scholarly journals O problema do amor e da distância em Anne Carson

2021 ◽  
Vol 66 (1) ◽  
pp. e38535
Author(s):  
Rafael Saldanha
Keyword(s):  

O presente trabalho tem como objetivo apresentar a rearticulação do problema do amor na obra da classicista e poeta Anne Carson. Em seu livro Eros, the bittersweet, Carson realiza uma reconstrução do problema do amor na tradição helênica. A operação, porém, não se restringe a uma mera reconstrução histórica, visto que as elaborações conceituais da autora acabam pondo o problema do amor como um tipo de situação que tem sua força justamente na transcendência das condições particulares. Analisaremos, portanto, como Carson concebe os contornos da dinâmica do amor como uma relação entre amante, amado e a distância entre eles, a partir das obras de Safo de Lesbos. Em seguida, discutiremos no artigo como, a partir dessa concepção da relação amorosa, a autora elabora, por meio de uma leitura do diálogo Fedro de Platão, os desdobramentos do problema do amor na questão da composição dos sujeitos (ou seja, redefinindo “o que é um sujeito” a partir do problema do amor) e nas experiências do tempo e do espaço. No fim, procuramos demonstrar como a obra de Carson nos fornece uma visão renovada do problema do amor.

2019 ◽  
Vol 32 (1) ◽  
pp. 79-91
Author(s):  
Rodrigo Tadeu Gonçalves ◽  
Julia Nascimento

Antigonick (2012) é a tradução da dramaturga, escritora e tradutora canadense Anne Carson para a tragédia Antígona de Sófocles. No prefácio “the task of the translator of antigone”, em forma de carta/poema direcionada à personagem Antígona, aparecem comentários sobre encenações anteriores, mais especificamente sobre as montagens de Bertolt Brecht e Jean Anouilh, além da composição 4’33”, de John Cage. Este artigo pretende discutir como essas referências intertextuais e intermidiáticas contribuem para uma leitura que englobe a vasta tradição de recepção dos clássicos sem deixar de considerar as particularidades do trabalho da tradutora e do seu comprometimento com a “mulher de palavra”, Antígona. A fim de pensar o diálogo intermidiático no prefácio, utilizam-se especialmente as discussões propostas por Anne Ubersfeld no texto A representação dos clássicos: reescritura ou museu (1978) e o conceito de tradução intersemiótica presente em “Estudos interartes: conceitos, termos, objetivos” (1997) de Claus Clüver. Acredita-se que uma análise atenta do prefácio possa oferecer pistas importantes sobre o processo criativo e sobre a proposta/projeto de tradução empreendido por Carson.


Author(s):  
Carmen García Navarro

This paper explores Anne Carson’s “Kinds of Water: An Essay on the Road to Compostela,” the author’s journal on her pilgrimage to Santiago. Taking water as a metaphor for the Camino, the text reflects the creative dimension of the pilgrimage both from an artistic and personal standpoint. Alternative discourses of the female writer and pilgrim occur in a text that is an essay and a meditation on the forms of resilience put into practice by Carson after facing a series of personal losses. The progressive construction of self-knowledge is seen as an emancipatory act that transcended Carson’s mourning period in her experience, which she took as an opportunity to embrace personal transformation. I suggest that my approach can bring useful perspectives not only to further and refine knowledge on Carson in Spain but also for the consideration of resilience as an aspect that contributes to the critical understanding of narratives of individual and social transformation.


2020 ◽  
Vol 9 (2) ◽  
pp. 281-287
Author(s):  
Julia Raiz Nascimento
Keyword(s):  

Apresentação da tradução inédita de três poemas da série “A Verdade Sobre Deus” do livro Glass, Irony & God (1995) da escritora canadense Anne Carson. A escolha destes três poemas tem como objetivo apresentar ao público leitor brasileiro procedimentos estéticos que a autora lança mão em seus poemas para operar uma ampliação do imaginário sobre Deus. Pensando que a palavra Deus está, hoje no Brasil, na boca dos ministros e ministra de Estado, parece relevante saber como as/os poetas manipulam esse imaginário coletivo e como isso aparece nas escolhas tradutórias de textos para o português brasileiro.  


