![]() ![]() And if they did write novels, they were about domestic life, or they were autobiographical. ![]() I had read and heard and, I am now embarrassed to say, once accepted the “fact” that women wrote poetry in Yiddish, and some wrote short stories, but very few wrote novels. Thanks to the NEH and the Center for Jewish History, I was fortunate enough to spend a year looking for such novels. I recently translated Kadya Molodovsky’s novel Fun Lublin biz Nyu York, and it made me want to know more about Yiddish novel writing by women. Part of me wishes I didn’t feel the need to do this, that it was so obvious that women belonged in Yiddish literature courses that no one needed to belabor the point. I have always included women in courses on Yiddish or Jewish literature (except when I teach di klasikers, a course I have taught frequently and enthusiastically), but only recently have I begun to teach courses exclusively devoted to literature by women. Who’s in and who’s out changes with each new translation, each deep dive into the archives, each new course syllabus. To some extent, it can change the structure of his mother language.One of the exciting things about Yiddish literary study is how it seems to renew itself constantly by disrupting notions of a canon. He added that, “The importance also lies in the language that a translator uses, especially one that he uses while translating poems. “Therefore,” he said, “translators must break the original relationship between language and object, and establish a similar relationship and structure applicable to the translator’s mother language.”īut even though it’s difficult, Adonis believes that it is through translating literature and poetry that we can explore the mentality of “the others” at a deeper level, and that the importance of translation is that it should serve as “the most fundamental element of world culture in the future.” And so, “in terms of the relationship between concept, language, and object, no languages are on an equal footing.” He told the audience that poetry is more than just how the language is structured, but also how thoughts and emotions are structured as well. I think we should allow them to trim the book appropriately on condition that doesn’t affect the gist as a whole.”įor his part Adonis agreed with Mo Yan, while acknowledging there are likely even greater difficulties inherent in translating poetry. I tend to be open-minded with the translators. ![]() The real talented translators aren’t afraid of difficulties.”Īt the same time though, he added, “It’s not right either to require translators to be completely faithful because the search of a linguistic counterpart is a creation itself, full of imagination. Care not about whether they feel happy to translate. My attitude is, forget the translators when you write. “From the perspective of literature and art,” he said, ‘it’s undoubtedly a huge loss. Unconsciously, he said, writers are using less regional dialects, unique cultural expressions, and even making adjustments to the smoothness of the writing itself, just to make the translation process easier. He also admitted that for Chinese authors, the increasing possibility that their work will be published overseas has led to changes in the way they write. Syrian poet and perennial Nobel Prize-candidate Adonis. ![]()
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