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2019, vol. 11, br. 2, str. 285-306
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Odložena reakcija na homofonsku uzvišenost - komedija, prisvajanje i zvukovi jedne ruke koja aplaudira
Doubletalking the homophonic sublime: Comedy, appropriation, and the sounds of one hand clapping
Sažetak
Homofonski prevodi stvaraju pesme koje više ističu zvuk originala nego leksičko značenje. Započinjem raspravom o konceptu "zvučnog pisanja", pozivajući se na koncept "transkacije" Harolda de Kamposa, Paundovu "transdukciju" i koncept koji stoji iza kalka. Zatim razmatram svoje homofonske prevode finskog pesnika Levi Lehta (Leevi Lehto) i izofonski prevod Ulisesa Kariona (Ulises Carrión). Nakon ukazivanja na ideju Bazila Buntinga (Basil Bunting) da se značenje prenosi više zvukom neko leksičkim sadržajem, razmatram Hlebnikov (Khelbnikov) pristup zaumu (trans-značenje) i dela koja slično zvuče na osnovu pesme ptica ili zvukova životinja. U eseju se onda navodi nekoliko konkretnih primera: homofonski prevod Homera od strane Dejvida Melnika, prevod Magnetskih polja od strane Pjera Jorisa na osnovu prepoznavanja glasa i Džin Donelina verzija Ponža. Esej se završava diskusijom o knjizi Drift autorke Kerolin Bergval, njenoj verziji "The Seafarer", kao i njenim trans-kreacijama Čosera. U centralnom delu eseja se govori o "homofonskom" prevodu u popularnoj kulturi, posebno "odloženoj reakciji" Sida Cezara, najpopularnijeg TV komičara ranih 1950-ih. Diskusija o njegovom radu u kontekstu američke jevrejske komedije centralna je tema izlaganja. Ali drugi noviji popularni primer homofonije se obrađuje s posebnim osvrtom na kulturno prisvajanje.
Abstract
Homophonic translations create poems that foreground the sound of the original more than the lexical meaning. I begin by discussing the concept of "sound writing," referencing Haroldo de Campos's concept of "transcration," Pound's "transduction," and the concept behind calques. I then consider my homophonic translation of Finnish poet Leevi Lehto follows and Ulises Carrión's isophonic translation. After noting Basil Bunting idea that meaning is carried by sound more than lexical content, I discuss Khelbnikov's approach to zaum (transense), and soundalike works based on bird song and animal sounds. The essay then takes up several specific examples: David Melnick's homophonic translation of Homer, Pierre Joris's voice recognition translation of Magenetic Fields, and Jean Donneley's version of Ponge. The essay concludes with a discussion of Caroline Bergvall's Drift, her version of "The Seafarer" as well as her Chaucer transcreations. A central part of the essay references "homophonic" translation in popular culture, in particular the "doubletalking" of Sid Caesar," the most popular TV comedian of the early 1950s. A discussion of his work in the context of American Jewish comedy is central to the lecture. But other more recent popular example of the homophonic are discussed with special reference to cultural appropriation.
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