2,127 research outputs found
Derek Mahon as translator
No full textDerek Mahon has devoted much of his productive life to translation, especially from the French. This paper studies his handling of French texts, distinguishing those which he has freely recreated from those which he has assimilated to his own style and those where he has made himself subservient to the character of the original author. Attention is drawn to his inventiveness, his wit, his moderation and rationality, his concern for effective and relevant communication with the reader, his rhythmic sense and his concern for emphasis and coherence. It is argued that the practice of translation affords Mahon the opportunity to write "at one remove" from direct feeling, and in so doing to combine breadth of feeling and of cultural reference with self-awareness and self-discipline
Cinco poemas de Derek Mahon
No full textOctober (from Antarctica) ; Death and the sun (from Antarctica) ; Matthew V, 29-30 (from Poems 1962-1978) ; The apotheosis of tins (from Poems 1962-1978) ; The hunt by night (from The hunt by night) = Octubre ; El sol y la muerte ; San Mateo V, 29-30 ; La apoteosis de las latas ; La cacería nocturna / traducción de Ana Eiroa Guillén y Brian Hughe
Introduzione, a Irene De Angelis, "Oltre i confini. Orizzonti internazionali nella poesia di Derek Mahon"
No full text“Where is Mahon in his poetry?” asked Brendan Kennelly in 1989 about the Humane Perspective which characterized this poet from Belfast. His answer was undoubtedly effective from the hermeneutical point of view: Derek Mahon seemed “a poet of the perimeter, meditating on the centre, with a mixture of amusement and pain” to the then professor of Modern Literature at Trinity College Dublin – a definition that should have been more strategically elaborated on by scholars. Irene De Angelis’s Mahonian essays do it and aptly show how his cosmopolitan perspectives from Japan, ancient Rome and China/India are not peripheral, but are rooted in the deepest core of his poetic experience
Derek Mahon : Antartica
No full textRafroidi Patrick. Derek Mahon : Antartica. In: Études irlandaises, n°12-2, 1987. p. 277
Creation from conflict: The Great War in Irish poetry
No full textThis thesis explores the impact of the First World War on the imaginations of six poets - W.B. Yeats, Robert Graves, Louis MacNeice, Derek Mahon, Seamus Heaney and Michael Longley - all of whom have written in wartime: Graves in the Great War, Yeats in the Great War, the Anglo-Irish War and the Civil War, MacNeice in the Second World War, Mahon, Longley and Heaney in the Northern Ireland Troubles. The thesis locates affinities between these poets in their response to violence, and compares the ways in which they have imaginatively appropriated the images and events of the Great War to facilitate that response. Part I of this study begins by outlining the historical background to Irish participation in the Great War, and considers some of the issues involved in the Irish cultural response to the war which were engendered by the complex domestic politics in Ireland between 1914 and 1918. Chapters two to four constitute a more detailed exploration of these issues as manifested in the work of Yeats, Graves and MacNeice. In the cases of Yeats and MacNeice, their engagement with the subject of the Great War is re-evaluated in order to illuminate repressed or complex areas of Irish history and culture, and to shed new light on their influence on recent Northern Irish poetry. Consideration of Robert Graves's response to the Great War serves to illustrate the ways in which a high-profile association with the War can obscure relations to an Irish or Anglo-Irish tradition. The thesis discusses ways in which these poets have been misrepresented, and considers how far the misrepresentation can be attributed to the contrasting interpretations of the Great War in England and Ireland, and to versions of literary history based upon these interpretations. The second part of the study concentrates on contemporary Northern Irish poetry. Chapter five considers problems pertinent to Northern Ireland in relation to the subject of the Great War by looking at the ways in which remembrance of the war, politicized in order to bolster mythologies of history, reverberates in the context of the Northern Irish Troubles. The final three chapters outline the difficulties encountered by Northern Irish poets Mahon, Heaney and Longley, under pressure to respond to the Troubles, and relate these difficulties to those encountered by the Great War soldier poets. The chapters explore the extent to which the fascination of these three poets with the Great War illuminates their aesthetic strategies, revises aspects of Irish political and cultural history, offers a way of responding to the violence in Northern Ireland, and has determined critical responses to their work. The thesis is concerned with ways in which the Great War has been imagined in Irish writing. It also shows how and why those imaginings have struggled with, and revised aspects of, reductive mythologies of history and competing versions of the literary canon
« Raw Material », Derek Mahon
No full text« Raw Material », ou la matière première. Curieux nom qu’a choisi le poète Derek Mahon pour désigner son dernier recueil de traductions de poèmes étrangers, puisque ses traductions ne sont que la matière seconde de la matière première des poèmes en langue originale de Rimbaud, Guillén ou du poète chinois Tu Fu, de la dynastie T’ang. Ces traductions, ou plutôt « adaptations », comme Mahon lui-même préfère les appeler, sont d’autant moins des matières premières que la dernière section éponyme d..
