Guide Pequeñas estrofas, grandes sentimientos (Spanish Edition)

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Una de fresa y el otro de chocolate. Versos Robados. My Tuesday of Haiku.


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My tuesday of Haiku. No Preview Available. Going English. Within the programming of contents of this blog, we are reserving a day to expose issues in the english language, also part of our work in this language. Tentatively will be every tuesday. Technorati Tags: English Literature Po. Mailing List. There's a problem loading this menu right now. It has many of the characteristics of a wondrous haiku kigo, sabi, and mono no aware among them , but shiori is the predominant characteristic for me - I laughed out loud when I read it and envisioned the characters trying to stage a futile little party in that boat.

My vote this week for the 27th edition of haiku in English is for josegilberto. Hello, fellow travelers in the haikus tracing. Good fortune for everyone and here I leave my bilingual publication:. En verdad, sobre las aguas parece trazarse el camino hacia la otra orilla. Here be me entry for this contest! Good luck, my friends. I present my haiku.

Greetings, friends of bananafish. Great miracle of fishes, it is hope.

Présentation

Espero no hacerlo demasiado mal. Congratulations bananafish! You have completed the following achievement on the Steem blockchain and have been rewarded with new badge s :. You can view your badges on your Steem Board and compare to others on the Steem Ranking If you no longer want to receive notifications, reply to this comment with the word STOP.

Greetings, friends of bananafish and participants in this edition of the contest. Good luck! Suerte para todos. Privacy Policy Terms of Service. This edition of the contest is dedicated to English haiku. Best haiku award: n. Good haku to everybody! Common reasons: Disagreement on rewards Fraud or plagiarism Hate speech or trolling Miscategorized content or spam. Authors get paid when people like you upvote their post. Sign up. Welcome to Mizu No Oto! Nice debut! Calm as lake water My boat is always half full Happy summer mind.

I like the subtle humor. You were also one of the few who recognized a lake many wrote the sea. I'm glad you liked it : It's definitely not Jim Beam ;. Haiku lovers, with my love I also leave my entrance to the contest: Once it was new. Also a boat gets old and falls, sinking.

I love your second haiku! Rethinking about it has been a good choice. An old ship, lonely. Will the fish live in it? Research into this area can thus help us locate translation-related activities in a broader context, undermining more conservative notions of translation and mediation. Susam-Saraeva The focus on translation has been shifted towards cultural processes, with increasing emphasis on new modes of mobility and transcultural sociability born across multiple borders and boundaries. Translation is seen as a continuous journey, a metaphor for the migrating condition of people and forms.

Bassnett and Trivedi Each time some meaningful layers have been added, both problematizing and enriching the migration of this song. However, these steps can be better understood only if read as parts of a complex process still in progress, rather than a series of detached translational episodes.


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Therefore, the aim of the article is to offer a downside-up contribution to the debate on song translation through a paradigmatic case study. The analysis of a concrete example of a multifaceted translational process is a way to confirm and stress the relevance of more comprehensive and extended theoretical foundations within cultural translation studies. Translation Studies have often overlooked popular songs, especially their semiotic complexity.

Yet, paradoxically, it is their very multidimensional nature that makes studying them so challenging and promising at the same time. Undoubtedly, an element of its complexity is the fact that the genre called song is a verbal-musical hybrid Low b: Chanan However, this paradox is only one of the elements of complexity in songs. The physique of the performers, their facial expression and gestures, their costumes, hair, and make-up, as well as dancers, lighting and possible props, merge into the song.

The methodological complexities and challenges involved in the study of popular song translation are thus evident. The study of song recordings and videos should rely on a vast area of expertise. A combined competence, in Translation Studies, Music as well as Semiotics, is unfortunately not easy to find.


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However, even when moving on from mere criticism of single texts, researchers need to adopt new frameworks when studying music and translation Susam-Saraeva To start with, greater flexibility is crucial, since rigid distinctions could be misleading. The present author rather shares the view that distinctions are better seen as blurred in post-structuralist thought Van Wyke This opinion is even more appropriate in the case of translation of non-canonized music, such as popular song translation.

Susam-Saraeva stresses that.

