讲座学者：Charles Bernstein 教授
报告题目：Sound Writing and Double Talk
讲座时间：2018年12月11日（周二）下午4:00-5:30
讲座地点：浙大紫金港校区 东5-201室
内容提要：
Professor Charles Bernstein gives the lecture on sound writing and double talk. In the first part, he focuses on sound writing. He believes that there are only two kinds of writing: Sound and unsound. And he defines that “homophonic translation” is a genre of “sound/writing.” Sound/writing provides a broader context for the homophonic imaginary and includes modernist European sound and zaum poetry and within the larger context of radical translation, what Haroldo de Campos calls transcreation and Ezra Pound calls traduction (in the sense of transduction). At its core, homophonic translation refuses a Cartesian split between sound and sense, seeing sense as never more than an extension of sound. At every moment it refutes the idea that meaning can be displaced from sound or that reference has an arbitrary, rather than motivated, relation to acoustic rhythm, sound patterning, and aural iconicity. From a pragmatic point of view, any individual poem will fall short of the homophonic sublime. In that sense, homophonic translations might be heard as pushing in a direction, correcting a course, re-embodying the word. The homophonic sublime is a necessary improbable of poetry, a rebuke to rationality in the name of linguistic animation.
In the second part, professor lay emphasis on doubletalk. Doubletalk, as Caesar uses the term, is homophonic translation of a foreign-language movie, opera scenario, or everyday speech into an improvised performance that mimics the sound of the source language with made-up, zaum-like invented vocabulary. He then gives us the best example of Caesar’s “double-talk” ,that is a concert in which he moves through four languages, staring with French and moving to German and Italian, ending with Japanese. Caesar’s doubletalk uses the full prosodic resources of verbal language, foregrounding intonation, gesture, rhythm, syntax, and sound patterning rather than lexical identification. Doubletalk resembles sound poetry, but it is tied to the specific sounds and rhythms of the language being parodied. It is homophonic translation not of specific text but, rather, of the texture of the source language.
Charles Bernstein教授简介
Charles Bernstein teaches poetry and poetics, with an emphasis on modernist and contemporary art, aesthetics, and performance. Bernstein has published five collections of essays. His books of poetry include Near/Miss, Recalculating, All the Whiskey in Heaven: Selected Poems, Girly Man, With Strings, and Republics of Reality: 1975 - 1995. Bernstein is the editor of several collections. He is editor of the Electronic Poetry Center and co-director (with Al Flireis) of PennSound. He has been the recipient of fellowships from the Guggenheim Foundation, the New York Foundation for the Arts, and the National Endowment for the Arts, and of the Roy Harvey Pearce/Archive for New Poetry Prize of the University of California, San Diego. In 2006 he was elected a Fellow of the American Academy of Arts and Sciences. In 2015 he was awared the Münster Prize for International Poetry.
外国文学研究所
2018年12月6日
