Across language(s): translation, multilingualism, and visuality in the poetics of Alejandra Pizarnik and Susana Thénon

跨语言：亚历杭德拉·皮扎尼克和苏珊娜·塞农诗学中的翻译、多语言和视觉性

• 批准号: 2732812
• 金额: --
• 依托单位: University of Oxford
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2022
• 资助国家: 英国
• 起止时间: 2022 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2732812
• 关键词: Across; language; translation; multilingualism; visuality

By expanding their poetic practice beyond the textual to include other art forms, Argentine writers Alejandra Pizarnik (1936-1972) and Susana Thénon (1935-1991) challenge stable ideas of language, and instead create complex, multilingual networks of meaning. They reject that expression should be limited by verbal language, instead redefining their creative sphere to encompass multiple media and multilingualism, thereby exposing new modes of poetry.Pizarnik and Thénon encapsulate what Richard Andrews (2018) characterises as a multimodal approach to poetics. Primarily poets, both also engaged in translation, knew several languages, and practised the visual arts. This project will situate these practices as vital elements of their poetic practice that enrich their work and open up new readings of the text, as well as challenging the boundaries of the 'text' itself.This research project will examine the nuances of the following questions: What are the limits of language as traced in Pizarnik and Thénon's poetry? What similarities are found at the juncture of the visual and linguistic in their work? How do these practices challenge and disrupt existing conceptions of language and the 'text'?In an Anglophone context, Jahan Ramazani (2009) examines the unique ways in which poetry interacts with a world where cultures increasingly intertwine. This project will expand the sphere of conversation to Latin American poetry and translation, drawing on Joyelle McSweeney and Johannes Göransson's description (2012) of translation as 'a wound that makes impossible connections between languages, unsettling stable ideas of language, productive ideas of literature'.Árbol de Alejandra: Pizarnik Reassessed (2007) was a pivotal moment in Pizarnik studies, but her paintings and translations remain relatively under-explored. I will expand upon Fiona Mackintosh's research into Pizarnik's translations (2010) by focusing on her self-translation or 'transcreation' practices, which deviate from what a third-party translator may have written. Carlota Caulfield's anthology of Pizarnik's letters on the visual (2003) makes a compelling case for further investigation into the ekphrastic elements of Pizarnik's poetry, and the textual elements of her drawings.Thénon was Pizarnik's contemporary, and while her poetry explores similar themes, it has received less critical attention. As Pizarnik grows more popular, the unique nature of this comparison will elevate the status of Thénon as an underrepresented writer. Paola Cortés Rocca (2013) has analysed Thénon's photography, and this project will go further by analysing the fusion of poetry, translation, and photography in Thénon's exhibition of her translations of Rainer Maria Rilke alongside her imagery, which she described as 'an enthralling challenge: to synthesise in one image what the poet develops in time'. This fusion will be a key focus of the project. This analysis would be particularly fruitful for Latin American studies, as many of Latin America's most notable 20th-century writers lived abroad, wrote in several languages, and wove together disparate cultural references. The history of Latin America is necessarily transnational and I hope, by placing poetry in dialogue with other creative practices, to encourage other scholars to adopt an interdisciplinary and internationalist approach, whereby individual disciplines and genres are not seen as hermetic but instead as being perpetually in dialogue with other artists, national imaginaries, and forms.My primary methods will be discourse analysis and textual analysis, focusing on close reading of the materials available to elaborate both writers' poetics. This will be supported by archival work, examining their manuscripts and visual works to find supporting evidence. My interdisciplinary approach, drawing on literary theory, translation theory, and art criticism, will allow me to address the question of the bounds of the t

阿根廷作家亚历杭德拉·皮扎尼克（Alejandra Pizarnik，1936-1972）和苏珊娜·泰农（Susana Thénon，1935-1991）通过将诗歌实践扩展到文本之外，包括其他艺术形式，挑战了稳定的语言观念，而是创造了复杂的多语言意义网络。他们拒绝用语言来限制表达，而是重新定义他们的创作领域，以涵盖多种媒体和多种语言，从而揭示诗歌的新模式。Pizarnik和Thénon概括了Richard Andrews（2018）所描述的多模态诗学方法。两人都从事翻译工作，通晓多种语言，并实践视觉艺术。这个项目将把这些实践作为他们诗歌实践的重要元素，丰富他们的作品，开辟文本的新阅读，以及挑战“文本”本身的界限。这个研究项目将研究以下问题的细微差别：在皮萨尼克和泰农的诗歌中，语言的局限性是什么？在他们的作品中，在视觉和语言的结合点上发现了什么相似之处？ 这些实践如何挑战和破坏现有的语言和“文本”的概念？在英语语境中，贾汉·拉马扎尼（Jahan Ramazani，2009）考察了诗歌与文化日益相互交织的世界互动的独特方式。这个项目将扩大对话的范围，拉丁美洲的诗歌和翻译，借鉴Joyelle McSweeney和Johannes Göransson的描述（2012）翻译作为“一个伤口，使语言之间的不可能的联系，动摇稳定的语言思想，文学的生产思想”。Árbol de Alejandra：Pizarnik重新评估（2007）是Pizarnik研究的关键时刻，但她的绘画和翻译仍然相对不足。我将通过关注她的自译或“创译”实践来扩展菲奥娜·麦克米伦对Pizarnik翻译的研究（2010），这些实践偏离了第三方翻译者可能撰写的内容。卡洛塔·考尔菲尔德（Carlota Caulfield）的《皮萨尼克关于视觉的书信集》（2003）为进一步研究皮萨尼克诗歌中的文字元素和绘画中的文本元素提供了一个令人信服的案例。泰农是皮萨尼克的同时代人，虽然她的诗歌探讨了类似的主题，但却没有得到那么多的关注。随着皮萨尼克越来越受欢迎，这种比较的独特性质将提升泰农作为一个代表性不足的作家的地位。保拉·科尔特斯·罗卡（2013）分析了泰农的摄影作品，这个项目将进一步分析诗歌、翻译和摄影的融合，泰农将她翻译的莱纳·玛丽亚·罗克的作品与她的图像一起展出，她将其描述为“一个迷人的挑战：在一个图像中合成诗人在时间中发展的东西”。这种融合将是该项目的重点。这种分析对拉丁美洲的研究特别有成效，因为许多拉丁美洲最著名的20世纪作家都住在国外，用几种语言写作，并将不同的文化参考编织在一起。拉丁美洲的历史必然是跨国的，我希望通过将诗歌与其他创作实践对话，鼓励其他学者采用跨学科和国际主义的方法，使个别学科和流派不被视为封闭的，而是与其他艺术家，国家博物馆和形式永久对话。我的主要方法将是话语分析和文本分析，着重于仔细阅读可获得的材料来阐述两位作家的诗学。这将得到档案工作的支持，检查他们的手稿和视觉作品，以找到支持证据。我的跨学科方法，借鉴文学理论，翻译理论和艺术批评，将使我能够解决的界限问题，