Taking a cognitive approach, this book asks what poetry, and in particular Holocaust poetry, does to the reader - and to what extent the translation of this poetry can have the same effects. It is informed by current theoretical discussion and features many practical examples. Holocaust poetry differs from other genres of writing about the Holocaust in that it is not so much concerned to document facts as to document feelings and the sense of an experience. It shares the potential of all poetry to have profound effects on the thoughts and feelings of the reader. This book examines how the openness to engagement that Holocaust poetry can engender, achieved through stylistic means, needs to be preserved in translation if the translated poem is to function as a Holocaust poem in any meaningful sense. This is especially true when historical and cultural distance intervenes. The first book of its kind and by a world-renowned scholar and translator, this is required reading.

For readers in the English-speaking world, almost all Holocaust writing is translated writing. Translation is indispensable for our understanding of the Holocaust because there is a need to tell others what happened in a way that makes events and experiences accessible - if not, perhaps, comprehensible - to other communities. Yet what this means is only beginning to be explored by Translation Studies scholars. This book aims to bring together the insights of Translation Studies and Holocaust Studies in order to show what a critical understanding of translation in practice and context can contribute to our knowledge of the legacy of the Holocaust. The role translation plays is not just as a facilitator of a semi-transparent transfer of information. Holocaust writing involves questions about language, truth and ethics, and a theoretically informed understanding of translation adds to these questions by drawing attention to processes of mediation and reception in cultural and historical context. It is important to examine how writing by Holocaust victims, which is closely tied to a specific language and reflects on the relationship between language, experience and thought, can (or cannot) be translated. This volume brings the disciplines of Holocaust and Translation Studies into an encounter with each other in order to explore the effects of translation on Holocaust writing. The individual pieces by Holocaust scholars explore general, theoretical questions and individual case studies, and are accompanied by commentaries by translation scholars.

Over the past few decades, the book series Linguistische Arbeiten [Linguistic Studies], comprising over 500 volumes, has made a significant contribution to the development of linguistic theory both in Germany and internationally. The series will continue to deliver new impulses for research and maintain the central insight of linguistics that progress can only be made in acquiring new knowledge about human languages both synchronically and diachronically by closely combining empirical and theoretical analyses. To this end, we invite submission of high-quality linguistic studies from all the central areas of general linguistics and the linguistics of individual languages which address topical questions, discuss new data and advance the development of linguistic theory.

This title covers theoretical and practical translation where style plays an important role and where the translator's options are not always straightforward. "Jean Boase-Beier's Critical Introduction To Translation Studies" demonstrates a keen understanding of theoretical and practical translation. It looks to instances where translation might not be straightforward, where stylistics play an important role. Examples are discussed from works of literature, advertisements, journalism and others, where effects on the reader are central to the text, and are reflected in the style. It begins by setting out some of the basic problems and issues that arise in the study of translation, such as: the difference between literary and non-literary translation; the role of language, content and style; the question of universals and specifics in language and the notion of context. The book then goes on to focus more closely on style and how it enables us to characterise literary texts and literary translation. The final part looks at the translation of poetry. Throughout, it is conscious of the relationship between theory and practice in translation. This book offers a new approach to translation, grounded in stylistics, and it will be an invaluable resource for undergraduates and postgraduates approaching translation studies. "Continuum Critical Introductions to Linguistics" are comprehensive introductions to core areas in linguistics. The introductions are original and approach the subject from unique and different perspectives. Using contemporary examples and analogies, these books seek to explain complicated issues in an accessible way. The books prompt critical thinking about each core area, and are a radical departure from traditional, staid introductions to the subject. Written by key academics in each field who are not afraid to be controversial, each book will be essential reading for undergraduate students.

Style plays a major role in the translation of literary as well as non-literary texts, and Translation and Style offers an updated survey of this highly interdisciplinary area of translation studies. Jean Boase-Beier examines a variety of disciplines and theoretical approaches including stylistics, literary criticism, and narratology to investigate how we translate style. This revised and expanded edition of the 2006 book Stylistic Approaches to Translation offers new and accessible explanations on recent developments in the field, notably in the areas of Relevance Theory and cognitive stylistics. With many authentic examples to show how style affects translation, this book is an invaluable resource for both students and scholars working in translation studies and comparative literature.

In their introduction to this collection of essays, the editors argue that constraints can be seen as a source of literary creativity, and given that translation is even more constrained than 'original' literary production, it thus has the potential to be even more creative too. The ten essays that follow outline ways in which translators and translations are constrained by poetic form, personal histories, state control, public morality, and the non-availability of comparable target language subcodes, and how translator creativity may-or may not-overcome these constraints. Topics covered are: Baudelaire's translation practices; bowdlerism in translations of Voltaire, Boccaccio and Shakespeare, among others; Leyris's translations of Gerard Manley Hopkins; ideology in English-Arabic translation; the translation of censored Greek poet Rhea Galanaki; theatre translation; Nabokov and translation; gay translation; Moratin's translation of Hamlet; and state control of translation production in Nazi Germany. The essays are mostly highly readable, and often entertaining.