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Susam-Saraeva , highlighting added. This case study will show how a long series of different transformations can receive greater significance if approached as a continual translational story. However, this approach inherently requires the overcoming of narrow definitions and boundaries between translation proper , adaptation and re-writing. Understandably, the impact of music and in particular of songs is even more intense on migrant communities Susam-Sarajeva Since its composition in lyrics by Giovanni Capurro, music by Edoardo Di Capua, published by Edizioni Bideri, Naples , the song has spread rapidly and is still crossing an impressive, unbelievable number of geographical, temporal and artistic borders and boundaries.

At any rate, it cannot be denied that its popularity has been exceptional, and this is fully confirmed by the Neapolitan Song Sound Archives in Naples, a recent foundation by RadioRai the Italian state radio together with Naples Municipality and Campania Regional Council. Eloquent proof of this is that on August 14 th in Antwerp, at the opening of the first Olympic Games after World War I, when the band conductor realized that no score of the Italian Royal March was available, he chose to play 'O sole mio , a tune that all his musicians could play by ear, and the song was greeted with great enthusiasm by all those present Del Bosco 6.

Pesc and Stazio 11 [As a music form, Neapolitan song is a metonymy for a city, and sometimes even for the whole country. It is an eloquent example of narrativization of place. However, any claims to regard City and Country as monolithic entities remain suspect.

We must acknowledge that urban cultures are by their very nature the result of multiple intersections and layers, and similarly local and national cultures are seldom so homogenous as to be conveyed by a single song, or music form, although they may serve as identity emblems. Naples is no exception, of course, though it has a few very distinctive traits.

One of them is the persisting presence of a type of musical production with strong identifying factors since the 19th, which complicates and problematizes what has just been observed. On the other hand, an important issue to weigh in is that, paradoxically, this musical form is a sort of hybrid, and has been so since its very beginning. What is usually labelled as Neapolitan song is very far from being a uniform musical genre. In fact, it is a much more complex and multifaceted cultural phenomenon than one might expect. The beginning of the classical season of Neapolitan art songs is identified with the closing decades of the 19 th century, but the actual origins of this musical form are vague and should be traced back to the 14 th century, and probably even earlier.

Neapolitan polyphonic roundelays with lute or calascione accompaniment [2] had already become quite popular between the 14th and the 15th centuries; their matrix had been the villanelle alla napolitana , a very popular song genre in Neapolitan dialect especially between and , which also attracted important composers, like Claudio Monteverdi. It also reflects complex phenomena, from the steady migration into Naples from other areas in the Realm, to the continual daily commuting of so-called cafoni , common louts, from the surrounding countryside.

Although fiction is not to be taken as an accurate reflection of real life, this episode evokes a plausible dislocation of the song from Southern Italy to Venice, popular enough to be sung even by a gondolier. Venice and Naples had belonged to different states only a few decades before, in pre-Unification Italy. This means that important cultural and linguistic borders had still to be crossed within the Italian peninsula. In point of fact, its lyrics, even nowadays, can be only partially understood by native Italian speakers not fully acquainted with the Neapolitan dialect.

Structurally and rhythmically, the text is characterized by regularity and constant alternation of rhymed stanzas and chorus. Repetition words, phrases and whole lines is the key figure throughout the poem. Moreover, each four-line stanza is framed by the recurrence of the same line. What a wonderful thing a sunny day The cool air after a thunderstorm! The fresh breezes banish the heavy air… What a wonderful thing a sunny day. Il sole, il sole mio, Sta in fronte a te Sta in fronte a te. Luccicano I vetri della tua finestra, una lavandaia canta e si vanta Mentre strizza, stende e canta.

Luccicano I vetri della tua finestra! Shining is the glass from your window; A washwoman is singing and bragging Wringing and hanging laundry and singing Shining is the glass from your window. Quando fa sera e il sole se ne scende, Mi viene quasi una malinconia… Resterei sotto la tua finestra, Quando fa sera ed il sole se ne scende.

But another sun, […] [4]. In the whole poem, a text of only thirty-three lines, the word sole sun occurs sixteen times. Presumably this core image is what has helped it overcome linguistic barriers and reach native Italian speakers outside Naples. Nonetheless, although it is not a minor mistake, this common mistranslation has paved the way of the migration of the song, at least at the beginning.

