Cento

A roundup of Charles Bernstein's interviews outside the US: (1) “Interview with Romina Freschi” (Argentina, 2005), previously published only in Spanish; (2) “Frequently Unasked Questions,” with Versatorium (Austria, 2011), previously published only in German in Der Standard; (3) “Interview with Philip Davenport” (England, 2012), focusing on the marginalization of radical formal poetry in the US versus the UK; (4) “Interview with Maurizio Medo” (Peru, 2014), previously published only in Spanish, focusing on the importance of Cage and Mac Low and the problems with the designations “experimental,” “representative,” and “failed”; (5) “Interview with Alcir Pécora and Régis Bonvicino” (Brazil, 2014), on the “infranatural” and echopoetics; (6) “Indigo: Interview with Paata Shamugia” (Georgia, 2016); (7) “Project Transcreation Interview with Runa Bandyopadhyay” (India, 2019); (8) “Interview by Habib Tengour in Pour ainsi dire,” a collection of Bernstein poems translated by Tengour (Algeria, 2019), previously published only in French; (9) “Interview with Mariano Peyrou” (Spain, 2020), previously published only in Spanish in El Mundo.

Excavations in Homer

The essay offers a comparative examination of Alice Oswald’s Memorial (2011), which re-works material from the Iliad, and the German poet Barbara Köhler’s poem cycle Niemands Frau (Nobody’s Wife, 2007), which responds to the Odyssey. I argue that in dissolving the narrative line that characterizes Homer’s epics, both poets perform ‘speculative archaeologies’. Oswald’s treatment brings to the fore traces of lament and pastoral lyric forms that may have predated Homer’s narrative organization, recollecting the function of formal poetry in social rituals of mourning. Through her handling of the similes in particular, Oswald draws out of Homer’s text those moments in it which encapsulate connectivity and collectivity. Köhler’s differential treatment of grammatical gender likewise highlights connectivity, encapsulated in the female figures in the Odyssey and their complex interrelations (also a figure for poetic speech), which contrasts with linear narrative as projected by the male hero’s story.

Penerjemahan Puisi

Vibry Andina NurhidayahIAIN PontianakVibry_AN @yahoo.com AbstrakDalam menerjemahkan puisi seorang penerjemah harus mampu menyampaikan isi dan makna yang ada didalam bahasa sumber, Menerjemahkan puisi tergolong penerjemahan tersulit karena dalam prosesnya, sedapat mungkin dipertahankan suasana batin dari karya itu (mood, tone). Pada saat yang sama, penerjemah harus mencari padanan atas bentuk formal puisi itu sendiri secara tepat, misalnya jumlah baris (terutama untuk jenis sonnet), rhyme (persajakan) dan syllable (jumlah suku kata). Untuk menjaga supaya wajar, perpindahan isi dan pesan (content, message) puisi tetapharus dibawa. Semua kualifikasi ini sangat ditentukan oleh kepekaan seorang penerjemah-sastrawan.Kata kunci: karya sastra, puisi, terjemahan AbstractOn the translation of poetry, a translator must be able to deliver content and meaning in the source language. Translating poetry classified as the hardest translation because of the process must be able to keep inner mood from its creation (mood, tone). At the same time, a translator must find the equivalent of right formal poetry, for example amount of line (especially kinds of sonnet), rhyme and amount of syllable. Besides, displacement content and message of poetry must keep it reasonable. These qualifications determined by sensitivity of a translator-writer. Keywords: literary work, poetry, translation