After Translation: The Transfer and Circulation of Modern Poetics Across the Atlantic

After Translation: The Transfer and Circulation of Modern Poetics Across the Atlantic

IGNACIO INFANTE
Copyright Date: 2013
Published by: Fordham University Press
Pages: 232
https://www.jstor.org/stable/j.ctt13wzw5v
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  • Book Info
    After Translation: The Transfer and Circulation of Modern Poetics Across the Atlantic
    Book Description:

    Translation--from both a theoretical and practical point of view--articulates differing but interconnected modes of circulation in the work of writers originally from different geographical areas of transatlantic encounter, such as Europe, Latin America, North America, and the Caribbean. After Translation examines from a transnational perspective the various ways in which translation facilitates the circulation of modern poetry and poetics across the Atlantic. It rethinks the theoretical paradigm of Anglo-American "modernism" based on the transnational, interlingual and transhistorical features of the work of key modern poets writing at both sides of the Atlantic--namely, the Portuguese Fernando Pessoa; the Chilean Vicente Huidobro; the Spaniard Federico Garcia Lorca; the San Francisco-based poets Jack Spicer, Robert Duncan, and Robin Blaser; the Barbadian Kamau Brathwaite; and the Brazilian brothers Haroldo and Augusto de Campos.

    eISBN: 978-0-8232-5179-7
    Subjects: Language & Literature

Table of Contents

  1. Front Matter
    (pp. I-VI)
  2. Table of Contents
    (pp. VII-VIII)
  3. List of Illustrations
    (pp. IX-X)
  4. Acknowledgments
    (pp. XI-XIV)
  5. Introduction. Poetry after Translation: Cultural Circulation and the Transferability of Form in Modern Transatlantic Poetry
    (pp. 1-21)

    This book studies the ways in which the circulation of modern poetry and poetics is articulated by the translation of various poetic traditions and forms across the diverse spatiotemporal realm of mediation constituted by the Atlantic Ocean. By examining how translation, broadly understood as an interlingual, literary, and transcultural practice, is closely related to the transatlantic circulation of modern poetics, I develop a multilingual critical approach to the study of transnational poetry. Another central aim of this book is to analyze how the literary history of modern poetry-traditionally produced within mononational and monolingual frameworks-is altered by a comparative approach that...

  6. 1 Heteronymies of Lusophone Englishness: Colonial Empire, Fetishism, and Simulacrum in Fernando Pessoa’s English Poems I–III
    (pp. 22-50)

    The Portuguese poet Fernando Pessoa (1888–1935) started writing poetry in English at roughly thirteen years of age with a poem titled “Separated from thee …” (1901) while he was living in the colonial town of Durban, South Africa. At about the same time, Pessoa had already adopted one of his first transpersonal identities as Alexander Search, an early English entry in his long series of fictional personalities (personalidades fictícias) (Obras em prosa, 92) that Pessoa referred to as “heteronyms,” which would gradually generate Pessoa’s extremely diverse oeuvre. This chapter examines the way in which the origin of Pessoa’s transpersonal...

  7. 2 The Translatability of Planetary Poiesis: Vicente Huidobro’s Creacionismo in Temblor de cielo / Tremblement de ciel
    (pp. 51-80)

    The Chilean poet Vicente Huidobro (1893–1948) briefly settled in Madrid during the fall of 1918 after having spent almost two years in Paris. During his time in France, Huidobro became fluent in French, composed five collections of poetry, founded the avant-garde journalNord-Sudwith the poets Guillaume Apollinaire and Pierre Reverdy, and more important, established the main theoretical foundations of his very own avant-garde movement, a poetics he calledcreacionismo(creationism).¹ Soon after his arrival in Paris in 1916, Huidobro befriended key members of the Parisian avant-garde; he became an important member of a group of poets and artists...

  8. 3 Queering the Poetic Body: Stefan George, Federico García Lorca, and the Translational Poetics of the Berkeley Renaissance
    (pp. 81-116)

    In 1957, the San Francisco-based poet Jack Spicer (1925–1965) publishedAfter Lorca, Spicer’s first published poetic work that, as the title suggests, was inspired by the poetry of the Spanish poet and playwright Federico García Lorca (1898–1936).After Lorcawas published in San Francisco by White Rabbit Press, an independent publishing venture run by Joe Dunn, one of Spicer’s close friends at the time. After a series of attempts to find his own poetic voice, as well as his vocation as a poet—he refers to his early poems as meaningless “one night stands” (Collected Books, 61)—Spicer...

  9. 4 Transferring the “Luminous Detail”: Sousândrade, Pound, and the Imagist Origins of Brazilian Concrete Poetry
    (pp. 117-145)

    In 1964, the Concrete poets Augusto and Haroldo de Campos publishedReVisão de Sousândrade, an anthology and critical study of the Brazilian romantic poet from Maranhão, Joaquim de Sousa Andrade (1832–1902), generally known within Brazilian literature simply as “Sousândrade.” Despite the fact thatReVisão de Sousândradewas originally published in a small edition of five hundred copies, it constitutes an extremely relevant work within Brazilian and Latin American literary history, as well as within the global history of the avant-garde. InReVisão de Sousândradethe de Campos brothers not only manage to recover a seminal romantic writer almost completely...

  10. 5 The Digital Vernacular: “Groundation” and the Temporality of Translation in the Postcolonial Caribbean Poetics of Kamau Brathwaite
    (pp. 146-176)

    The poetic work of the Barbadian historian and cultural theorist Kamau Brathwaite (Bridgetown, 1930) has constituted from its inception the fundamental part of an intellectual project aiming at the articulation of an original Caribbean aesthetic. From his first published poetic work,Rights of Passage(1967), Brathwaite’s poetry has documented his own intellectual search for a Caribbean form of expression that could embody the complex history of the folk culture of the West Indies in general and of Barbados in particular. Brathwaite’s attempt to establish a Caribbean aesthetic originally took shape as a radical response to a seminal question Brathwaite himself...

  11. Afterword. The Location of Translation: The Atlantic and the (Relational) Literary History of Modern Transnational Poetics
    (pp. 177-188)

    It appears that Paul Gilroy’s crucial argument inThe Black Atlantic(1993) that “cultural historians could take the Atlantic as one single, complex unit of analysis in their discussions of the modern world and use it to produce an explicitly transnational and intercultural perspective” (15) still has not registered within the scholarly discourse of transnational literary studies in the United States. Twenty years after Gilroy proposed a holistic approach to Atlantic studies in what constitutes perhaps the foundational work in the field, scholars working on various facets of transatlantic culture and literature have not generally adopted that framework. Instead of...

  12. Notes
    (pp. 189-198)
  13. Bibliography
    (pp. 199-210)
  14. Index
    (pp. 211-218)