{"title":"Samuel Beckett's 'The North'","authors":"Galina Kiryushina, M. Nixon","doi":"10.3366/JOBS.2021.0340","DOIUrl":null,"url":null,"abstract":"This essay closely inspects the manuscript cluster relating to The North (held by the Beckett International Foundation, University of Reading) to provide insight into Beckett's collaboration with Enitharmon Press and its publisher, Alan Clodd, on an eponymous livre d'artiste illustrated with three etchings by Avikdor Arikha. It outlines the intricate publication details of a short excerpt from (then unfinished) Le Depeupleur, which was the first part of the late prose text to be translated by Beckett into English. With the help of Beckett's published and unpublished correspondence with Clodd, Arikha, and Barbara Bray in particular, the essay traces the translation process of both The North and what was to become The Lost Ones. Extending over several months, the translation of the short novel gave Beckett considerable trouble and, as appears from his letters to Bray, her involvement in it was tangible. Beckett's linguistic choices surrounding the image of a crouching woman at the centre of this limited-edition artist's book and the English title of the master text, The Lost Ones, are also considered in relation to other art forms, namely Auguste Rodin's Dante-inspired La porte de l'enfer and the statue extracted from it, La femme accroupie. In addition to that, the publication particulars of the Calder & Boyars edition of The Lost Ones (1972) are discussed in parallel to those of Clodd's The North (1973), unearthing the differences between the two translations as well as contractual obligations that shaped them.","PeriodicalId":41421,"journal":{"name":"JOURNAL OF BECKETT STUDIES","volume":null,"pages":null},"PeriodicalIF":0.3000,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"JOURNAL OF BECKETT STUDIES","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.3366/JOBS.2021.0340","RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"LITERARY THEORY & CRITICISM","Score":null,"Total":0}
引用次数: 0
Abstract
This essay closely inspects the manuscript cluster relating to The North (held by the Beckett International Foundation, University of Reading) to provide insight into Beckett's collaboration with Enitharmon Press and its publisher, Alan Clodd, on an eponymous livre d'artiste illustrated with three etchings by Avikdor Arikha. It outlines the intricate publication details of a short excerpt from (then unfinished) Le Depeupleur, which was the first part of the late prose text to be translated by Beckett into English. With the help of Beckett's published and unpublished correspondence with Clodd, Arikha, and Barbara Bray in particular, the essay traces the translation process of both The North and what was to become The Lost Ones. Extending over several months, the translation of the short novel gave Beckett considerable trouble and, as appears from his letters to Bray, her involvement in it was tangible. Beckett's linguistic choices surrounding the image of a crouching woman at the centre of this limited-edition artist's book and the English title of the master text, The Lost Ones, are also considered in relation to other art forms, namely Auguste Rodin's Dante-inspired La porte de l'enfer and the statue extracted from it, La femme accroupie. In addition to that, the publication particulars of the Calder & Boyars edition of The Lost Ones (1972) are discussed in parallel to those of Clodd's The North (1973), unearthing the differences between the two translations as well as contractual obligations that shaped them.
本文仔细研究了与《北方》相关的手稿群(由雷丁大学贝克特国际基金会收藏),以深入了解贝克特与埃尼塔蒙出版社及其出版商艾伦·克鲁德(Alan Clodd)的合作,以阿维克多·阿里哈(Avikdor Arikha)的三幅蚀刻版画为插图的同名艺术家生活。书中概述了一段摘自(当时尚未完成)《解脱者》(Le Depeupleur)的简短节选的复杂出版细节,这是贝克特将晚期散文文本翻译成英文的第一部分。借助贝克特与克劳德、阿里卡和芭芭拉·布雷的公开和未公开的通信,这篇文章追溯了《北方》和后来的《迷失的人》的翻译过程。这部短篇小说的翻译工作持续了几个月,给贝克特带来了相当大的麻烦,从他写给布雷的信中可以看出,她确实参与了翻译工作。贝克特的语言选择围绕着这位限量版艺术家书籍中心的一个蹲着的女人的形象,以及主要文本的英文标题《迷失的人》,也被认为与其他艺术形式有关,即奥古斯特·罗丹受但丁启发的La porte de l'enfer和从中提取的雕像La femme accroupie。除此之外,考尔德和波雅尔斯版本的《迷失的人》(1972)的出版细节与克洛德的《北方》(1973)的出版细节并行讨论,揭示了两种译本之间的差异以及形成它们的合同义务。