In this book one of the old traditions of translation studies is revived: the tradition of the comparative study of translation and original. The aim of the author is to develop an armamentarium, a set of analytical instruments and a procedure, for the systematic study of poetic discourse in translation. The armamentarium provides the means to describe the ‘translational interpretation’, that is: the interpretation of the original as it emerges from the translation and may be constructed in the course of a comparison between the two texts. The practical result of this study is based on a solid theoretical foundation. This study most of all reflects on the possibilities of translation comparison and description per se. It is one of the few books in which an in-depth study is undertaken into the principles of translation comparison itself, into its limits and possibilities, and into its central concepts (‘shift’, ‘unit of comparison’ etcetera). Before presenting his own proposal for a comparative procedure, the author critically evaluates several existing methods, particularly those of Toury, Van Leuven-Zwart and the German transfer-oriented approach. The theoretical considerations in this book are amply illustrated by analyses of translated works of poets as Rutger Kopland and Robert Lowell. The book also contains an extensive case study into the translations, by the German poet Paul Celan, of a selection of William Shakespeare’s sonnets.

Procession, arguably the most ubiquitous and versatile public performance mode until the seventeenth century, has received little scholarly or theoretical attention. Yet, this form of social behaviour has been so thoroughly naturalised in our accounts of western European history that it merited little comment as a cultural performance choice over many centuries until recently, when a generation of cultural historians using explanatory models from anthropology called attention to the processional mode as a privileged vehicle for articulation in its society. Their analyses, however, tended to focus on the issue of whether processions produced social harmony or reinforced social distinctions, potentially leading to conflict. While such questions are not ignored in this collection of essays, its primary purpose is to reflect upon salient theatrical aspects of processions that may help us understand how in the performance of "moving subjects" they accomplished their often transformative cultural work.

This book explores Basil Bunting’s continued reputation and influence in modern British poetry, and also the impact of a peculiarly ‘Northern’ inflection of Modernism (which Bunting largely defined) within the varieties of poetry being written in Britain today. The editors asked a variety of English, Scottish, Welsh and American poets and academics to reflect upon the themes, implications, impact or example of Bunting’s work in the centenary year of his birth, looking back on the beginnings of Modernism at the start of the twentieth century into which he was born, or forward into the twenty-first century in which he continues to be read and learned from: a true poetic star to steer by. The resulting collection of fourteen new essays reveals the continued ability of Bunting’s poetry both to delight and to challenge. Topics covered include the nature of influence; Celtic and Northumbrian contexts for the modern English long poem; prosodic patterns in early Bunting; Bunting as a reader of his own work; narrative sources in his poetry; the problem of patronage; his ‘rueful masculinity’; women poets and Bunting; radical landscape poetry; his translations from the Persian Hafiz and the Roman Horace; economic and social tensions in his work; the poet as ‘makar’; and a previously unpublished selection of his letters from the 1960s to the 1980s, commenting upon his own and others’ poetry and on the political condition of Britain in those years. The collection will be of interest to teachers and readers of twentieth century English and American poetry, and to those exploring the processes of literary translation. Contributors include David Annwn, Richard Caddel, Roy Fisher, Victoria Forde, Harry Gilonis, Ian Gregson, Philip Hobsbaum, Parvin Loloi, James McGonigal, Richard Price, Glynn Pursglove, Harriet Tarlo, Gael Turnbull, and Jonathan Williams.

Modern Italian Poets shows how the new genre shaped the poetic practice of the poet-translators who worked within it.

Irony is a salient feature of common discourse and of some of contemporary art's more sophisticated representations. An intriguing characteristic of art and speech, irony's power and relevance reaches well beyond the enclaves of academic research and reflection. Translating irony involves a series of interpretative gestures which are not solely provoked by or confined to the act of translation as such. Even when one does not move between languages, reading irony always involves an act of interpretation which 'translates' a meaning out of a text that is not 'given'. The case studies and in depth analyses in "Translating irony" aim to monitor and explain the techniques and challenges involved in the translation of irony.

"Traces the evolution of obstetric instruments from ancient times to the end of the nineteenth century in Britain, Europe, and America."--Dust jacket.