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The first-ever volume of the photographs of German writer W.G.
Sebald, exquisitely designed to shed new light on his creative
process, as it chronicles the images and encounters that shaped his
writing life. Shadows of Reality presents a unique, fully
illustrated catalogue of W.G. Sebald's photographs- an
extraordinary combination of film negatives, prints, and slides
from the University of East Anglia's photographic collection, the
Deutsches Literaturarchiv Marbach, and the Sebald Estate.
Complementing the exhibition Lines of Sight- W.G. Sebald's East
Anglia and edited by literary scholar Clive Scott and photography
curator Nick Warr, this wonderfully comprehensive book covers the
multiple photographic facets of Sebald's published work and
includes a substantial amount of material that has not been made
public before. Introduced by Nick Warr, who offers an intriguing
overview of the author's critical relationship to photography,
Shadows of Reality also includes an illuminating interview with
Michael Brandon-Jones, the photographer who collaborated with
Sebald on all of his publications. The book features a collection
of extracts-principally on photography-from interviews with Sebald
himself, bequeathed to the archive of recordings held at the
University of East Anglia by his close friend Gordon Turner, who
also provides a memoir. Accompanying these are inspired essays by
Clive Scott and Angela Breidbach on Sebald's
writing-with-photographs and the complex and mercurial interactions
of those photographs with narrative design. A deeply important
collection for anyone interested in Sebald's creative processes or
the ways in which photography might serve fiction, Shadows of
Reality is an inexhaustible treasure trove of new discoveries and
revelations about the cherished international author.
Street photography is perhaps the best-loved and most widely known
of all photographic genres, with names like Cartier-Bresson,
Brassai and Doisneau familiar even to those with a fleeting
knowledge of the medium. Yet, what exactly is street photography?
From what viewpoint does it present its subjects, and how does this
viewpoint differ from that of documentary photography? Looking
closely at the work of Atget, Kertesz, Bovis, Rene-Jacques,
Brassai, Doisneau, Cartier- Bresson and more, this elegantly
written book, extensively illustrated with both well-known and
neglected works, unpicks Parisian street photography's affinity
with Impressionist art, as well as its complex relationship with
parallel literary trends and authors from Baudelaire to Philippe
Soupault. Clive Scott traces street photography's origins, asking
what really what happened to photography when it first abandoned
the studio, and brings to the fore fascinating questions about the
way the street photographer captures or frames those subjects -
traders, lovers, entertainers - so beloved of the genre.In doing
so, Scott reveals street photography to be a poetic, even
'picturesque' form, looking not to the individual but to the type;
not to the 'reality' of the street but to its 'romance'.
This book is about translating the perception of text; but that
involves the elaboration, from reading, of a text of perception, a
text capable of registering the complexities of language-based
perception. It offers the phenomenology that has its primary source
in the work of Merleau-Ponty.
Street photography is perhaps the best-loved and most widely known
of all photographic genres, with names like Cartier-Bresson,
Brassai and Doisneau familiar even to those with a fleeting
knowledge of the medium. Yet, what exactly is street photography?
From what viewpoint does it present its subjects, and how does this
viewpoint differ from that of documentary photography? Looking
closely at the work of Atget, Kertesz, Bovis, Rene-Jacques,
Brassai, Doisneau, Cartier- Bresson and more, this elegantly
written book, extensively illustrated with both well-known and
neglected works, unpicks Parisian street photography's affinity
with Impressionist art, as well as its complex relationship with
parallel literary trends and authors from Baudelaire to Philippe
Soupault. Clive Scott traces street photography's origins, asking
what really what happened to photography when it first abandoned
the studio, and brings to the fore fascinating questions about the
way the street photographer captures or frames those subjects -
traders, lovers, entertainers - so beloved of the genre.In doing
so, Scott reveals street photography to be a poetic, even
'picturesque' form, looking not to the individual but to the type;
not to the 'reality' of the street but to its 'romance'.