Style plays a major role in the translation of literary as well as non-literary texts, and Translation and Style offers an updated survey of this highly interdisciplinary area of translation studies. Jean Boase-Beier examines a variety of disciplines and theoretical approaches including stylistics, literary criticism, and narratology to investigate how we translate style. This revised and expanded edition of the 2006 book Stylistic Approaches to Translation offers new and accessible explanations on recent developments in the field, notably in the areas of Relevance Theory and cognitive stylistics. With many authentic examples to show how style affects translation, this book is an invaluable resource for both students and scholars working in translation studies and comparative literature.

In their introduction to this collection of essays, the editors argue that constraints can be seen as a source of literary creativity, and given that translation is even more constrained than 'original' literary production, it thus has the potential to be even more creative too. The ten essays that follow outline ways in which translators and translations are constrained by poetic form, personal histories, state control, public morality, and the non-availability of comparable target language subcodes, and how translator creativity may-or may not-overcome these constraints. Topics covered are: Baudelaire's translation practices; bowdlerism in translations of Voltaire, Boccaccio and Shakespeare, among others; Leyris's translations of Gerard Manley Hopkins; ideology in English-Arabic translation; the translation of censored Greek poet Rhea Galanaki; theatre translation; Nabokov and translation; gay translation; Moratin's translation of Hamlet; and state control of translation production in Nazi Germany. The essays are mostly highly readable, and often entertaining.

Lucid narratives of family dramas, global warming, and conversations with Death make a riveting new collection from this prize-winning poet. The poems swing between Mexico City, New York, a Staffordshire village and home, their engagement with the church, art and natural beauty provide sure-footed travelling companions. The second section is an extended sequence, in which Death relates stories of her encounters with people and culture.

It is no coincidence that the poet Volker von Toerne was, for many years, the Director of Aktion Suhnezeichen Friedensdienste (Action for Atonement - Service for Peace), the German charitable organisation for education and reparation in countries throughout the world that have suffered under fascism and other oppressive regimes. His father had been a member of the SS in Germany in the Second World War, and as a consequence, his poetry is written from the perspective of someone who suffered, through no fault of his own, from terrible guilt after the war. This selection from von Toerne's collected poems is particularly significant in that it is a powerful and moving articulation of the psychological burden still carried by countless people today whose voices are not often heard, a burden which von Toerne's powerful, poignant and sometimes angry poetry helps us all the better to understand.

It is no coincidence that the poet Volker von Toerne was, for many years, the Director of Aktion Suhnezeichen Friedensdienste (Action for Atonement - Service for Peace), the German charitable organisation for education and reparation in countries throughout the world that have suffered under fascism and other oppressive regimes. His father had been a member of the SS in Germany in the Second World War, and as a consequence, his poetry is written from the perspective of someone who suffered, through no fault of his own, from terrible guilt after the war. This selection from von Toerne's collected poems is particularly significant in that it is a powerful and moving articulation of the psychological burden still carried by countless people today whose voices are not often heard, a burden which von Toerne's powerful, poignant and sometimes angry poetry helps us all the better to understand.

This powerful, unique collection contains poems written not only by members of Jewish communities in Europe (representing the largest group persecuted by the Nazis), but also poems by people who were targeted on other grounds. Some belonged to political or religious groups who openly opposed the Third Reich, or they were homosexual, or members of communities such as Sinti and Roma, or they were perceived by the Nazis as disabled. The work in this anthology originates from across Europe, and has been translated from many different languages. Most translations are specifically for the anthology, or have not appeared elsewhere. This wide-ranging volume gives a sense of the variety of Holocaust victims, and their poetic responses to the Holocaust; from the haunting to the primal. It covers the Holocaust in three distinct time periods; At the Beginning; Life in, Ghettos, Camps, Prisons and the Outside World; Life Afterwards.

Taking a cognitive approach, this book asks what poetry, and in particular Holocaust poetry, does to the reader - and to what extent the translation of this poetry can have the same effects. It is informed by current theoretical discussion and features many practical examples. Holocaust poetry differs from other genres of writing about the Holocaust in that it is not so much concerned to document facts as to document feelings and the sense of an experience. It shares the potential of all poetry to have profound effects on the thoughts and feelings of the reader. This book examines how the openness to engagement that Holocaust poetry can engender, achieved through stylistic means, needs to be preserved in translation if the translated poem is to function as a Holocaust poem in any meaningful sense. This is especially true when historical and cultural distance intervenes. The first book of its kind and by a world-renowned scholar and translator, this is required reading.

