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Selves and Others in Society and Scholarship
Selves and Others in Society and Scholarship
Anthony Ernst Munnikhuisen and Bernardus Brunius, and the First Dutch Edition of 'Tristram Shandy' (1776-1778)
A Bookseller's Hobby-Horse, and the Rhetoric of Translation is a study of the first Dutch translation of Tristram Shandy (1759-67) as a product of and factor in the reception of Sterne's novel in the Netherlands, and as a specific manifestation of this reception: a derived text based on interpretation of the original. It took sixteen years for this translation to appear. Why was this so? And why did its publication (1776-79) prove unrewarding to the publisher? To answer the first question, Agnes Zwaneveld relates the development of Sterne appreciation in the Netherlands — from neglect in the 1760s to a literary craze in the 1780s — to a number of socio-cultural factors, including a growing interest in German literature. This relation with German literature is reflected in the choice of books published by A.E. Munnikhuisen, a Sterne-enthusiast and conscientious publisher, but also an outsider in the book trade, whose audacity led to the commercial failure of his enterprise.
A different question tackled in this study is to what extent the translation reflects the original text. Can it be accepted as a faithful rendering, or rather as an adaptation, an imitatio in the classical tradition? To understand what norms the translator, Bernardus Brunius, followed and what effects he can have been aiming at, his work is described in terms of the — rhetorical — theory of translation adhered to in his day. To avoid subjectivity in assessing the resemblance between translation and original, the comparison focuses on composition and the use of rhetorical figures as formal aspects which can be easily recognised across the centuries. The textual comparison was limited to the opening chapter of Tristram Shandy, seen as the novel's exordium, in which both author and translator are likely to have made a show of their intentions. Close reading of this chapter resulted in an interpretation of Tristram's authorial performance as inspired by both Quintilian and Longinus.
A different question tackled in this study is to what extent the translation reflects the original text. Can it be accepted as a faithful rendering, or rather as an adaptation, an imitatio in the classical tradition? To understand what norms the translator, Bernardus Brunius, followed and what effects he can have been aiming at, his work is described in terms of the — rhetorical — theory of translation adhered to in his day. To avoid subjectivity in assessing the resemblance between translation and original, the comparison focuses on composition and the use of rhetorical figures as formal aspects which can be easily recognised across the centuries. The textual comparison was limited to the opening chapter of Tristram Shandy, seen as the novel's exordium, in which both author and translator are likely to have made a show of their intentions. Close reading of this chapter resulted in an interpretation of Tristram's authorial performance as inspired by both Quintilian and Longinus.
Anthony Ernst Munnikhuisen and Bernardus Brunius, and the First Dutch Edition of 'Tristram Shandy' (1776-1778)
A Bookseller's Hobby-Horse, and the Rhetoric of Translation is a study of the first Dutch translation of Tristram Shandy (1759-67) as a product of and factor in the reception of Sterne's novel in the Netherlands, and as a specific manifestation of this reception: a derived text based on interpretation of the original. It took sixteen years for this translation to appear. Why was this so? And why did its publication (1776-79) prove unrewarding to the publisher? To answer the first question, Agnes Zwaneveld relates the development of Sterne appreciation in the Netherlands — from neglect in the 1760s to a literary craze in the 1780s — to a number of socio-cultural factors, including a growing interest in German literature. This relation with German literature is reflected in the choice of books published by A.E. Munnikhuisen, a Sterne-enthusiast and conscientious publisher, but also an outsider in the book trade, whose audacity led to the commercial failure of his enterprise.
A different question tackled in this study is to what extent the translation reflects the original text. Can it be accepted as a faithful rendering, or rather as an adaptation, an imitatio in the classical tradition? To understand what norms the translator, Bernardus Brunius, followed and what effects he can have been aiming at, his work is described in terms of the — rhetorical — theory of translation adhered to in his day. To avoid subjectivity in assessing the resemblance between translation and original, the comparison focuses on composition and the use of rhetorical figures as formal aspects which can be easily recognised across the centuries. The textual comparison was limited to the opening chapter of Tristram Shandy, seen as the novel's exordium, in which both author and translator are likely to have made a show of their intentions. Close reading of this chapter resulted in an interpretation of Tristram's authorial performance as inspired by both Quintilian and Longinus.
A different question tackled in this study is to what extent the translation reflects the original text. Can it be accepted as a faithful rendering, or rather as an adaptation, an imitatio in the classical tradition? To understand what norms the translator, Bernardus Brunius, followed and what effects he can have been aiming at, his work is described in terms of the — rhetorical — theory of translation adhered to in his day. To avoid subjectivity in assessing the resemblance between translation and original, the comparison focuses on composition and the use of rhetorical figures as formal aspects which can be easily recognised across the centuries. The textual comparison was limited to the opening chapter of Tristram Shandy, seen as the novel's exordium, in which both author and translator are likely to have made a show of their intentions. Close reading of this chapter resulted in an interpretation of Tristram's authorial performance as inspired by both Quintilian and Longinus.
