De Irlanda a Iberia: notas para a tradución de Eiléan Ní Chuilleanáin do inglés ao galego

La cuestión del género fue trabajada dentro de los estudios de traducción de diversas formas, incluyendo la asignación de género en la lengua meta, la traducción de lenguaje marcado de género y la traducción feminista. En este trabajo se estudia el uso o ausencia de marcas de género y de la praeterio a la hora de afrontar una traducción al gallego de la autora irlandesa Eiléan Ní Chuillanáin, feminista y nacionalista. Ambas situaciones se reflejan conscientemente en sus poemas de manera significativa. A través de ejemplos prácticos seleccionados, se reflexiona sobre la necesidad de tener en cuenta que la traslación de sus textos a una lengua que obligatoriamente establece elecciones lingüísticas entre el femenino y el masculino, debe hacerse respetando el sentido de la autora. Esto supone, para quien traduzca, compartir la perspectiva feminista y nacional de la autora familiarizándose con el marco y condicionantes de su obra poética.

James Sacré, a writing of life gesture

In French contemporary poetry, some poets have wished to return to —and so to increase the value of— the enunciation of the poetic subject. In such poetic scenario, the poet James Sacré exemplifies a new approach that tries to re-establish contact with the expression of the poetic subject, albeit always avoiding the pitfalls of excessive ornamentation and poetic effusiveness. Based on the use of simple language, this approach attaches value to legibility and does not hesitate to tap into the most banal or dullest aspects of reality. This article studies one of the procedures used by the poet to reestablish the expression of the poetic subject. This procedure seeks to rewrite life gestures—a technique that evinces an unavoidable relationship between life and poetic words in the work of James Sacré.

Rethinking Copyright: History, Theory, Language

This book provides the reader with a critical insight into the history and theory of copyright within contemporary legal and cultural discourse. It exposes as myth the orthodox history of the development of copyright law in eighteenth-century Britain and explores the way in which that myth became entrenched throughout the nineteenth and early twentieth centuries. To this historical analysis are added two theoretical approaches to copyright not otherwise found in mainstream contemporary texts. Rethinking Copyright introduces the reader to copyright through the prism of the public domain before considering how best to locate copyright within the parameters of traditional property discourse. Underpinning these various historical and theoretical strands, the book explores the constitutive power of legal writing and the place of rhetoric in framing and determining contemporary copyright policy and discourse.

Giving Afghan women a voice:Women's writing in Afghanistan.

This article considers how far women's rights have improved in Afghanistan since the intervention by the international community in 2001. It examines this question through the author's experience of working with an Afghan women's writing group. It looks at the tension between allowing Afghan women to voice their experiences, and the danger of their writing embracing depictions of the female as ‘victim’. It concludes that while depictions of Afghan womanhood may appear to promote ‘negative’ images, the women themselves offer positive role models.

La poesíaterapia: enfrentando y manejando el dolor

Este artículo presenta una propuesta para enfrentar y manejar el dolor y la enfermedad basada en los factores y beneficios curativos de la poesía como terapia. Se analiza la forma como ha sido utilizada la literatura (lectura y escritura) para fines terapéuticos a través de la historia y establece algunas actividades que se pueden realizar. Abstract The present article proposes a methodology to face and handle pain and illness based on the factors and healing benefits of poetry as therapy. The use of related literature (reading and writing) for therapeutic purposes through history is fully analyzed along with some dynamics to be performed.

Crime and Punishment.

The study of Victorian crime and punishment is a rich area of research that has attracted the interest not only of literary scholars but also of social historians, legal historians, and criminologists. Related scholarship therefore often situates itself at the intersection of traditional disciplinary boundaries, facilitating interdisciplinary conversation. Crime and punishment was a pressing issue for the Victorians and provoked a wealth of responses from contemporaneous commentators in literature, culture, and science. As a new phase of industrialization brought immense wealth for some and abject poverty for others, Victorian urban centers in particular were afflicted by crime. Without an effective system of social welfare in place, social inequality and deprivation drove women, men, and children into petty crime and more serious offenses, resulting in severe punishment ranging from incarceration via penal transportation to hanging. Public executions, not abolished until 1868, attracted huge crowds of spectators, including authors such as Charles Dickens and William Thackeray, who wrote about these experiences. A forerunner of the popular press, street literature conveyed and illustrated these events for a broad audience. Execution broadsides of famous cases, printing the alleged last lamentations of convicts on the scaffold in verse, are estimated to have sold by the million. As the legal system was undergoing reform (comprising changes in legal evidence procedure, divorce law, women’s property rights, and punishment for sexual offenses, for example), sensational trials caused furor and stimulated commentary in literature and the media. Crime and punishment was discussed in a range of literary and popular genres, poetry, and reformist writing. The “Newgate School” of fiction was accused of glamorizing crime, and the popular penny dreadfuls were feared to corrupt public morals. Sensational fiction in the 1860s, which often drew on real-life criminal cases and newspaper reports, depicted the supposedly respectable middle-class family home as a center of transgression. Similarly, detective fiction typically focused on crime in the world of the middle classes. For the student new to the subject of crime and punishment, this area’s interdisciplinary nature can pose an initial challenge.

