La poète Tracie Morris fera une lecture-performance avec ses traducteurs Vincent Broqua et Abigail Lang
le mercredi 5 septembre 2018, à 19h30
Forum -1 – Centre Pompidou, Paris
Son livre, Hard Korè, poèmes / Per-Form: Poems of Mythos and Place, traduit par Vincent Broqua et Abigail Lang, avec une postface de Marjorie Perloff, a été publié fin 2017 dans la collection américaine des éditions joca seria.
The December 2014 Poets & Critics Symposium on Ann Lauterbach has led to the publication of a volume of selected poems in French, translated by Maïtreyi and Nicolas Pesquès and published by joca seria, under the title Alice en terre vaine et autres poèmes. Cover art by Benjamin Monti. It is the 23rd volume of joca seria’s collection américaine.
Nicolas Pesquès will be talking about his translation and Ann Lauterbach’s work at the Festival Ecrivains en bord de mer, in la Baule, July 13-17, 2018. All details at http://ecrivainsenborddemer.fr/
In July 2018, the Literary festival of La Baule welcomes Tracie Morris, on the occasion of the 2017 publication of Hard Korè, poèmes / Per-Form: Poems of Mythos and Place, translated by Vincent Broqua and Abigail Lang, with an afterword by Marjorie Perloff, joca seria.
Poet and Translator Nicolas Pesquès will also talk about his translation of a selection of poems by Ann Lauterbach, published under the title Alice en terre vaine et autres poèmes (translated by Maïtreyi and Nicolas Pesquès, joca seria, 2018).
The presence of the poets is made possible by a collaboration between the festival Ecrivains en bord de mer, the collective double change and the Poetry Foundation.
Details can be found at : http://ecrivainsenborddemer.fr/
Le séminaire “Traduire la performance / Performer la traduction” (Labex arts h2h) invite Jeff Hilson et Zoë Skoulding le 20 juin 2018 de 17h à 19h à la Fondation des Etats-Unis, Salon Chicago (15 boulevard jourdan, 75014 Paris http://www.feusa.org/planning-your-visit/).
“Translating performance / performing translation” invites Jeff Hilson and Zoë Skoulding for a talk on June 20 (5pm to 7pm) at the Foundation des Etats-Unis, Salon Chicago (15 boulevard Jourdan, 75014 Paris http://www.feusa.org/planning-your-visit/):
Sound, Performance and Expanded Translation
This seminar emerges from the research network Poetry in Expanded Translation, based at Bangor University funded by the Arts and Humanities Research Councilhttp://expanded-translation.bangor.ac.uk/, which over the last eighteen months has been investigating links between translation, criticism and creative practice.
Translation is, as Rosmarie Waldrop has stated, ‘writing as an exploration of what happens between; between words, sentences, people, cultures’ (Sophie Collins, ed. Currently and Emotion: Translations, London Test Centre, 2016), and yet that space of the ‘between’, well known to anyone who translates, or thinks about translation as a practice, is often difficult to capture. If all too often the importance or even the presence of translation is masked by the problem of ‘the translator’s invisibility’ Lawrence Venuti puts it, this project has looked at how the cultural spaces traversed by translation might be made more visible, and the ways in which intercultural and interlingual elements might be foregrounded in broader areas of poetic practice, including those not typically considered as translation.
Considering translation as performance is central to these explorations. In particular, the interface between sound and translation enables examination of the role of sonic features in the process of translation as well as the extent to which attention to the sound of poetry necessarily involves aspects of translation. Examples will be drawn from Zukofsy’s sonnet sequence “A” (considered as a rehearsal for his later homophonic translations of Catullus), Ebbe Borregaard’s Sketches for 13 Sonnets and David Melnick’s translation of the Iliad. The session will conclude with a presentation of interlingual collaborative poems produced at a meeting of the network in April 2017, and discussion of collaboration as a performative practice. How can improvisatory, sound-based approaches to translation inform poetic process and enable different ways of imagining the space between languages?
Jeff Hilson is a poet and critic whose publications include A Grasses Primer (Form Books, 2000), Stretchers (Reality Street, 2006), Bird Bird (Landfill 2009), and In The Assarts (Veer Books, 2010). He edited The Reality Street Book of Sonnets, published in 2008, and his most recent publication is Latanoprost Variations (Boiler House Press, 2017. He is Reader in Creative Writing at the University of Roehampton.
Zoë Skoulding is a poet, critic and translator whose books include poetry collections Remains of a Future City (Seren, 2008), The Museum of Disappearing Sounds (Seren, 2013), and as translator from French In Reality, selected poems by Jean Portante (Seren, 2013). Her most recent work is Teint, a sequence on the Bièvre written during a residency at Les Récollets in 2014 (Hafan Books, 2016). Her monograph Contemporary Women’s Poetry and Urban Space: Experimental Cities was published by Palgrave Macmillan in 2013. She is Reader in the School of English Literature at Bangor University.
