《夜之朝霞》:安吉拉·卡特在《烟花》中的翻译诗学

IF 0.2 3区 文学 0 LITERATURE
Martine Hennard Dutheil de la Rochère
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引用次数: 0

摘要

在安吉拉·卡特的《烟花》(1974)中,翻译作为一种创作方法发挥了核心作用。这本小说集以“日本的纪念品”开头,展示了卡特对“花abi”这个词的多语言思考,它记录了日本夏季节日期间短暂的幸福时刻,用“夜晚的牵牛花”的图像捕捉。然后,它以英语、法语和日语的文学和文化共鸣为基础,形成了一个由花卉主题联系起来的多样化的故事花束,赋予了该系列的美学身份。通过卡特在日本的经历和对波德莱尔、Buñuel和巴什的记忆,《烟花》体现了卡特的翻译诗学,作为一种跨越相互交织的语言、文化和艺术形式的写作模式。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
“Morning Glories of the Night”: Angela Carter’s Translational Poetics in Fireworks
Translation plays a central role as a creative method in Angela Carter’s Fireworks (1974). The collection of stories showcases Carter’s multilingual musings on the word hanabi by opening with “A Souvenir of Japan,” which records a brief moment of bliss during the Japanese summer festival, captured in the image of the “morning glories of the night.” It then builds on its literary and cultural resonances in English, French, and Japanese to form a variegated bouquet of stories linked by the flower motif that gives the collection its aesthetic identity. Infused by Carter’s experience of Japan and memories of Baudelaire, Buñuel, and Bashō, Fireworks exemplifies Carter’s translational poetics as a mode of writing blossoming across intertwined languages, cultures, and art forms.
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CiteScore
0.30
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