Translating Apollinaire delves into Apollinaire's poetry and
poetics through the challenges and invitations it offers to the
process of translation. Besides providing a new appraisal of
Apollinaire, the most significant French poet of WWI, Translating
Apollinaire aims to put the ordinary reader at the centre of the
translational project. It proposes that translation's primary task
is to capture the responses of the reader to the poetic text, and
to find ways of writing those responses into the act of
translation. Every reader is invited to translate, and to translate
with a creativity appropriate to the complexity of their own
reading experiences. Throughout, Scott himself consistently uses
the creative resource of photography, and more particularly
photographic fragments, as a cross-media language used to help
capture the activity of the reading consciousness.
Offering an original reconceptualization of literary translation,
Clive Scott argues against traditional approaches to the theory and
practice of translation. Instead he suggests that translation
should attend more to the phenomenology of reading, triggering
creative textual thinking in the responsive reader rather than
testing the hermeneutic skills of the professional translator. In
this new guise, translation enlists the reader as an active
participant in the constant re-fashioning of the text's structural,
associative, intertextual and intersensory possibilities, so that
our larger understanding of ecology, anthropology, comparative
literature and aesthetics is fundamentally transformed and our
sense of the expressive resources of language radically extended.
Literary translation thus assumes an existential value which takes
us beyond the text itself to how it situates us in the world, and
what part it plays in the geography of human relationships.
Translating Rimbaud's Illuminations is a critique of the
assumptions which currently underlie our thinking on literary
translation. It offers an alternative vision; extending the
parameters of literary translation by showing that such translation
is itself a form of experimental creative writing. It also provides
a reassessment of Rimbaud's creative impulses and specifically his
prose poems, the Illuminations. In the expanding field of
translation studies, a brilliant and demanding book such as this
has a valuable place. In addition, it also provides some
fascinating 'hands on' translation work of a very practical kind.
Published as a sequel to the author's Translating Baudelaire (UEP,
2000), it will become part of the canon.
Developing countries lose an estimated US$20-40 billion each year
through bribery, misappropriation of funds, and other corrupt
practices. Much of the proceeds of this corruption find 'safe
haven' in the world s financial centers. These criminal flows are a
drain on social services and economic development programs,
contributing to the impoverishment of the world s poorest
countries. Many developing countries have already sought to recover
stolen assets. A number of successful high-profile cases with
creative international cooperation have demonstrated that asset
recovery is possible. However, it is highly complex, involving
coordination and collaboration with domestic agencies and
ministries in multiple jurisdictions, as well as the capacity to
trace and secure assets and pursue various legal options whether
criminal confiscation, non-conviction based confiscation, civil
actions, or other alternatives. This process can be overwhelming
for even the most experienced of practitioners. It is exceptionally
difficult for those working in the context of failed states,
widespread corruption, or limited resources. With this in mind, the
Stolen Asset Recovery (StAR) Initiative has developed the Asset
Recovery Handbook: A Guide for Practitioners to guide those
grappling with the strategic, organizational, investigative, and
legal challenges of recovering stolen assets. A practitioner-led
project, the Handbook provides common approaches to recovering
stolen assets located in foreign jurisdictions, identifies the
challenges that practitioners are likely to encounter, and
introduces good practices. Included are examples of tools that can
be used by practitioners, such as sample intelligence reports,
applications for court orders, and mutual legal assistance
requests."
Translating Apollinaire delves into Apollinaire's poetry and
poetics through the challenges and invitations it offers to the
process of translation. Besides providing a new appraisal of
Apollinaire, the most significant French poet of WWI, Translating
Apollinaire aims to put the ordinary reader at the centre of the
translational project. It proposes that translation's primary task
is to capture the responses of the reader to the poetic text, and
to find ways of writing those responses into the act of
translation. Every reader is invited to translate, and to translate
with a creativity appropriate to the complexity of their own
reading experiences. Throughout, Scott himself consistently uses
the creative resource of photography, and more particularly
photographic fragments, as a cross-media language used to help
capture the activity of the reading consciousness.
Translating Rimbaud's Illuminations is a critique of the
assumptions which currently underlie our thinking on literary
translation. It offers an alternative vision; extending the
parameters of literary translation by showing that such translation
is itself a form of experimental creative writing. It also provides
a reassessment of Rimbaud's creative impulses and specifically his
prose poems, the Illuminations. In the expanding field of
translation studies, a brilliant and demanding book such as this
has a valuable place. In addition, it also provides some
fascinating 'hands on' translation work of a very practical kind.