It has become a quintessential synthesis, or rather an epitome of Latin vitality and passionate feeling. The mistaken meaning has even become an important factor in collective identity construction. The implicit commonplace is the equation sunshine is Naples and Italy, with two direct corollaries:. They were singular figures, street musicians who, accompanied occasionally by a pianino a portable musical box on a hand-cart , but mostly by a guitar, interpreted all types of popular song, travelling almost all over Europe [5].

Italians were migrating from different parts of Italy, carrying with them very different cultural backgrounds. Caruso was the most admired Italian opera tenor of the early Twentieth Century, and certainly the most celebrated and highest paid of his contemporaries worldwide. From November 23 rd his name was associated with the Metropolitan Opera in New York City, where he opened each season for eighteen consecutive years.

Undoubtedly, this recording itself could be seen as a meaningful form of transformation, through musical reconceptualization, arrangement, performance and singing style. Certainly, Italian communities abroad looked up to him. He was a migrant like them, and thus they could idolize him as an emblem of collective Italian redemption.

Opera and great theatres meant higher prestige and greater circulation abroad, well beyond Italian-speaking migrant communities. This way, greater emphasis is placed on the stanzas that are more focussed on the sunshine and easier to understand, being linguistically least dialectical. Instead it proves how incongruous ideas of authentic interpretations can be. The first recorded version in English sung by American born Charles W. However, although interesting, all these cases only affect the textual-linguistic level of the song.

It was sung by the American singer Tony Martin as well as by the Italian American singer Dean Martin, who recorded it some years later. Easily perceivable effects of cultural displacement can be spotted in the disconnecting of lyrics and partly of music, too, from the Neapolitan song that had reached the USA. It is a radical rewriting, to start with the lyrics.

Love is a flower that blooms so tender Each kiss a dew drop of sweet surrender, Love is a moment of life enchanting, Let's take that moment, that tonight is granting, There's no tomorrow when love is new, Now is forever when love is true, So kiss me and hold me tight, There's no tomorrow, there's just tonight [10]. It gives way to a more universal theme, Love, which Love becomes the absolute protagonist of the song.

Its warmth and unmistakably Mediterranean flavour are easily seen as the perfect match for a successful message of fervent and sensuous seduction. The shift from opera orchestras to variety show bands needs important musical reconceptualization, but voice still plays the main role. In both cases, however, what remains pivotal is the successful match of passionate melody and warm voice. On the one hand, he is adding a strong exotic Mediterranean flavour to his performance, thoroughly befitting a passionate seduction song, while, on the other hand, he is sending a strong signal to Italian communities in America.

Both musically and textually the Neapolitan song is drastically changed through a translational approach, which minimizes its foreignness to the point of overshadowing it.

Table of contents

A 20 th -century concept, which rarely appeared in earlier song but did appear with some frequency from the thirties on, was the possibility of impermanent love. Tawa It favours love as a theme, although romantic sentimentality gives way to seduction and passion, with a subtle trace of urban cynicism. It's now or never, come hold me tight Kiss me my darling, be mine tonight Tomorrow will be too late, it's now or never, my love won't wait. It's now or never, come hold me tight Kiss me my darling, be mine tonight Tomorrow will be too late, it's now or never, my love won't wait [14].

It is immediately a roaring success. According to the Wikipedia list of best-selling singles, it is the eighth best-selling single of all time, while other sources exalt it as the best-selling single ever. Arguably the best selling single of all time, it shifted 30 million copies worldwide Julie Burns It consists basically of a bar chorus and verse, both based on a familiar tune, and there is nothing unusual or striking about the melodic or harmonic structure of this song. As Saffle states, what is really unusual is the way Elvis sings this song, his strikingly handsome and heart-felt performance Saffle Elvis Presley was a stunning performer, and although he did not compose any of his music, the ways in which he performed the songs made them always sound new and unique.

However, since his powerful stage presence had started to defy the values of more conservative audiences, who began to be suspicious of his glamorous bad-boy appeal and his culturally challenging music, in this song he deliberately adopted a more passionate and less defiant performing style Saffle 2. However, market conventions also include the need to stress the Italian flavour as an essential element in a love song of seduction. The use of a mandolin in the orchestra accompaniment, an instrument traditionally associated with Italian folk music, is clearly meant to provide local colour, too.

