Untranslated and Untranslatable? Pushkin's Poetry in English, 1892–1931

Bullock, Philip Ross

doi:10.3366/tal.2011.0036

Cited by 3 publications

(2 citation statements)

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“…Nineteenth-Century Music Review but foreign poetry, he insisted, was fundamentally untranslatable. 60 While French translations of Onegin had been made, three of the four were adaptations into prose. 61 It may have been as a result that, when mentioning Pushkin's text, most critics at the time of the operatic Onegin's premiere used the term 'novel' (roman) or 'psychological novel' (roman psychologique) rather than Pushkin's term, 'novel in verse' (roman en vers).…”

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Cosmopolitan Connections: Yevgeny Onegin as realist drame lyrique in Nice

Alexander¹

2022

Nineteenth-Century Music Review

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In the build-up to the French premiere of Tchaikovsky's Yevgeny Onegin in Nice in 1895, critics, speakers and writers on music were declaring the opera a masterpiece of psychological realism. Such a reading seems to resonate more with recent assessments of the opera; but in 1890s France, a combination of interest in the Russian realist novel and new trends in realist opera had led critics to make the literary link already. With the Franco-Russian Alliance recently finalized and hostility towards the Triplice mounting, many even suggested that the opera might form the lyric equivalent of the Russian realist novel and, in so doing, offer a morally and politically superior alternative to the so-called verismo operas of the new Italian school. The optimism surrounding Onegin, I'd like to show, was part of a broader move in late nineteenth-century France to celebrate cosmopolitanism, if not in the sense one might expect. Tchaikovsky and Onegin were very much deemed representatively Russian. What was cosmopolitan, and in turn modern, was the act of cultural transfer – exploiting international personal networks – and the opera's realism: its evocations of ordinary life and of the contemporary psychological condition. As such, a Russian opera like this could be applauded not for its revelations of an exotic or disconnected country, but for the potential it posed to integrate with and revitalize French culture.

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Cosmopolitan Connections: Yevgeny Onegin as realist drame lyrique in Nice

Alexander¹

2022

Nineteenth-Century Music Review

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“…Research on text reception, which analyses the reception of a work by professional readers, including academics and critics (e.g. Bullock, 2011;Craighill, 2013;Ghasemnejad & Anushiravani, 2018) 2. Experimental reader-response research, which studies readers during the reading process through experimental methods (e.g.…”

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confidence: 99%

The Selection, Promotion, and Reception of Translated Fiction in Wellington

Kafi¹

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<p>This is the first systematic study of the selection, promotion, and reception of translated fiction anywhere in New Zealand. The study has two phases. The first draws on the responses of 277 adult readers in Wellington to a questionnaire about their perceptions of translated fiction. The findings reveal that most Wellington readers say they enjoy reading books set in other cultures, but their actual reading is largely English-language oriented. While some respondents expressed a specific interest in reading translated fiction, most prioritised genre and content. Age and ethnicity correlate only weakly with perceptions of translated fiction, but knowledge of one or more second languages is a strong predictor of positive perceptions of translated fiction. The second phase of the study draws on seven semi-structured interviews with representatives from three major book-related entities in Wellington: New Zealand Festival’s Writers Week, Wellington City Libraries (WCL), and Unity Books. The interviews provided first-hand insights into each entity’s policies and practices for selecting and promoting translated fiction. Although its past and current coordinators speak highly of translated literature, Wellington’s Writers Week has seen a significant decline in the number of non-English-speaking writers in the last two decades. Similarly, Unity Books claims to treat all categories of books, including translated fiction, equally, but its commercial practice in fact prioritises certain other categories. Wellington City Libraries, on the other hand, has taken a proactive approach to the promotion of translated fiction, for example through blogs and physical displays. Combined with the survey data, the interview findings demonstrate both the complex nature of reading choices and the challenges of advocating for the enhanced visibility of translated fiction in a largely monolingual context. However, many signs also point to a growing recognition of translated fiction as an important element of eclectic reading. This recognition can lead to positive changes in the future.</p>

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Regarding Symbolic Capital: Poetry Translators from Modern Greek into English

Georgiou

2018

HJLCB

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The research object of this study is the symbolic capital of poetry translators and how it shapes and is being shaped by the current practices and self-descriptions of translators of Modern Greek poetry into English. A number of case studies indicate that people who translate poetry come from a variety of backgrounds, including those of a poet and an academic, which often do not include any formal translation training (Hofstadter 1997; Waldinger 2003; Bullock 2011; Isaxanli 2014). It also appears to be common that translators of poetry have a number of complementary roles, with that of ‘poetry translator’ not always central. The study draws on data consisting of Modern Greek into English poetry translators’ responses to a survey, of paratexts created by Modern Greek into English translators and of ten interviews. Cultural and educational capitals are examined in their institutionalized, objectified and embodied form as bearers of symbolic capital. Three overlapping categories are explored: the translators’ connection to poetry and the source culture, translator education and translator self-description. The translators’ “extratextual visibility” (Koskinen 2000 as cited in Chesterman 2018: 446) is also analyzed as it forms part of the translators’ embodied cultural and symbolic capital. This empirical exploration offers insights into the variety of attitudes and approaches to poetry translation; the emerging patterns map out profiles of a group of contemporary poetry translators, investigate the realities of the craft and re-position poetry translation practitioners with respect to other translation professionals.

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Untranslated and Untranslatable? Pushkin's Poetry in English, 1892–1931

Cited by 3 publications

References 1 publication

Cosmopolitan Connections: Yevgeny Onegin as realist drame lyrique in Nice

Cosmopolitan Connections: Yevgeny Onegin as realist drame lyrique in Nice

The Selection, Promotion, and Reception of Translated Fiction in Wellington

Regarding Symbolic Capital: Poetry Translators from Modern Greek into English

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