Reading Pitscottie's Cronicles: a case study on the history of literacy in Scotland, 1575-1814

This thesis addresses a range of research questions regarding literacy in early modern Scotland. Using the early modern manuscripts and printed editions of Robert Lindsay of Pitscottie’s late sixteenth-century 'Cronicles of Scotland' as a case study on literacy history, this thesis poses the complementary questions of how and why early modern Scottish reading communities were encountering Pitscottie’s 'Cronicles', and how features of the material page can be interpreted as indicators of contemporary literacy practices. The answers to these questions then provide the basis for the thesis to ask broader socio-cultural and theoretical questions regarding the overall literacy environment in Scotland between 1575 and 1814, and how theorists conceptualise the history of literacy. Positioned within the theoretical groundings of historical pragmatics and ‘new philology’ – and the related approach of pragmaphilology – this thesis returns to the earlier philological practice of close textual analysis, and engages with the theoretical concept of mouvance, in order to analyse how the changing ‘form’ of Pitscottie’s 'Cronicles', as it was reproduced in manuscript and print throughout the early modern period, indicates its changing ‘function’. More specifically, it suggests that the punctuation practices and paratextual features of individual witnesses of the text function to aid the highly-nuanced reading practices and purposes of the discrete reading communities for which they were produced. This thesis includes extensive descriptive material which presents previously unrecorded data regarding twenty manuscripts and printed witnesses of Pitscottie’s 'Cronicles', contributing to a gap in Scotland’s literary/historiographical canon. It then analyses this material using a transferable methodological framework which combines the quantitative analysis of micro-data with qualitative analysis of this data within its socio-cultural context, in order to conduct diachronic comparative analysis of copy-specific information. The principal findings of this thesis suggest that Pitscottie’s 'Cronicles' were being read for a combination of devotional and didactic purposes, and that multiple reading communities, employing highly nuanced reading practices, were encountering the text near-contemporaneously. This thesis further suggests that early modern literacy practices, and the specific reading communities which employ them, should be described as existing within a spectrum of available practices (i.e. more or less oral/aural or silent, and intensive or extensive in practice) rather than as dichotomous entities. As such, this thesis argues for the rejection of evolutionary theories of the history of literacy, suggesting that rather than being described antithetically, historical reading practices and purposes must be recognised as complex, coexisting socio-cultural practices, and the multiplicity of reading communities within a single society must be acknowledged and analysed as such, as opposed to being interpreted as universal entities.

Our own language: Scots verse translation and the second-generation Scottish renaissance