They are perfectly in line with the conventional image of Italy as the country of melody and sensual romance needed for the American market. What is theoretically innovative, and politically crucial, is the need to think beyond narratives of originary and initial subjectivities and to focus on those moments or processes that are produced in the articulation of cultural differences.

Bhabha 2. What is important is that the song lives on, modified and modifying at the same time. It travels well beyond Italian migrant communities and reaches once unimaginable audiences, who unavoidably receive it according to their specific historical and cultural backgrounds. The lyrics are in English, but with important Italo-American invasions. First of all, paisans in the second line. As the Urban Dictionary online explains, paisan is a word used with Italians or Italian Americans when they are informally, but in a friendly manner, addressing one another.

It is the imperative first person plural form from the Neapolitan language, but it is misspelled. It should be written, and pronounced, with double mm , facimmela, but the phonemic distinction between m and mm is often missed by English speakers. Moreover, as in the preceding example, a rule of English grammar is easily applied to a foreign word. At any rate, the reference could hardly be more evident in a music video of the song accessible in SonicHits webpage [17]. At the same time, its distance from the source song is equally stressed. New layers have been added. Such an articulate story of domestication, negotiation and difference is at this point intrinsically part of the substratum of the song and necessarily takes part in its ongoing migration.

Many years later, the process of creative hybridization remains as strong as ever, opening unexpected and innovative sites of negotiation and collaboration. Strictly speaking, Pino Daniele is no emigrant and is always aware of his deep personal links with his hometown, Naples. Yet his whole artistic quest is in a certain sense a never-ending migration, until his premature death in January Since his first album in , Pino Daniele has been a transnational artist, endlessly experimenting and exploring differences in music genres and rhythms, while always preserving its Neapolitan roots, or rather its South Mediterranean nature.

His privileged attention is to American music, music of Afro-American origins, rock, jazz, funky and above all blues. Even its lyrics are not translated. The admixture is easily perceivable in a music video [18]. Pino Daniele is sitting and playing a guitar, accompanied by an assorted group of classic and ethnic instruments and musicians. The economic use of instruments and a sober stage design create a deliberately less glamorous atmosphere. He thus offers a unique song, which is both homage to Elvis Presley and American blues as well as a powerful response and expression of resistance to Anglo-American mainstream music from this side of the Ocean.

If code switching in a song is already a meaningful organizational and aesthetic device meant to achieve both localization and globalization Davies , in this song there is much more, from text and linguistic switching to cultural hybridization and artful music contamination.

The concept of transcultural intimacy , a collective intimacy beyond and across nations a main notion in Susam-Saraeva , opens new perspectives in this research. Among them, Mario Bellavista, a jazz pianist from Palermo, should be noted. Bellavista, who is a lawyer by profession, has recently recorded an album entitled O sole mio , which is also one of its eight tracks. In a video interview accessible online, Bellavista points out that the three American artists warmly welcomed his proposal and even actively contributed to the arrangements [20].

Bellavista moves around New York by car but he does not do the driving. So he can better observe and enjoy.

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Although he is often in the video, it is mostly his privileged perspective that guides the camera, which contributes to making these images so personal and incisive. New York was the port of arrival in the USA for so many Italian migrants and as such it certainly has an important symbolic value in the video. However, this jazz version looks back and forwards at the same time. Along the journey the song has taken on many more layers, opening to Afro-American rhythms and developing transcultural dimensions. What we think to be very far, is very close to us, or even inside us at times.

Thanks to Harvie, Jerry and Eric, who have helped me feel more Italian. It is an important admission of transcultural intimacy and an implicit acknowlegment of the creative value of translational hybridization. After all, it is its captivating passionate melody that has mostly driven the translational journey of the song, favouring the multifaceted encounters that mark out its exceptional progress. This opens broader contexts for research in popular song translation, while calling for more challenge-based approaches.

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To start with, flexibility is paramount. This leads to a view of the journey as an ongoing process of translational development. Studying this progress as a translational continuum, rather than as a series of detached episodes of transformation, the article highlights the transcultural value gradually acquired by this popular song. The adage that music is a migrant art par excellence is fully confirmed, in all its implications, starting from its hybridizing potentialities and openness to the provocative and inspirational acts of cultural translation we have studied here.