The Transformation of a Minority Literature
The Transformation of a Minority Literature
A Festschrift in Honor of Frank Paul Bowman by his Colleagues, Friends and Former Students
Series:
Faux Titre, Volume: 87
A Festschrift in Honor of Frank Paul Bowman by his Colleagues, Friends and Former Students
Series:
Faux Titre, Volume: 87
Avantgarde – Avantgardekritik – Avantgardeforschung
Avantgarde – Avantgardekritik – Avantgardeforschung
Avant-Garde Poetry Since the 1960s
This book addresses the major critical and interpretive issues of contemporary experimental poetic texts.
Critical approaches, historical contexts, and basic concepts are surveyed in two introductory essays, while the study of poetic movements in historical context and the chronological trajectory of production of experimental texts are discussed in the first major segment of the volume, Experimentation in Its Historical Moment. The principal topic addressed here is the nature of experimental poetry in revolutionary social contexts.
The second major theme, focused upon in the section Experimentation in the Language Arts, is that of language as a vehicle for experiments and cognitive quests, aimed not at the production of truth or social emancipation but at experiential aspects of language and language use. Haroldo de Campos's fragmented poetic prose work Galàxias is a highlighted topic of attention, as are poetic and language experiments in Lettrism, Fluxus, sound poetry, and new technological poetries.
The development of the basic tenets of Concrete poetry and current critical perspectives on its status in poetical experimentation constitute the basis of the third section of the book, Concrete and Neo-Concrete Poetry. The relationship of historical Concrete poetry to artistic genres is presented, with special emphasis on Brazil and on contemporary visual writing. The section Memoirs of Concrete, in the context of oral history, includes retrospective accounts by two of Concrete poetry's most renowned editors.
The closing section of this book presents statements on the theory and practice of avant-garde poetry by 22 participants in the Yale Symphosymposium on Contemporary Poetics and Concretism.
Critical approaches, historical contexts, and basic concepts are surveyed in two introductory essays, while the study of poetic movements in historical context and the chronological trajectory of production of experimental texts are discussed in the first major segment of the volume, Experimentation in Its Historical Moment. The principal topic addressed here is the nature of experimental poetry in revolutionary social contexts.
The second major theme, focused upon in the section Experimentation in the Language Arts, is that of language as a vehicle for experiments and cognitive quests, aimed not at the production of truth or social emancipation but at experiential aspects of language and language use. Haroldo de Campos's fragmented poetic prose work Galàxias is a highlighted topic of attention, as are poetic and language experiments in Lettrism, Fluxus, sound poetry, and new technological poetries.
The development of the basic tenets of Concrete poetry and current critical perspectives on its status in poetical experimentation constitute the basis of the third section of the book, Concrete and Neo-Concrete Poetry. The relationship of historical Concrete poetry to artistic genres is presented, with special emphasis on Brazil and on contemporary visual writing. The section Memoirs of Concrete, in the context of oral history, includes retrospective accounts by two of Concrete poetry's most renowned editors.
The closing section of this book presents statements on the theory and practice of avant-garde poetry by 22 participants in the Yale Symphosymposium on Contemporary Poetics and Concretism.
Avant-Garde Poetry Since the 1960s
This book addresses the major critical and interpretive issues of contemporary experimental poetic texts.
Critical approaches, historical contexts, and basic concepts are surveyed in two introductory essays, while the study of poetic movements in historical context and the chronological trajectory of production of experimental texts are discussed in the first major segment of the volume, Experimentation in Its Historical Moment. The principal topic addressed here is the nature of experimental poetry in revolutionary social contexts.
The second major theme, focused upon in the section Experimentation in the Language Arts, is that of language as a vehicle for experiments and cognitive quests, aimed not at the production of truth or social emancipation but at experiential aspects of language and language use. Haroldo de Campos's fragmented poetic prose work Galàxias is a highlighted topic of attention, as are poetic and language experiments in Lettrism, Fluxus, sound poetry, and new technological poetries.
The development of the basic tenets of Concrete poetry and current critical perspectives on its status in poetical experimentation constitute the basis of the third section of the book, Concrete and Neo-Concrete Poetry. The relationship of historical Concrete poetry to artistic genres is presented, with special emphasis on Brazil and on contemporary visual writing. The section Memoirs of Concrete, in the context of oral history, includes retrospective accounts by two of Concrete poetry's most renowned editors.
The closing section of this book presents statements on the theory and practice of avant-garde poetry by 22 participants in the Yale Symphosymposium on Contemporary Poetics and Concretism.
Critical approaches, historical contexts, and basic concepts are surveyed in two introductory essays, while the study of poetic movements in historical context and the chronological trajectory of production of experimental texts are discussed in the first major segment of the volume, Experimentation in Its Historical Moment. The principal topic addressed here is the nature of experimental poetry in revolutionary social contexts.
