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

阿根廷作家亚历杭德拉·皮萨尼克(Alejandra Pizarnik，1936-1972)和苏珊娜·特农(Susana Thénon，1935-1991)将诗歌实践从文本扩展到其他艺术形式，挑战稳定的语言观念，创造了复杂的、多语言的意义网络。他们拒绝将表达局限于口头语言，而是重新定义了他们的创作领域，以涵盖多种媒体和多种语言，从而揭示了新的诗歌模式。皮萨尼克和塞农概括了理查德·安德鲁斯(2018)所描述的多模式诗学方法。主要是诗人，两人都从事翻译，懂几种语言，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，打开对文本的新解读，并挑战“文本”本身的边界。本研究项目将考察以下问题的细微差别：皮萨尼克和塞农的诗歌中所追踪到的语言的界限是什么？在他们的作品中，视觉和语言的结合点有哪些相似之处？这些做法是如何挑战和颠覆现有的语言和“文本”概念的？在一个以英语为母语的背景下，Jahan Ramazani(2009)研究了诗歌与一个文化日益交织的世界互动的独特方式。这个项目将把讨论范围扩大到拉丁美洲的诗歌和翻译，借鉴乔伊尔·麦克斯威尼和约翰尼斯·格朗松(Joyelle McSweeney)和约翰尼斯·格朗松(Johannes Göransson)(2012)对翻译的描述，认为翻译是“一种伤口，使语言之间不可能联系在一起，扰乱稳定的语言观念和多产的文学观念”。阿尔博尔·德·亚历杭德拉：皮萨尼克(Pizarnik)重新评估(2007)是皮扎尔尼克研究的关键时刻，但她的绘画和翻译仍然相对较少被探索。我将对菲奥娜·麦金托什对皮萨尼克翻译作品(2010)的研究进行扩展，重点放在她的自译或“转译”实践上，这些实践与第三方译者可能写的有所不同。卡洛塔·考尔菲德的《关于视觉的皮萨尼克书信集》(2003)为进一步研究皮萨尼克诗歌中的表面语元素和她绘画中的文本元素提供了一个令人信服的案例。塞农是皮萨尼克的同代人，虽然她的诗歌探索了类似的主题，但它受到的批评较少。随着皮萨尼克变得越来越受欢迎，这种比较的独特性质将提升塞农作为一个被低估的作家的地位。保拉·科特·S·罗卡(Paola CortéS Rocca，2013年)分析了泰农的摄影作品，这个项目将进一步分析泰农在她的翻译作品雷纳·玛丽亚·里尔克(Rainer Maria Rilke)的展览中诗歌、翻译和摄影的融合，她形容这是一个令人着迷的挑战：将诗人在时间中发展的东西合成在一个图像中。这种融合将是该项目的一个关键焦点。这一分析对拉丁美洲研究将特别有成效，因为拉丁美洲20世纪最著名的许多作家都生活在国外，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进行对话，鼓励其他学者采用跨学科和国际主义的方法，即个别学科和流派不被视为封闭的，而是永久地与其他艺术家、国家想象和形式对话。我的主要方法将是话语分析和文本分析，重点是仔细阅读可用于阐述两位作家的诗学的材料。这将得到档案工作的支持，检查他们的手稿和视觉作品以寻找支持证据。我的跨学科方法，借鉴了文学理论、翻译理论和艺术批评，将使我能够解决这一问题

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