This thesis examines the role of Scots language verse translation in the second-generation or post-war Scottish Renaissance. The translation of European poetry into Scots was of central importance to the first-generation Scottish Renaissance of the nineteen twenties and thirties. As Margery Palmer McCulloch has shown, the wider cultural climate of Anglo-American modernism was key to MacDiarmid’s conception of the interwar Scottish Renaissance. What was the effect on second-generation poet-translators as the modernist moment passed? Are the many translations undertaken by the younger poets who emerged in the course of the nineteen forties and fifties a faithful reflection of this cultural inheritance? To what extent are they indicative of a new set of priorities and international influences? The five principal translators discussed in this thesis are Douglas Young (1913-1973), Sydney Goodsir Smith (1915-1975), Robert Garioch (1909-1981), Tom Scott (1918-1995) and William J. Tait (1918-1992). Each is the subject of a chapter, in many cases providing the first or most extensive treatment of particular translations. While the pioneering work of John Corbett, Bill Findlay and J. Derrick McClure, among other scholars, has drawn attention to the long history of literary translation into Scots, this thesis is the first extended critical work to take the verse translations of the post-MacDiarmid makars as its subject. The nature and extent of MacDiarmid’s influence is considered throughout, as are the wider discourses around language and translation in twentieth-century Scottish poetry. Critical engagement with a number of key insights from theoretical translation studies helps to situate these writers’ work in its global context. This thesis also explores the ways in which the specific context of Scots translation allows scholars to complicate or expand upon theories of translation developed in other cultural situations (notably Lawrence Venuti’s writing on domestication and foreignisation). The five writers upon whom this thesis concentrates were all highly individual, occasionally idiosyncratic personalities. Young’s polyglot ingenuity finds a foil in Garioch’s sharp, humane wit. Goodsir Smith’s romantic ironising meets its match in Scott’s radical certainty of cause. Tait’s use of the Shetlandic tongue sets him apart. Nonetheless, despite the great variety of style, form and tone shown by each of these translators, this thesis demonstrates that there are meaningful links to be made between them and that they form a unified, coherent group in the wider landscape of twentieth-century Scottish poetry. On the linguistic level, each engaged to some extent in the composition of a ‘synthetic’ or ‘plastic’ language deriving partly from literary sources, partly from the spoken language around them. On a more fundamental level, each was committed to enriching this language through translation, within which a number of key areas of interest emerge. One of the most important of these key areas is Gaelic – especially the poetry of Sorley MacLean, which Young, Garioch and Goodsir Smith all translated into Scots. This is to some extent an act of solidarity on the part of these Scots poets, acknowledging a shared history of marginalisation as well as expressing shared hopes for the future. The same is true of Goodsir Smith’s translations from a number of Eastern European poets (and Edwin Morgan’s own versions, slightly later in the century). The translation of verse drama by poets is another key theme sustained throughout the thesis, with Garioch and Young attempting to fill what they perceived as a gap in the Scots tradition through translation from other languages (another aspect of these writers’ legacy continued by Morgan). Beyond this, all of the writers discussed in this thesis translated extensively from European poetries from Ancient Greece to twentieth-century France. Their reasons for doing so were various, but a certain cosmopolitan idealism figures highly among them. So too does a desire to see Scotland interact with other European nations, thus escaping the potentially narrowing influence of post-war British culture. This thesis addresses the legacy of these writers’ translations, which, it argues, continue to exercise a perceptible influence on the course of poetry in Scotland. This work constitutes a significant contribution to a much-needed wider critical re-assessment of this pivotal period in modern Scottish writing, offering a fresh perspective on the formal and linguistic merits of these poets’ verse translations. Drawing upon frequently obscure book, pamphlet and periodical sources, as well as unpublished manuscripts in the National Library of Scotland and the Shetland Archives, this thesis breaks new ground in its investigation of the role of Scots verse translation in the second-generation Scottish Renaissance.

A Worldwide History Spanning Genocide for the Sake of Corporate Profit

A Worldwide History Spanning Genocide for the Sake of Corporate Profit is the title of a thesis consisting of four stories. Crosky’s Knife is presented first for the sake of allowing potential readers to embrace a sense of amiable audience engagement and is based on a true story of a veteran of one of the many global conflicts currently raged on behalf of freedom. The three pieces following this feint are reworked versions of stories written from the heart and delivered to machines. As it presents numerous aspects of reality that the average person may not wish to consider, doing so with shockingly casual acceptance of such horror and/or banality, the conscious reception of the duty of engagement and possible appreciation of the text is not advised. Knives, rabid dogs, severed tongues, and a downpour of malnourished Iraqi babies are components intrinsic to the direction of this thesis.

The impossible anamesis. Memory versus history in Hubert Aquin’s « Blackout »

Soon after joining the Canadian Confederation in 1867, the province of Quebec adopted the phrase « Je me souviens » ("As I recall") as its "national" motto, although many Québécois do not remember today what they were supposed to memorize, as collective subject, when their government voted this motion. My thesis is that contrary to other countries which have a strong sense of history based on a secular tradition, this process was more complicated in Quebec — as if a collective memory loss lied at the heart of it's history. Through a rereading of Hubert Aquin's cult novel, Trou de mémoire (in its English translation Blackout), first published in 1968, I try to illustrate this paradox and to emphasize the heuristic functions of memory blanks, gaps and lapses in certain postmodern narratives, after the historical breakdown of "the great narratives" (Lyotard). In this perspective, the example of Quebec, through the voice of one of its more gifted yet controversial novelist, can be seen as emblematic of what happens when the mnemonic impossibility of rewriting history opens up new possibilities for writing fiction.

The impossible anamesis. Memory versus history in Hubert Aquin’s « Blackout »

Soon after joining the Canadian Confederation in 1867, the province of Quebec adopted the phrase « Je me souviens » ("As I recall") as its "national" motto, although many Québécois do not remember today what they were supposed to memorize, as collective subject, when their government voted this motion. My thesis is that contrary to other countries which have a strong sense of history based on a secular tradition, this process was more complicated in Quebec — as if a collective memory loss lied at the heart of it's history. Through a rereading of Hubert Aquin's cult novel, Trou de mémoire (in its English translation Blackout), first published in 1968, I try to illustrate this paradox and to emphasize the heuristic functions of memory blanks, gaps and lapses in certain postmodern narratives, after the historical breakdown of "the great narratives" (Lyotard). In this perspective, the example of Quebec, through the voice of one of its more gifted yet controversial novelist, can be seen as emblematic of what happens when the mnemonic impossibility of rewriting history opens up new possibilities for writing fiction.