Soleiman Adel Guemar was born and raised in Algiers where he worked as a journalist. He published numerous stories and won two national poetry prizes. In 2002 he left Algeria to seek safety for himself and his family in the UK. 'Sate of Emergency', a representative selection of Guemar's poetry,is rooted in Algerian experience, speaking of urgent concerns everywhere - oppression, resistance, state violence, traumas and private dreams. His poetry sings of life's sensual pleasures in the face of the grotesque morbidity of violent political repression. In the excellent translation by Tom Cheesman and John Goodby, Guemar's poems carry all their native force and brusque wit. In her introduction, Lisa Appignanesi writes: "Soleiman Adel Guemar is almost exactly as old as the independent Republic of Algeria. He has witnessed its terrible history, the crimes against humanity which attended its birth and the enduring 'state of emergency' under which life has been blighted ever since. This volume marks an important moment: a record from the inside of a history which is too palpably of our times...Where before we had only newspaper headlines, we now have a living voice, both political and lyrical - an intensely individual voice which speaks out freely and traces the lineaments of a tragic history. "

For readers in the English-speaking world, almost all Holocaust writing is translated writing. Translation is indispensable for our understanding of the Holocaust because there is a need to tell others what happened in a way that makes events and experiences accessible - if not, perhaps, comprehensible - to other communities. Yet what this means is only beginning to be explored by Translation Studies scholars. This book aims to bring together the insights of Translation Studies and Holocaust Studies in order to show what a critical understanding of translation in practice and context can contribute to our knowledge of the legacy of the Holocaust. The role translation plays is not just as a facilitator of a semi-transparent transfer of information. Holocaust writing involves questions about language, truth and ethics, and a theoretically informed understanding of translation adds to these questions by drawing attention to processes of mediation and reception in cultural and historical context. It is important to examine how writing by Holocaust victims, which is closely tied to a specific language and reflects on the relationship between language, experience and thought, can (or cannot) be translated. This volume brings the disciplines of Holocaust and Translation Studies into an encounter with each other in order to explore the effects of translation on Holocaust writing. The individual pieces by Holocaust scholars explore general, theoretical questions and individual case studies, and are accompanied by commentaries by translation scholars.

Lucid narratives of family dramas, global warming, and conversations with Death make a riveting new collection from this prize-winning poet. The poems swing between Mexico City, New York, a Staffordshire village and home, their engagement with the church, art and natural beauty provide sure-footed travelling companions. The second section is an extended sequence, in which Death relates stories of her encounters with people and culture.

I breathe out memory. To breathe it in, For now, a new epoch is needed, Or a new window may suffice - With a different aspect, laurelled roads, Where the setting sun deposits, Its birth-mark on me. This is like a postage stamp or the word 'Furniture' on the side of a van, And the brand-mark on cattle, - I'd like to be whoever, whatever, If only to move from the dead point, dead-end, And find the exit therefrom. But probably it's where it first was. Where later they crowned thorns with myrrh, That country, I don't know it now, Or city, where Lot alone was pared? All in all I must transcend, The intersecting lines of this window! This is the most substantial selection of Inna Lisnianskaya's work to be published in England to date, in a translation by Daniel Weissbort that Elaine Feinstein describes in her illuminating introduction as 'clean, clear and...amazingly felicitous'. Lisnianskaya, an intensely lyrical poet, is first and foremost a love poet, and the love that she and her late husband, the celebrated poet Semyon Lipkin, had for one another colours - without the least sentimentality - many of Lisnianskaya's more recent poems. Indeed, her most recent collection consists partly of an elegy to him.

In this title, 20 young poets, two each from the ten Eastern and Central European countries acceding to the European Union in May 2004, are represented, the 'new poetics' from the 'new Europe'. It is a parallel-text volume, with original language/English translation on facing pages.

Jean Boase-Beier's Critical Introduction To Translation Studies demonstrates a keen understanding of theoretical and practical translation. It looks to instances where translation might not be straightforward, where stylistics play an important role. Examples are discussed from works of literature, advertisements, journalism and others, where effects on the reader are central to the text, and are reflected in the style.It begins by setting out some of the basic problems and issues that arise in the study of translation, such as: the difference between literary and non-literary translation; the role of language, content and style; the question of universals and specifics in language and the notion of context. The book then goes on to focus more closely on style and how it enables us to characterise literary texts and literary translation. The final part looks at the translation of poetry. Throughout, it is conscious of the relationship between theory and practice in translation.This book offers a new approach to translation, grounded in stylistics, and it will be an invaluable resource for undergraduates and postgraduates approaching translation studies.