The second major theme, focused upon in the section Experimentation in the Language Arts, is that of language as a vehicle for experiments and cognitive quests, aimed not at the production of truth or social emancipation but at experiential aspects of language and language use. Haroldo de Campos's fragmented poetic prose work Galàxias is a highlighted topic of attention, as are poetic and language experiments in Lettrism, Fluxus, sound poetry, and new technological poetries.
The development of the basic tenets of Concrete poetry and current critical perspectives on its status in poetical experimentation constitute the basis of the third section of the book, Concrete and Neo-Concrete Poetry. The relationship of historical Concrete poetry to artistic genres is presented, with special emphasis on Brazil and on contemporary visual writing. The section Memoirs of Concrete, in the context of oral history, includes retrospective accounts by two of Concrete poetry's most renowned editors.
The closing section of this book presents statements on the theory and practice of avant-garde poetry by 22 participants in the Yale Symphosymposium on Contemporary Poetics and Concretism.
Die Fackel; Die Weltbühne; Anbruch; Le Disque vert; Mécano; Versty
Volume Editor:
Sophie Levie
This study of six early twentieth-century periodicals serves to refine the traditional image of the inter-war journal as the pre-eminent vehicle of artistic and intellectual renewal. Every periodical has its own history but general themes are clearly identified. Traces emerge of a common commitment to the internationalisation of the arts and we find early and unexpected discussion of Freud, Chaplin and Joyce in Brussels and Berlin, jazz in Vienna and Brussels, Ezra Pound in the Netherlands and Belgium. In contrast to this internationalisation are the ambitions of the various editors to play a significant role in their national cultures. This tension between national and international influences was in the first instance stimulating and innovative. Later, as a result of political and socio-economic developments, the newly achieved openness and exchange were gradually diminished and finally disappeared as did the periodicals themselves.
Die Fackel; Die Weltbühne; Anbruch; Le Disque vert; Mécano; Versty
Volume Editor:
Sophie Levie
This study of six early twentieth-century periodicals serves to refine the traditional image of the inter-war journal as the pre-eminent vehicle of artistic and intellectual renewal. Every periodical has its own history but general themes are clearly identified. Traces emerge of a common commitment to the internationalisation of the arts and we find early and unexpected discussion of Freud, Chaplin and Joyce in Brussels and Berlin, jazz in Vienna and Brussels, Ezra Pound in the Netherlands and Belgium. In contrast to this internationalisation are the ambitions of the various editors to play a significant role in their national cultures. This tension between national and international influences was in the first instance stimulating and innovative. Later, as a result of political and socio-economic developments, the newly achieved openness and exchange were gradually diminished and finally disappeared as did the periodicals themselves.
This collection opens with an inquiry into the assumptions and methods of the historical study of culture, comparing the new cultural history with the old. Thirteen essays follow, each defining a problem within a particular culture. In the first section, Biography and Autobiography, three scholars explore historically changing types of self-conception, each reflecting larger cultural meanings; essays included examine Italian Renaissance biographers and the autobiographies of Benjamin Franklin and Mohandas Gandhi. A second group of contributors explore problems raised by the writing of history itself, especially as it relates to a notion of culture. Here examples are drawn from the writings of Thucydides, Jacob Burckhardt, and the art historians Alois Riegl and Josef Strzygowski. In the third section, Politics, Nationalism, and Culture, the essays explore relationships between cultural creativity and national identity, with case studies focusing on the Holy Roman Emperor Maximilian I, the place of Castile within the national history of Spain, and the impact of World War I on work of Thomas Mann. The final section, Cultural Translation, raises the complex questions of cultural influence and the transmission of traditions over time through studies of Philo of Alexandria's interpretation of the Hebrew Bible, Erasmus' use of Socrates, Jean Bodin's conception of Roman law, and adaptations of the Hebrew Bible for American children.
This collection opens with an inquiry into the assumptions and methods of the historical study of culture, comparing the new cultural history with the old. Thirteen essays follow, each defining a problem within a particular culture. In the first section, Biography and Autobiography, three scholars explore historically changing types of self-conception, each reflecting larger cultural meanings; essays included examine Italian Renaissance biographers and the autobiographies of Benjamin Franklin and Mohandas Gandhi. A second group of contributors explore problems raised by the writing of history itself, especially as it relates to a notion of culture. Here examples are drawn from the writings of Thucydides, Jacob Burckhardt, and the art historians Alois Riegl and Josef Strzygowski. In the third section, Politics, Nationalism, and Culture, the essays explore relationships between cultural creativity and national identity, with case studies focusing on the Holy Roman Emperor Maximilian I, the place of Castile within the national history of Spain, and the impact of World War I on work of Thomas Mann. The final section, Cultural Translation, raises the complex questions of cultural influence and the transmission of traditions over time through studies of Philo of Alexandria's interpretation of the Hebrew Bible, Erasmus' use of Socrates, Jean Bodin's conception of Roman law, and adaptations of the Hebrew Bible for American children.