As we have seen, the so-called Neapolitan songs have vague origins and Naples itself has always given signs of being an open-air workshop on resistance and cultural hybridization Pesc and Stazio Researchers in popular song translation should be aware that monolithic notions such as authenticity and cultural specificity as well as musical genre do not easily engage with their research, as this exemplary story of popular song migration amply confirms.

Music and Cultural Translation Studies can be precious allies. Stronger contributions and greater contaminations from both study areas can be a way to go beyond traditional research-field boundaries, providing terrain for perspectives and innovative studies. However, we should be aware that high-level expertise and integrated competences in both Music and Cultural Translation Studies are highly desirable, but hard to find.

Pioneering collaboration among scholars from the two different fields is therefore to be hoped for as one possible solution. Therefore, the concluding remark of the present article would like to be a deliberate open call for joint efforts in that direction. Bigenho, Michelle Intimate Distance. Booth-Clibborn, William E. Minors ed , London, Bloomsbury. Davies, Earlys E.

Brodbeck and J. Minors ed. Kapelj, Sara Testi in movimento. Teorie della migrazione nel panorama musicale alternativo italiano contemporaneo , Roma, Il Filo. Miller, J. Minors, Helen Julia ed. Pesce, Anita and Marialuisa Stazio La canzone napoletana. Volume IV. Music and Identity , Simon Frith ed. First published in , London and New York, Routledge. Harrison, Charles W. Main field of interest: translation criticism with special focus on intersemiotic translation cinema and literature, painting and literature and poetry translation.

Other fields of interest: English and Italian literatures. Traduzioni, "refundiciones", parodie e plagi Roma , o del XXIV convegno, svoltosi a Padova nel maggio del , Metalinguaggi e metatesti. Samanta Trivellini earned a PhD in at the University of Parma, with a dissertation on the reception of a story told by Ovid in his Metamorphoses from Chaucer to the early twenty-first century. Her research interests currently focus on W. The case-study proves the importance of the spread of knowledge and construction of a unified translation history in order to ensure objectivity of research and fair judgement.

The development of a unified translation reflection history can become an important contribution to the field of translation studies and create a common ground for the joint effort of researchers in the development of the discipline. Recent scholarship in Translation Studies has challenged the traditional Eurocentric focus of the field with wider research into alternative translation traditions in Asia and Africa, whereas the countries of Eastern Europe, which have much to offer in this respect, have remained largely ignored in the scholarly literature see Baer ; Baer and Olshanskaya a: iii , with numerous key texts in translation studies from that region remaining untranslated into Western European languages.

This is the more surprising given the repeated calls by James Holmes, one of the founders of Translation Studies in the West, that scholarship on translation from Eastern Europe should be made more widely available to an international readership. Italian scholar Lorenzo Costantino made a similar point:. We are finally seeing some recognition of the extensive research in the field of translation theories in the countries of Central and Eastern Europe from the first half of the 20th century,which were more than those in the West well into the s.

Nitra , some collective monographs Ceccherelli, Costantino and Diddi ; Schippel and Zwischenberger , thematic issues in journals of TIS e. Eastern European traditions in translation scholarship and research are not well-known because they have not been translated into the dominant language s of international scholarship. Meanwhile the scholars of Eastern and Central Europe have produced extensive archival work. The list is far from being complete. One of the first bibliographies of translation studies compiled by E. Khaitina and B. Khaves was printed in the first volume of an influential Soviet series dedicated to the theory and practice of translation Masterstvo perevoda [ The Craft of Translation ] as early as The bibliography contained both writings on translation from the Soviet republics and those from abroad.

Kyiv-based bibliographer Mykola Nazarevskyi Nazarevskiy supplemented that list and added references to current publications to the second volume. Since then, he has updated the bibliography annually, which is now up to its eighth edition. In other words, the main facts about the nature of translation have long been recognized by many of our predecessors; our task is to rediscover them in the light of our own understanding of things and our present-day challenges and commitments.