Published as a sequel to the author's Translating Baudelaire (UEP,
2000), it will become part of the canon.
This book is the record of an apprenticeship in translating
Baudelaire, and in translating poetry more generally. Re-assessing
the translator's task and art, Clive Scott explores various
theoretical approaches as he goes in search of his own style of
translation. In the course of the book, versions of seventeen of
Baudelaire's poems are offered, with detailed evaluations of the
poems and the translations. Translating Baudelaire considers two
neglected questions: What form should the criticism of translation
take, if the critic is to do justice to the translator's 'project'?
How can a translator persuade readers to respond to a translation
as a text with its own creative dynamic and expressive ambitions?
While reading transforms texts through memories, associations and
re-imaginings, translation allows us to act out our reading
experience, inscribe it in a new text, and engage in a dialogic and
dynamic relationship with the original. In this highly original new
study, Clive Scott reveals the existential and ecological values
that literary translation can embody in its perceptual
transformation of texts. The transfer of a text from one language
into another is merely the platform from which translation launches
its larger ambitions, including the existential expansion and
re-situation of text towards new expressive futures and ways of
inhabiting the world. Recasting language as a living organism and
as part of humanity's ongoing duration, this study uncovers its
tireless capacity to cross perceptual boundaries, to multiply
relations between the human and the non-human and to engage with
forms of language which evoke unfamiliar modes of psycho-perception
and eco-modelling.
Offering an original reconceptualization of literary translation,
Clive Scott argues against traditional approaches to the theory and
practice of translation. Instead he suggests that translation
should attend more to the phenomenology of reading, triggering
creative textual thinking in the responsive reader rather than
testing the hermeneutic skills of the professional translator. In
this new guise, translation enlists the reader as an active
participant in the constant re-fashioning of the text's structural,
associative, intertextual and intersensory possibilities, so that
our larger understanding of ecology, anthropology, comparative
literature and aesthetics is fundamentally transformed and our
sense of the expressive resources of language radically extended.
Literary translation thus assumes an existential value which takes
us beyond the text itself to how it situates us in the world, and
what part it plays in the geography of human relationships.
The act of translation is perhaps the ultimate performance of
reading. By translating a text translators rework the source text
into a reflection of their reading experience. In fact all reading
is translation, as each reader incorporates associations and
responses into the reading process. Clive Scott argues that the
translator needs new linguistic resources to do justice to the
intricacies of the reading consciousness, and explores different
ways of envisaging the translation of a literary work, not only
from one language to another, but also from one form to another
within the same language. With examples drawn from different
literatures, including English, this exciting new departure in
translation theory has much to offer to students of literature and
of comparative literary criticism. It also encourages all readers
of literature to become translators in their turn, to use
translation to express and give shape to their encounters with
texts.
This 1980 book is designed to help university students to master
the technicalities and techniques of French verse. The author
assumes that part of the difficulty encountered by readers derives
from the need to approach French verse through English verse; this
book undertakes, therefore, a differentiation of the two verse
traditions. Dr Scott's concern is to provide the groundwork of a
terminology, to discuss the origins and implications of that
terminology, and to show how terminological knowledge can be
translated into critical speculation about poetry. After three
chapters which establish the essential features of the French line
of verse and outline the difficulties the student is likely to
encounter in trying to describe it and deal with it, the book moves
on to consider rhyme, stanzas, verse forms and free verse.
Dr Scott argues that only by attending to the precise locations of
words in line or stanza, and to the specific value of syllables, or
by understanding the often conflicting demands of rhythm and metre,
can the reader of poetry acquire a real grasp of the intimate life
of words in verse with all their fluctuations of meaning, mood and
tone. The analyses through which the book pursues its argument
address two principal concerns: the way in which syllabic position
projects words and colours their complicated and challenged by the
relationship of rhythm to metre.
This book is the record of an apprenticeship in translating
Baudelaire, and in translating poetry more generally. Re-assessing
the translator's task and art, Clive Scott explores various
theoretical approaches as he goes in search of his own style of
translation. In the course of the book, versions of seventeen of
Baudelaire's poems are offered, with detailed evaluations of the
poems and the translations. Translating Baudelaire considers two
neglected questions: What form should the criticism of translation
take, if the critic is to do justice to the translator's 'project'?
