfurl. Unlike most accounts of the genocide, there are no historical reconstructions or political and sociological analyses in this book. The imaginary line upon which the letters in a font appear to rest. Although I love you, you will have to leap; Our dream of safety has to disappear.
A translated poem is necessarily a new thing, but it has a relationship with the original.
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The linguistic arrow rather than the narrative arc. Specimen looks for types that keep moving, writers who are driven by language: That activity at certain points of your day or night insists on a certain kind of response. Even when I was healthy, I was sensitive to the process.
E in certi momenti del giorno o della notte ti spinge ad avere un certo tipo di reazioni. A volte dice semplicemente: Sforzati di mangiare un sandwich. A questo punto dei giochi, sento che mi dice: Ai miei studenti faccio imparare a memoria, per semestre, qualcosa come 1.
Its themes of war, migration, sexual violence and sanctuary are so resonant that last December the Los Angeles Times asked whether anyone would risk adapting it. The speeches are delivered as rhythmically and sonorously as the score. But the immense value of this production lies in the safe space it offers to explore timeless but urgent questions: The scope of languages, alphabets and styles published by Specimen: Specimen will feature every written genre, as well as their mixes and combinations.
Specimen is oh-so-open, yet in a way concealed in the partially enclosed, somewhat rounded negative space in some characters. And so, thanks to a long experience in publishing that goes all the way back to movable type printing, Specimen brings to the web the typographical and editorial touch of the finest publications on paper. And a slow pace too. The great Rodin, while examining one of his own sculptures, kept saying: Indeed, he had the feeling of not being the only creator of his work.
Can a work of art be the outcome of a monologue? In their effort to divorce language and experience, deconstructionist critics remind me of middle-class parents who do not allow their children to play in the street. Specimen stems from Babel, the festival of literature and translation which right from its inception has welcomed writers from the most diverse cultures, detected a worldwide network of affinities, and seen to the publication of columns, magazines and entire book series.
Now, Specimen aims at overcoming the boundaries of Babel and at reaching out to the world, through the web, lightly. The world is a text with several meanings, and we pass from one meaning to another by a process of work. With a special inclination for second languages and hybrid forms. Specimen engages a wide network of writers, artists and thinkers, and foregrounds relation as the core of its approach. Our deepest thanks to Derek, then, and to Harry and all the publishers for granting us permission to print the original poems and the French translations, to Peter Doig for the reproductions of his paintings, and to Matteo Campagnoli for the Italian versions.
Rilke preferred to wrestle with the questions — and even commands — implied by the existence of the flawed, the broken, the caged, and answered, or obeyed, slowly, painfully, over time. When I was asked to give an account of the way my ideas have developed from my life, I thought that the concept of the boundary might be the fitting symbol for the whole of my personal and intellectual development. At almost every point, I have had to stand between alternative possibilities of existence, to be completely at home in neither, and to take no definitive stand against either.
Pagine in buono stato, con tagli bruniti. Traduzione di Maria Grazia Manucci. The first book of the Riftwar saga. A near fine copy with minor dust soiling to the top page edges and a small bump to the lower edge of the rear board, in a near fine dust jacket with light edge wear.
Square quarto, pages with plates 55 in colour. Full leather; a fine copy with the slipcase. One of only signed and numbered copies, with an original signed and numbered colour lithograph by Albert Tucker loosely inserted. Michael Treloar Antiquarian Booksellers ]. Fomento Cultural Banamex, Quarter calf over red silk, marbled endpapers. One of sets, slight sunning to cloth slipcases, split to cloth on one edge of one slipcase, spines faintly sunned. Incorporating text and images from the original manuscript of the Historia, known as the Florentine Codex. Online Bookshop Jim and Mina Stachow ].
Your book will be securely packed and promptly dispatched from our UK warehouse. All international orders are sent airmail. Sunrise Books Ltd ].
Doppio sogno by Arthur Schnitzler (2 star ratings)
All of the books have matched number , except the two volume Book 7, which is also the signed limited edition, but a different number. All books are in their slip case or tray case for protection, two with original shrinkwrap. All jackets in mylar wraps. Bookbid Rare Books ].
Tony Shafrazi Gallery, First printing of copies. The first major catalog on Haring. Includes numerous color and black and white illustrations. A close to near fine copy in spiral bound wrappers with some minor wear but internally a very clean and fresh copy. Signed and inscribed with a full page drawing by Haring on the verso of the front cover and done in the year of publication. Housed in a custom black cloth clamshell box. A collection of some of Haring's drawings without color. A very near fine copy in stapled wrappers that are very slightly soiled.
Librairie Feu Follet ]. First edition, first printing. Publisher's pale blue cloth with gilt titles to the spine, in dustwrapper. A superb fine copy, the binding clean, square and tight, the contents with a previous owner's inscription to the front endpaper otherwise clean and bright throughout.
Complete with the fine lightly creased dustwrapper which remains without fading. The author's first novel. Further details and images for any of the items listed are available on request. Lucius Books welcomes direct contact with our customers. Screwbound in black duplicating service wrappers with gilt lettering.
Near fine with some light wear and rubbing to the wrappers.
Il libro di sabbia (Biblioteca Adelphi) (Italian Edition) - download pdf or read online
The screenplay for the unreleased cult film by Tom Schiller, an original Saturday Night Live writer responsible for many of its early taped segments, including "Java Junkie" and "Don't Look Back in Anger" notable for an aged John Belushi as the last surviving SNL alumnus dancing on the graves of fellow cast members. This surreal film follows a young artist returning to New York, now run by the Port Authority, and his subsequent recruitment by an underground tramp community that secretly rules the world.
No one was watching hardly and I got to make a personal film with a studio crew. Aside from an appearance on late night TV in Europe, the film was not released theatrically or to home video. The film was rediscovered by audiences after Murray insisted it be included in a retrospective of his work, creating a demand for its release on DVD for which MGM has so far not responded. OCLC locates no copies. Between the Covers-Rare Books, Inc. Mensile di arte, cultura, informazione. Uniamo vari supplementi del periodo: Paperback; English language; Signed by author no dedication ; a fair reading copy; Catalogue raisonne des aquarelles, gouaches et pastels.
Louis Carre, - Hardcover with dusjacket, pages with illustrations. Volume 2 only 0 g. One of only copies bound in cloth. Afterword by Leslie George Katz. Designed by Nicholas Callaway and Anne Kennedy.