Disruptive Threads and Renegade Yarns: Domestic Textile Making in Selected Women's Writing 1811-1925

Thesis (Ph.D, English) -- Queen's University, 2016-08-03 13:57:45.102

La poésie à l’école secondaire québécoise (1963-2016) - Une histoire à travers les textes

Afin de comprendre et d’expliquer le malaise actuel vis-à-vis de l’enseignement de la poésie au secondaire, la thèse remonte à la publication du Rapport Parent (1963-1966), document fondateur de l’école québécoise moderne, et à la création du ministère de l’Éducation du Québec (1964) pour suivre, à travers les documents, l’histoire de l’enseignement de la poésie au secondaire au cours des 50 dernières années. Cette période se divise en trois grandes étapes : une révolution en éducation marquée par la publication du Rapport Parent et de deux programmes; le retour aux sources amorcé par L’école québécoise qui verra deux programmes et deux séries de manuels scolaires; la réforme articulée autour de L’école, tout un programme dont les programmes et les manuels sont actuellement en vigueur. C’est à travers ces trois types de documents (documents d’orientation, programmes d’enseignement et manuels scolaires) que je retracerai le parcours de l’enseignement de la poésie à l’école secondaire avec comme toile de fond les grands courants qui ont marqué l’éducation et l’enseignement du français au Québec depuis les années 1960. L’enseignement de la poésie ne peut se détacher du contexte dans lequel il se fait. Ce contexte comprend diverses facettes qui lui sont internes et d’autres qui lui sont externes. Les facettes externes dans ce travail sont la vision de la culture et de l’enseignement ainsi que la place faite à la littérature et à la poésie. L’idée de culture a beaucoup évolué depuis 50 ans. Le Rapport Parent abandonne la vision traditionnelle de la culture au profit d’une vision plus large qui englobe l’ensemble des activités humaines. Nuancée et actualisée, cette vision large de la culture restera la référence. La littérature qui détenait une place importante dans la culture traditionnelle perd ainsi de l’influence. Sa place et son importance, malgré les discours qui la valorisent, vont diminuer jusqu’à ne devenir qu’un adjuvant à l’enseignement de la technique de la langue et des types de textes. L’évolution de l’enseignement transformera la classe traditionnelle bien ordonnée sous l’autorité du maitre en lieu qui doit permettre à l’élève de construire ses connaissances. Les éléments reliés directement à l’enseignement de la poésie comprennent les programmes, les manuels, l’enseignement de la lecture et de l’écriture et le travail du professeur et de l’élève. Les programmes subiront d’importantes modifications. Le programme-cadre de 1969 marque la fin des programmes à visées littéraires. Le seul vrai but des programmes depuis, c’est de parfaire l’apprentissage technique de la langue. Le programme de 1980 marque l’abandon des genres littéraires comme base de l’enseignement des textes au profit de la notion de discours. Comme le discours poétique n’y apparait pas, la poésie peine à se trouver une place. Les programmes de 1995 et de la réforme optent pour les types de textes plutôt que les discours, mais la poésie n’entre pas dans cette typologie. La place de la poésie en lecture et en écriture est variable selon les époques. Sur un même pied que les autres types de textes dans le programme-cadre, elle apparait seulement en lecture dans le programme de 1980. Les programmes subséquents lui redonneront une place en écriture. Depuis 1980, elle reste un genre marginal qui souvent ne sert qu’à illustrer des notions utiles aux discours ou types de textes utilisés par le programme. La relation professeur/élève s’est considérablement modifiée au cours de cette période. De maitre, le professeur est devenu guide et médiateur. L’élève évolue en sens inverse : de passif récepteur de la connaissance, il devient responsable de construire ses connaissances. Le professeur, compte tenu du peu de place qu’occupe la poésie dans les programmes et du fait qu’elle ne fait pas partie de la typologie des textes adoptée par ceux-ci, ne peut compter que sur ses connaissances pour en assurer un enseignement valable. Les manuels accompagnent les programmes sauf pour le programme-cadre. Depuis 1980, les manuels de français ont une visée autoéducative parce qu’ils s’adressent directement à l’étudiant. Ils se présentent comme des préparations de cours que l’élève n’a qu’à suivre pour acquérir les connaissances au programme. La place de la poésie en lecture et en écriture y est variable selon les époques et les manuels.