“Translating performance / performing translation” is a 3-year project about new translation practices and translation aesthetics http://www.labex-arts-h2h.fr/traduire-la-performance-performer.html
avec le soutien / with the support of
Arts and humanities research council
Fondation des Etats-Unis
The research seminar “Textualités Numériques et Contemporaines” (Paris 8), the research project “Poets and Critics” (IUF/ Paris 8/ UPEM / Paris Diderot), Double Change and Michael Woolworth invite you to a seminar with Marjorie Welish (May 31 5:30-7:30) and a reading with Marcel Cohen and Marjorie Welish (May 31, 7:30) at Atelier Michael Woolworth:
« Thinking criticism: textuality, words and images”
A discussion and seminar with Marjorie Welish, from 5:30 pm to 7:30 pm
When on a Fulbright to the Edinburgh College of Art to lecture on the situated nature of art criticism, Marjorie Welish
Our discussion will be based on a video of hers PUSH BAR TO OPEN, in which text and image are simultaneously questioned in relation to the history of an art space and an art exhibition. We will approach the topics of how to rethink criticism in relation to textuality. If everything has become textual how to think criticism and pedagogy? How do the word and image modalities affect textuality in our contemporary moment? And how do we talk about the assumption that signage activates space? In the same way, does language activate anything at all?
(contact : vincent.broqua@
The seminar will be followed by a reading with
Both events are open to the public. The seminar is conducted in English, the reading will be bilingual.
Atelier Michael Woolworth
2 rue de la Roquette
Passage du Cheval Blanc
75011 Paris France
Artist /critic / poet Marjorie Welish received her first solo show thanks to Laurie Anderson, then curator of the Whitney Museum Art Resources Center; she has exhibited most recently in New York, Paris, Vienna, and Cambridge, England. She received many grants and fellowships, including: Adolph and Esther Gottlieb Foundation, Elizabeth Foundation for the Arts, The Fifth Floor Foundation, Guggenheim Foundation Fellowship, Pollock-Krasner Foundation, and Trust for Mutual Understanding (supporting an exchange between the International Studio Program, New York and the Artists’ Museum, Łódź, Poland). In 2006, she received a Fulbright Senior Specialist Fellowship to teach at the University of Frankfurt, where she also worked on a limited-edition constructed art book, Oaths? Questions? in collaboration with James Siena, published by Granary Books in 2009 (in the collections of the Beinecke Library at Yale, Columbia University, Getty, and The Metropolitan Museum of Art); in 2010 with a Fulbright, she was at Edinburgh College of Art. In 2015 she was nominated for the award Anonymous Was a Woman. Writing on her work may be found in Of the Diagram: The Work of Marjorie Welish (Slought Foundation, 2003) compiles papers given at a conference on April 5, 2002, at the University of Pennsylvania: https://slought.
Often regarded as a prose writer by poets and as a poet by fiction writers, Marcel Cohen is the author of nine books of short texts with no mention of their genre. They were published by Éditions Gallimard. Over the last few years, Marcel Cohen published a trilogy: Faits, Lecture courante à l’usage des grands débutants (2002), Faits, II (2007), Faits, III, Suite et fin (2010), as a manifesto against any form of fiction.
In Sur la scène intérieure (2013), he gathered the rare recollections he has from his family, who was deported during the war. It was published by J.-B. Pontalis in his series « L’un et l’autre ». Le Grand-paon-de nuit, followed by Murs, and Métro gather extremely short texts published previously by Gallimard and other publishers.
In 2017, he published Détails (Gallimard) and Autoportrait en lecteur (Eric Pesty), which is entirely made of quotations.
His books were translated into eight languages and, among others, in the USA by Cid Corman (The Peacock Emperor Moth, Burning Deck), as well as by Jason Weiss (Mirrors, Green Integer), and by Brian Evenson and Joanna Howard (Walls, Black Square Editions). He was also translated by Raphael Rubinstein (In Search of Lost Ladino), published by Editions Ibis in Jerusalem in a biligual version.
Marcel Cohen also published a book of interviews with Edmond Jabès, translated by Pierre Joris as From the Desert to the Book (published by Station Hill Press in the USA).
In 2013-2014, he was awarded the Wepler-Fondation La Poste prize, the Jean Arp prize, the Roger Caillois Prize, the Bernheim prize awarded by the Fondation du Judaïsme Français, and the Eve Delacroix prize awarded by the Académie Française.