Search Results for canto

...Paul Stasi Ezra Pound argued that it was impossible to think in only one language in the contemporary world. To this end he worked in The Cantos to create a world culture built on the comparison of works of “great value” from a variety of cultures. Pound's epic poem serves to displace the English...

...Katerina Stergiopoulou This essay examines the translation theory and practice of Greek modernist poet Giorgos Seferis, focusing on his translation of Ezra Pound's first canto (itself a translation of the Odyssey 's Book 11). By looking at how Seferis handles effects and traces of translation...

... an advance over the heroic past that allows a hearing for other values: secular, scientific, commercial, peaceable. Ariosto and Camões provide contrasting cases in the Orlando furioso and Os Lusíadas . In the 1532 Orlando furioso in forty-six cantos, Ariosto inserted a four-stanza passage, octaves...

... of the 46 cantos in the third and final edition of 1532 are omitted: 25, 27, 28, 31–33, 35, 37, and 40–45. There are also cuts, some of them exten- sive, in other cantos. The translation keeps only 9 of the 137 stanzas of canto 29, 13 of the 95 in canto 30, 40 of 140 in canto 46. Canto 38 loses stanzas...

.... A New Verse Translation by David R. Slavitt. Cam- bridge: The Belknap Press of Harvard University Press, 2009. xiv, 672 p. Harvard’s handsome “new verse translation” of Orlando furioso  offers “slightly more than half” of Ariosto’s text (viii). Fourteen of the 46 cantos in the third and final...

... . By Lodovico Ariosto. A New Verse Translation by David R. Slavitt. Cam- bridge: The Belknap Press of Harvard University Press, 2009. xiv, 672 p. Harvard’s handsome “new verse translation” of Orlando furioso  offers “slightly more than half” of Ariosto’s text (viii). Fourteen of the 46 cantos...

...- bridge: The Belknap Press of Harvard University Press, 2009. xiv, 672 p. Harvard’s handsome “new verse translation” of Orlando furioso  offers “slightly more than half” of Ariosto’s text (viii). Fourteen of the 46 cantos in the third and final edition of 1532 are omitted: 25, 27, 28, 31–33, 35...

... cantos in the third and final edition of 1532 are omitted: 25, 27, 28, 31–33, 35, 37, and 40–45. There are also cuts, some of them exten- sive, in other cantos. The translation keeps only 9 of the 137 stanzas of canto 29, 13 of the 95 in canto 30, 40 of 140 in canto 46. Canto 38 loses stanzas 1–28...

..., the post-Adamic individual is often seen as a wayfarer in an alien land and the course of life as a pilgrimage in search of the homeland to which he or she belongs” ( Rubén Darío 7). 13 Rachel Jacoff writes that “cantos XXX and XXXI deal, then, primarily with Dante’s own salvation history...

... con- cern of his poem. Levinas can illuminate the specifically ethical motives for the unsayability that is the enabling condition, as well as the limit, of Dante’s whole venture in the Paradiso. Paradiso as the Trace of the Other In the last canto of the Divine Comedy, Paradiso XXXIII...

... of jealousy and disillusionment at the end of canto 23, exactly at the midpoint of that forty-six canto poem. Paying homage to his Italian predecessor, Cervantes marks the center of his own book. Indeed, it is at this midpoint that Part One of the novel effects a central transi- tion both in the story...

... punishes it less severely than its appearance). The first canto begins with an invocation of contemporary “hom- mes débonnaires” (59), the alleged enemies of all inhumanity, who rather than confronting the crimes of their brethren prefer to leave them unpunished. He explains that he wishes...

... of Canto 2 echo William Shakespeare’s despairing 1609 Sonnet 66, particularly as rendered by Pasternak in his famously Aesopian 1938 translation (see Dolack ; Gallagher ; Baer, “Literary Translation” ). Especially resonant are lines 5–7, quoted below in Shakespeare’s original English, followed...

..., the canto devoted to the sixth circle in which heretics are punished and which speaks of fraud and beastliness, but also of Inferno XVI and XVII, the cantos about the third ring of the seventh circle. Canto XI discusses fraud in relation to usury, love, and the betrayal of trust...

... L’Atlàntida, Canigó is one of the canonical works of Catalan literature and has inspired a substantial body of criticism as well as many editions. Composed of twelve cantos and an epilogue (a total of 4,437 lines), the poem soars like an eagle describing vast vistas along with its narrative. Canigó...

..., Despite the strain of war, to manhood. —A.S. Pushkin, Poltava, Canto 1, 138–41 RITTEN IN 1828, Pushkin’s narrative poem Poltava ushered in a new period W in the poet’s creative life.1 In September, 1826, the new Emperor Nicholas I...

....” Latining America: Black-Brown Passages and the Coloring of Latino/a Studies . Athens : U of Georgia P . Forthcoming. Print . Neruda Pablo . Canto general . Barcelona : Seix Barral , 2004 . Print . Oliva-Alvarado Karina Chinchilla Maya , eds. Desde el EpiCentro . Los Angeles...

...” would be better expressed in verse, because the novel form’s demand for a connective narrative “stood in the way of putting together different types of impressions” (“Musahibah” 15). When the fragments of “Iran men ajnabi” were originally published in an Urdu journal, they were called “cantos...

... and its fictional implications. Remaining true to Tasso’s own poetics, Hampton reads the episode of Alete and Argante from canto 2 as “a reflection on the ideology of genre” (86). This chapter also initiates what will become a preoccupation of the book with the role of diplomacy in the eclipse...

... of literature places something of a burden on literary analysis. Chapter 3 takes up Tasso’s epic poem Gerusalemme liberata, examining yet another failed embassy and its fictional implications. Remaining true to Tasso’s own poetics, Hampton reads the episode of Alete and Argante from canto 2...