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

阿根廷作家Alejandra Pizarnik（1936-1972）和Susana thsamnon（1935-1991）将他们的诗歌实践扩展到文本之外，包括其他艺术形式，他们挑战了语言的稳定观念，而是创造了复杂的多语言意义网络。他们不认为表达应该受到口头语言的限制，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，从而揭示新的诗歌模式。Pizarnik和thsamnon概括了Richard Andrews（2018）所描述的诗学多模式方法。主要是诗人，两人也从事翻译，懂几种语言，并练习视觉艺术。这个项目将把这些实践作为他们诗歌实践的重要元素，丰富他们的工作，开辟新的文本阅读，以及挑战“文本”本身的边界。这个研究项目将考察以下问题的细微差别：在Pizarnik和thsamnon的诗歌中，语言的界限是什么？在他们的作品中，在视觉和语言的结合处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”概念？在英语背景下，Jahan Ramazani（2009）考察了诗歌与文化日益交织的世界相互作用的独特方式。这个项目将把对话的范围扩大到拉丁美洲诗歌和翻译，借鉴Joyelle McSweeney和Johannes Göransson（2012）对翻译的描述，将其描述为“一种伤口，使语言之间不可能建立联系，扰乱稳定的语言观念，产生文学观念”。Árbol de Alejandra: Pizarnik re评估（2007）是Pizarnik研究的关键时刻，但她的绘画和翻译仍然相对较少被探索。我将扩展菲奥娜·麦金托什（Fiona Mackintosh）对Pizarnik翻译（2010）的研究，重点关注她的自我翻译或“译创”实践，这些实践偏离了第三方译者可能写的内容。卡洛塔·考尔菲尔德（Carlota Caulfield）的《皮萨尼克的视觉信件选集》（2003）为进一步研究皮萨尼克诗歌中的语言元素和她绘画中的文本元素提供了一个令人信服的案例。thsamnon是Pizarnik同时代的人，虽然她的诗歌探讨了类似的主题，但受到的批评较少。随着Pizarnik越来越受欢迎，这种比较的独特性将提升thassanon作为一个未被充分代表的作家的地位。Paola cortsamas Rocca（2013）分析了thsamnon的摄影作品，这个项目将进一步分析thsamnon的诗歌、翻译和摄影的融合，在thsamnon的展览中，她将Rainer Maria Rilke的翻译和她的图像一起展示，她将其描述为“一个迷人的挑战：在一个图像中合成诗人随着时间的推移而发展的东西”。这种融合将是该项目的重点。这种分析对拉丁美洲研究尤其有益，因为20世纪许多拉丁美洲最著名的作家都生活在国外，用几种语言写作，并将不同的文化参考文献编织在一起。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，从而使个别学科和流派不被视为封闭的，而是与其他艺术家、国家想象和形式进行永久的对话。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，将使我能够解决问题的界限

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