Diplomsko delo Problems in T ranslating African American P oetry after 1950

1. Diplomsko deloProblems in Translating African American Poetry after 1950 Kristina Kočan

2. African American Poetry after 1950 musical aspect cultural aspect linguistic aspect

3. Linguistic Aspects of African American Poetry after 1950The use of grammatical errors

4. Linguistic Aspects of African American Poetry after 1950Unusual typography poem by Russell Atkins

5. Unusual typography “Most of all we have to read the absence that cannot be heard, the absence of a closing period, the missing punctuation that poetically carries out the prophecy written in the poem” (Nielsen).

6. The problems with translating the terminology for African Americans “Since the 1800s blacks in America have movedthrough myriad names and identifiers such ascolored, mixed, black, mulatto, quadroon, octoroon, nigger, Negro, people of color, Afro-American and African-American, including a host of pejorative slurs. These changes in identity have happened within a person’s lifetime” (Robinson).

7. The problems with translating the terminology for African Americans

8. The problems with translating the terminology for African Americans … Afrikan People all over the world, the future is ours We will create on our feet not our knees It is a future of Great works, and Freedom But we can not crawl through life drunk & unconscious we cannot dance through life or read the NYTimes through life, or wear vests     all our life give our lives to parties, & work with no reason but life in a prison of white domination Be conscious. Black People           Negroes                Colored People                 AfroAmericans       Be                                            CONSCIOUS … All over the world Afrikans Sweat Beautiful Afrikans New ark Afrikans (Niggers too) Harlem Afrikans (or Spooks) Ghana Afrikans (bloods) San Francisco Afrikans (brothers) Afrikan Afrikans (ndugu) West Indian Afrikans (Hey man) South American Afrikans (Hermano!) Francophone Afrikans (Monsieur) Anglophone Afrikans (Mister Man) Anywhere Afrikans Afrikans Afrikans Afrikans People ... (Afrikan Revolution by Amiri Baraka)

9. Musical Aspects of African American Poetry after 1950Jazz elements “In part, the act of visualizing jazz accounts for the range of poets engaged in the music’s elusive accessibility: young black writers steeped in the tradition of black music, using poetry in part to achieve a political voice; …women lamenting over the men who have done them wrong, poets trying to break apart the language to imitate sound; friends of jazz musicians eager to keep their spirit alive on the page, …” (Feinstein & Komunyakaa).

10. Musical Aspects of African American Poetry after 1950Jazz elements

11. Musical Aspects of African American Poetry after 1950Blues elements Monday morning Blues Blues ponedeljkovega jutra

12. Musical Aspects of African American Poetry after 1950Blues elements

13. Cultural Aspects of African American Poetry after 1950 “Literary translation is the most important form of intercultural mediation of fiction, ever since the term literature exists in the present meaning of the word” (Grosman, my translation).

14. Cultural Aspects of African American Poetry after 1950Style and Fashion

15. Cultural Aspects of African American Poetry after 1950Food items

16. Cultural Aspects of African American Poetry after 1950Food items “Surprisingly, there are times when the best way of dealing with seemingly opaque items in the source culture is not to translate them at all” (Landers 79).

17. Cultural Aspects of African American Poetry after 1950Gospel

18. Cultural Aspects of African American Poetry after 1950 “On the micro level translators can use all the linguistic and hermeneutic techniques they have learned, but the finality of their endeavor is the text a part of the culture, not the much vaunted struggle with the word the sentence, the line. For this reason potential translators need to learn about the conditions or constraints – ideological, poetological, sociocultural, linguistic – under which texts come into being...” (Lefevere).