1988 ◽  
Vol 83 (4) ◽  
pp. 369-373
Author(s):  
George B. Walsh
Keyword(s):  

2019 ◽  
pp. 247-273
Author(s):  
Yopie Prins

This essay asks if, and how, we can read the rhythms of Sappho’s poetry as if it could be heard, still. The Sapphic stanza is a poetic form that has gone through a long history of transformations, from a powerful metrical imaginary in Victorian poetics (graphing Sapphic meter as a musical form) into an idealization of “Sapphic rhythm” in twentieth-century prosody (naturalizing the rhythms of speech). By comparing metrical translations of Sapphic fragment 16 (“The Anactoria Poem,” discovered in 1914), the essay proposes “metametrical” reading as a model for critical reflection on the complex dialectic between rhythm and meter. Examples are drawn from Victorian metrical theory and Anglo-American imitations of Sappho by modern and contemporary poets, including Joyce Kilmer, Marion Mills Miller, Rachel Wetzsteon, John Hollander, Jim Powell, Juliana Spahr, and Anne Carson..


2020 ◽  
pp. 56-99
Author(s):  
David-Antoine Williams

This chapter begins by noting with Saussure that the rupture structural linguistics makes between sound image and referent would appear to make etymology theoretically vacant. How one might continue to ‘believe’ in the truth of etymologies in the face of this occupies the rest of the discussion, beginning with the problems and possibilities of phenomenological ‘unveiling’ (Martin Heidegger, Anne Carson, Jan Zwicky, and Anne Waldman are discussed) and deconstructive etymological word play (Jean Paulhan, Nancy Streuver, Derek Attridge, Paula Blank). Play, or work, with etymology then frames a comparative reading of poems by G. M. Hopkins and Ciaran Carson, which explores questions of poetic assertion, belief, and irony. After sketching a taxonomy of etymological tropes in modern poetry, the chapter concludes by following the etymological development and redeployment of central metapoetic metaphors, which imagine the work of poetry as that of maker, weaver, singer, and ploughman.


2015 ◽  
Author(s):  
Joshua Wilkinson
Keyword(s):  

2018 ◽  
Vol 2 (1) ◽  
pp. 117-124
Author(s):  
Nigel Rapport

It is a special responsibility to incur individual readings of one’s work from colleagues. I hope the following line of thought does them justice.Nay Rather, an essay by Anne Carson (a translator and poet as well as a classical scholar), begins with an account of the trial of Joan of Arc. Caught in battle against the English and their Burgundian allies on 23 May 1430, a year after she had assisted a French army in lifting the English siege of Orleans, Joan of Arc was put on trial for heresy. The trial lasted from January to May 1431, and Joan was burnt at the stake on 30 May, aged nineteen. In recounting this history, Carson explains that she is particularly interested in the way in which, as she puts it, Joan was ‘distant’ from her own words. Carson (2014: 8) elaborates. Joan of Arc’s guidance, military and moral came from a source that she called ‘voices’. She began to hear them at the age of twelve, and they commanded her style of dress, her beliefs and the revolutionary politics of her action. At her trial, her English ecclesiastical prosecutors wanted to know her voices, for Joan to name and describe them in ways in which they might understand: in terms of recognised religious imagery and emotions, and in a conventional narrative that might then be subjected to mechanisms of theological proof.


AJIL Unbound ◽  
2016 ◽  
Vol 110 ◽  
pp. 25-30 ◽  
Author(s):  
Adil Hasan Khan

This terrible thing we’re witnessing now is Not unique; you know it happened before Or something like it. We’re not at a loss how to think about it We’re not without guidance… Anne Carson, Antigonick (2012). International law can, and times has, involved the performance of another way of living with, of accepting, uncertainty… Anne Orford, The Destiny of International Law (2005). We in the postcolony currently inhabit times constituted by the aftermaths of the catastrophic failures and tragic reversals of countless projects of global redemption and by the bereavement of their promised futures. As Simon Critchley observes, the experience of disorientation produced by such tragedies acutely raises the problem of action: “[E]xpressed in one bewildered and repeated question . . . what shall I do?” This essay takes this problem as its central concern by asking specifically how international lawyers should act in these “tragic times.”


2015 ◽  
Vol 30 (73) ◽  
Author(s):  
Anne Carson
Keyword(s):  

Anne Carson: “The Albertine Workout”Poem. Originally published in London Review of Books 36.11, 2014, pp. 34-35. A booklength annotated version is available from New Directions.


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