In this way, translation studies history is able to cast a new light onto the field and safeguard it from exaggerated claims of novelty, originality, breakthrough, and revolution in our re discoveries and, thus, lead to a less polemic discourse, a moderation in translation theory. Santoyo argues vigorously that self-translation is a much more widespread phenomenon than one might think; it has a very long history and is today one of the most frequent and significant cultural, linguistic and literary phenomena in our global village and as such deserves much greater attention.

Lotman, E. Balcerzan, E. Etkind, F. Miko, A. Ljudskanov, S. Sabouk, J. Holmes, J. The theory and practice of translation are conditioned by the tasks to be resolved, i. When we come across the theories from the past we are bound to ask ourselves which particular problems these theories were intended to solve. As a consequence, the theoretical principles of translation methods and criticism were the topic of the day. Moreover, the new era brought about a revision of the Ukrainian literary heritage and the rewriting of the history of literature.

Of vital significance for the emergence of the theory of translation were the works on literature history that viewed translation as an important and formative part of the literary system. By the end of the eighteenth century the Ukrainian lands had been transformed into Russian provinces. Under these circumstances, Ukrainian national identity came to mean devotedness to the land and its people, which led Ukrainian letterati to place a special emphasis on linguistic, cultural, and ethnographic characteristics.

The local written standard, the so-called knyzhna mova book language consistently grew farther away from the spoken vernacular. It also suffered a decline due to the Russification of the Ukrainian nobility and higher clergy; this decline was enhanced by the Russufication of education and tsarist bans on printing books in the Ukrainian literary language. According to Mykola Zerov , this situation, on the one hand, left ample room for the Russian language to establish itself, and, on the other, prompted the desire to use a phonetically purified and stylistically improved vernacular.

Therefore, the history of the modern standard Ukrainian language and modern vernacular Ukrainian literature began with a travesty: a high styled heroic epic written in the rural language of the peasant. Like most of his contemporaries in the Ukrainian literary scene, he also wrote in Russian. His Ukrainian language works were mostly burlesque-realistic and satirical in nature, however, he also wrote serious prose, such as the sentimental novella Marusia , which he did, in his own words, to prove to a disbeliever that something sentimental and moving could be written in Ukrainian.

This was a well-considered, responsible and, in a way, daring decision, as Kvitka-Osnovyanenko became a Ukrainian writer precisely at a time when anything Ukrainian was either the object of mockery or, at best, a condescending ethnographic vogue. Kvitka-Osnovyanenko himself translated eight of his Ukrainian novellas into Russian. He explains that. However, the second set of considerations does still apply, so reconceptualization does occur, but in a slightly different way: becoming reconsideration, so to speak, not for oneself, but for the others.

In self-translation, this requirement is fully met:. In a regular translation, this can be considered a drawback, because it risks turning the translation into more of an adaptation or imitation. Fedorov 9. Finkel b: He finds that the motivation of a regular translator is different from that of a self-translator. In another letter to Pletnyov, Kvitka writes:.

However, it was not personal motivation that made Kvitka turn to self-translating. For, there was a wide-spread opinion among the Russian literati of the early XIX century that Ukrainian literature was something unheard of and that the Ukrainian language was simply not suitable for refined belles-lettres. Similarly, Nikolai Polevoy, a controversial Russian editor, writer, translator, and historian, wrote:. Not many disagreed with this position, and only a few writers recognized the right of Ukrainian literature to independent existence Dahl, Shevyrev.

It was against the background of these prejudices that Kvitka-Osnovyanenko began translating his own works, particularly, Marusia , for reasons outlined very clearly in his letter to Pyotr Pletnyov 15 March :. Firstly, he wanted to prove the authority and viability of the Ukrainian language, and show that is was fully suitable for belles-lettres.

Secondly, Kvitka wanted to create the best possible translations of his works to prove that even the most exact and meticulous translation could not replace the original. He also meant to present his works in the most favourable light not only as his personal writings but also as achievements of Ukrainian literature. Far from being aware of all the controversial problems of translation, Kvitka groped for the solutions relying on his experience as a writer.

Besides, his chosen translation method pushed him towards inaccuracies in his self-translations. The self-translations by Kvitka are notable for their ethnographic colouring. Being aware of the similarity of the Ukrainian and Russian languages, Kvitka, at times, preferred transcription to Russian equivalents.