Lost in Translation… vaya titular m
Se lo robo a Nathalie:
When told by a reader that his stories read better in French, James Thurber replied, “Yes, I tend to lose something in the original.”
It’s been said more than once that nobody knows a book better than its translator. Only the author himself will have read it as many times and with equal scrutiny, but to an extent handicapped by months of growing familiarity and waves of conflicting desires.
Both equally invested, the rapport between writers and their translators is doubtless one of the most passionate working relationships: a potential clash of artistic sensibilities, talent, cultures and viewpoints – made all the more curious by the fact that, most often, they never meet.
So I’ve decided that, even if nobody else would want to read it, a collection of the correspondence between authors and their translators would make for a fine and fascinating book.
Collaboration (if any) is generally in writing in the author’s native tongue and, although proud to be read by foreigners, many a writer remains wary of the translator’s abilities to transport him unscathed over seas. Not always without reason.
And so a full spectrum of relationships ensues: from openly hostile to be always mine love, by way of reluctant professionalism, obsequious gratitude, and a two-way longstanding mentor-student tug.
Por un puritanismo est
Lost in Damnation
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“At the time, I was having so many troubles at home, which got me sooo mad I ran amok. Thinking back, I was really horrible. We had loads of girls leave our gang and we always beat them with bamboo staves and shaved their heads. If one of them stole somebody else’s guy, we’d tattoo ‘slut’ on her back. But that was nothing compared to one girl I got,” porno actress Rei Himekawa tells Shukan Taishu (4/26), recalling her days as the leader of an all-girl teen-age biker gang.
Himekawa adds that one of her favorite tortures for recalcitrant underlings was to insert a light bulb into their most intimate orifice and then stand on the girl’s stomach.
“You’d stand on her and hear this really weird sound come from inside the body. I was surrounded at the time by lots of gang members. Not one of them urged me to stop. In fact, they were all screaming at me to go harder with this wild look in their eyes and filled with excitement. Those girls were crueler than any men could be.”
Shukan Taishu says that Japanese girls are showing a violent streak few knew existed. Six girls aged 18 and 19 were recently arrested for unleashing a gang-bashing on a 17-year-old girl in Ehime Prefecture, leaving their victim battered, bruised and kneeling down in a parking lot while clad only in her underwear.
La foto y el enlace, cortes
The latest from Camille Paglia
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The visual environment for the young, in short, has become confused, fragmented, and unstable. Students now understand moving but not still images. The long, dreamy, contemplative takes of classic Hollywood studio movies or postwar European art films are long gone. Today’s rapid-fire editing descends from Jean-Luc Godard, with his hand-held camera, and more directly from Godard’s Anglo-American acolyte, Richard Lester, whose two Beatles movies have heavily influenced commercials, music videos, and independent films. Education must slow the images down, to provide a clear space for the eye…By processing depth cues, our eyes orient us in space and create and confirm our sense of individual agency. Those in whom eye movements and vestibular equilibrium are disrupted, I contend, cannot sense context and thus become passive to the world, which they do not see as an arena for action. Hence this perceptual problem may well have unwelcome political consequences.
Hac
Que viene, que llega… Kill Bill Vol. 2
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With the dense network of references in “Kill Bill,” Mr. Tarantino is at once playing a game and making a point, demonstrating how Eastern and Western popular culture have so strongly influenced each other over the years that the new style in action filmmaking is an inseparable blend of the two. Just as the Japanese director Akira Kurosawa acknowledged borrowing from John Ford’s American westerns for his 1954 epic “The Seven Samurai,” so did the Italian director Sergio Leone borrow from Kurosawa’s 1961 swordplay film “Yojimbo” for “A Fistful of Dollars,” the film that gave rise to the spaghetti western. “Kill Bill” closes the circle, bringing Asian, European and American influences together into a glorious, crazy, rousing and finally quite poignant meta-movie.
[Arriba, Uma Thurman en Kill Bill Vol. 2; abajo, John Wayne en Centauros del desierto]. El viernes que viene se estrena ac |