How can a translator persuade readers to respond to a translation
as a text with its own creative dynamic and expressive ambitions?
This book explores in depth the expressive resources peculiar to French verse, first through formal discussion of its poetics and then through thirteen detailed readings of texts from the seventeenth century to the present, including La Fontaine, Chénier, Vigny, Baudelaire, Mallarmé, Apollinaire, Éluard, and Césaire. At the same time, it offers a reassessment of the nature of the reading process itself, especially as it relates to verse.
This book is about the ways in which rhyme in French verse produces
shapes or interferes with meaning - a topic which, despite its
centrality, has hitherto received little critical attention. Part 1
examines those features which are peculiar to French rhyme - the
different degrees of rhyme, rhyme gender, the frequency of rhymes
on suffixes and endings - and explores the contributions they make
to a poem's structure and semantic productivity. Its concern is
twofold: to test the adequacy of the current methods of classifying
rhymes and to demonstrate how comprehensive interpretations of a
poem can be constructed from its rhyme-data. But wider issues are
also confronted, including the relationships between rhyme and
textuality, between rhyme and truth, between rhyme and rhythm. Part
2 analyses specific plays, poems and collections of poems: Racine's
Mithridate, Moliere's Les Femmes Savantes, Voltaire's Poeme sur le
Desastre de Lisbonne, Verlaine's Fetes galantes and Aragon's Les
Yeux d'Elsa.
Dr Scott argues that only by attending to the precise locations of
words in line or stanza, and to the specific value of syllables, or
by understanding the often conflicting demands of rhythm and metre,
can the reader of poetry acquire a real grasp of the intimate life
of words in verse with all their fluctuations of meaning, mood and
tone. The analyses through which the book pursues its argument
address two principal concerns: the way in which syllabic position
projects words and colours their complicated and challenged by the
relationship of rhythm to metre.
This book is about translating the perception of text; but that
involves the elaboration, from reading, of a text of perception, a
text capable of registering the complexities of language-based
perception. It offers the phenomenology that has its primary source
in the work of Merleau-Ponty.
Scott's subtle and adventurous analysis breaks new ground in
textual understanding, while his translations radically challenge
established orthodoxies. As he crosses back and forth between
French and English poetry, he has illuminating encounters with a
wide range of poets, from Labe and Shakespeare to Auden and
Jaccottet. The embodiment of gender in the sonnet; the performance
of the dramatic voice; the inflexions of the self in the voice of
lyric verse; the 'landscaping' of nature in the line of verse; the
interventions of the translator in the peculiar lives of the prose
poem and free verse; the tasks of the translator and the
comparatist in a new age - these are some of the issues addressed
by Clive Scott in a sequence of essays as absorbing as they are
original. "Channel Crossings" is the recipient of the R. H. Gapper
Prize for 2004. The Prize, which is judged by the Society for
French Studies, recognises the best publication of its year by any
French studies scholar working in the United Kingdom or Ireland.
The citation noted: In his book, Clive Scott gives a subtle and
adventurous account of how processes of cultural exchange have
played an active and enduring role in the development of the
language of poetry in French and English over a period of several
centuries...Clive Scott's book was one of a number of very
impressive works published in 2002. The judges' choice was made in
the light of the book's originality and its likely impact on wider
critical debate on the language of poetry and on questions of
method and approach in comparative literature.
The act of translation is perhaps the ultimate performance of
reading. By translating a text translators rework the source text
into a reflection of their reading experience. In fact all reading
is translation, as each reader incorporates associations and
responses into the reading process. Clive Scott argues that the
translator needs new linguistic resources to do justice to the
intricacies of the reading consciousness, and explores different
ways of envisaging the translation of a literary work, not only
from one language to another, but also from one form to another
within the same language. With examples drawn from different
literatures, including English, this exciting new departure in
translation theory has much to offer to students of literature and
of comparative literary criticism. It also encourages all readers
of literature to become translators in their turn, to use
translation to express and give shape to their encounters with
texts.
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