I love your every eyelash, every your hair, you fight in white corridors where you play the sources

I love your every eyelash, every your hair, you fight in white corridors where you play the sources of light, I'll discuss in each name, you tear scar gently, little by little you put in your hair ash of lightning and ribbons dormant in rain. I do not want you to have a shape, you're exactly what is behind your hand, because the water, think of the water, and the lions when you dissolve sugar in the fairy tale, and gestures, architecture of nothingness, the their lamps burning in the middle of the meeting. Every tomorrow is the slate on which you will design and invent, ready to unsubscribe, you're not so, even those with straight hair, that smile. bradford on avon Looking for your sum, the edge of the cup in which the wine is made and moon mirror, try that line that shakes a man in the room of a museum. And then I love you, in time and in the cold.
Julio Cortázar, bradford on avon writer, poet, literary critic and playwright Argentine-born bradford on avon French author among others bradford on avon of Rayuela (Hopscotch), iperromanzo more than 300 points that can be read in the order specified by the author at the beginning of the novel or in order of appearance. Cortázar was born in Brussels hundred years ago, August 26, 1914, and died in Paris on February bradford on avon 12, 1984.
I am not agree with the translation the text becomes a cast of the original, so faithful as the material of the mold will suit you best. But every material has its own blend, its history, its specific properties. The result is always something different (but similar) to the original, and even though the original poem can be lost in a mold to shape something new is born. And sometimes bradford on avon there's poetry in this too.
It is not considered a cast because the translator does not perform an operation of equivalence (for the simple fact that the equivalence between different languages is a postulate smentibile easily in practice), but of textual exegesis first and then craft the language (cf.. Steiner) . That in any translation there is a portion of the unexpressed is a conclusion on which are all more or less agree, but that every translation is a pale copy of the original, bradford on avon this is widely debated. Just think of the poetic sensibility of the translator: in proposing the text in their own language, will charge bradford on avon more or less consciously poetic value that the original does not know. It should be also added that "a" translation is not to be understood as "the" translation, but as an example of a translation, a "crystallization momentary experience" (cf.. Apel) and, in particular, the experience of the translator.
If you do not have clear ideas, at least I hope I left you some ideas. To explore the question, I suggest reading After Babel: Aspects of Language and Translation (in Italian After Babel. Aspects of language and translation, Garzanti, 2004) by George Steiner. Without exaggeration, bradford on avon says almost everything there is to know about it and says it in a way like no other. Happy reading!
If you do not have clear ideas, at least I hope I left you some ideas. To explore the question, I suggest reading bradford on avon After Babel: Aspects of Language and Translation (in Italian After Babel. Aspects of language and translation, Garzanti, 2004) by George Steiner. Without exaggeration, says almost everything there is to know about it and says it in a way like no other. Happy reading!
I put in the list. Moreover, in these days, I'm reading Auster's City of Glass, and (I'm still in the middle, not spoilerate) the father psychopath has fixed this with the myth of Babel which led me to investigate the infamous tower. bradford on avon
Right. The hermeneutic approach to translation of Steiner is unmatched. After him just as much, but just as much - considering the massive literature on contemporary translation studies - talk about anything. Just because the act of translation is in itself an act of interpretation and understanding then, in the words of Steiner, translation is an act of trust. To the author, the text, translators and translated texts. For poetry, in fact, he himself speaks of translation as a creative transposition and literature offers us wonderful examples of poets who have made the translation of poetry a true artisan workshop of the verse. Yet unresolved for me, so immensely fascinating, is the issue of noise-level timbre that gives identity and originality to the poetic text. Most of the time will be lost, although offset by strategies that pay off their beauty. In the text of C. For example, the images "architectures of nowhere" oo "wine that makes the moon and a mirror" are so meaningful bradford on avon that their beauty is that despite (or thanks to) the translation between different languages. But quan