Derek Mahon as translator
No full textDerek Mahon has devoted much of his productive life to translation, especially from the French. This paper studies his handling of French texts, distinguishing those which he has freely recreated from those which he has assimilated to his own style and those where he has made himself subservient to the character of the original author. Attention is drawn to his inventiveness, his wit, his moderation and rationality, his concern for effective and
relevant communication with the reader, his rhythmic sense and his concern for emphasis
and coherence. It is argued that the practice of translation affords Mahon the opportunity to write "at one remove" from direct feeling, and in so doing to combine breadth of feeling and of cultural reference with self-awareness and self-discipline
Orpheus Ascending The Berlin Wall Café by Paul Durcan
No full text"Orpheus Ascending The Berlin Wall Café by Paul Durcan", by Derek Mahon. The Irish Review, 1986. Publicado com a permissão de Gallery Press. "Orpheus Ascending The Berlin Wall Café by Paul Durcan", by Derek Mahon. The Irish Review, 1986 Published with the kind permission of Gallery Press. 
Traduire/Travestir : Derek Mahon détourne Molière
No full textHigh Time, Derek Mahon 's translation of Molière's L'Ecole des maris , is a free adaptation to the context of Northern Ireland in the 1980s. In order to elude the risks inherent to the transposition, Mahon transforms the text, whose political bias he preserves, and keeps the comic features of the play by adopting roundabout means which he applies to the formal agency of the text and its rime and rhythm patterns. The result is a free version which is both inaccurate and dated but nevertheless faithful to the spirit of the comedy.La traduction par Derek Mahon de L'Ecole des maris de Molière est une libre adaptation au contexte nord-irlandais des années 1980. Pour déjouer les risques inhérents à cette transposition, Mahon, tout en préservant le caractère comique du théâtre de Molière, travestit le texte, dont il maintient le caractère subversif par une conduite de détour qu'il applique tant à l'agencement formel qu'au dispositif rimique et rythmique. Il en résulte une traduction certes inexacte et datée mais fidèle à l'esprit de la comédie.Boisseau Maryvonne. Traduire/Travestir : Derek Mahon détourne Molière. In: Études irlandaises, n°30 n°1, 2005. pp. 55-66
Disconsolate labours : Derek Mahon and Nerval
No full textThis essay examines some of the ways in which Derek Mahon has been influenced by the poetry of Gerard de Nerval. The first half explores Nerval's impact on Mahon's poetic consciousness as it developed during the 1960s. Analysis of some of Mahon's early poems, such as "After Nerval" and "Glengormley", reveals his irony-tinged affinity with Nerval's vision of a noumenal world existing beyond the limits of sensory experience. This world is contrasted with the physical world and its incumbent political, religious and emotional tensions. The second half of the essay focuses on Mahon's version of Nerval's sonnet cycle, Les Chimères, which explores Mahon's responses to personal loss. Mahon does not simply translate Les Chimères, however. He adapts and disrupts this already highly personal series of poems to examine his own sense of disconsolation with a religious inheritance in which he discerns the fundamental aspects of existential absurdity.Cet article étudie l'influence de la poésie de Gérard de Nerval sur l'œuvre de Derek Mahon. Dans un premier temps, il aborde l'impact de Nerval sur la conscience poétique de Mahon à travers ses poèmes des années 1960. L'analyse des poèmes de jeunesse, par exemple «After Nerval » et «Glengormley », révèle une affinité empreinte d'ironie avec la vision nervalienne du monde nouménal. Celui-ci se situe au-delà de l'expérience sensorielle et s'oppose aux inévitables tensions politiques, religieuses et affectives du monde physique. Dans un second temps, l'article se concentre sur un ensemble de sonnets de Nerval, Les Chimères. version qu'en donne Mahon n'est pas une simple traduction mais un moyen d'appréhender ses propres réactions face à la perte et au manque. La façon dont il adapte et remanie en profondeur cette série de poèmes, en eux-mêmes très personnels, conduit Mahon à s'interroger sur son propre état de déshérence religieuse, dans lequel il discerne les caractéristiques essentielles de l'absurde existentiel.Burton Brian. Disconsolate labours : Derek Mahon and Nerval. In: Études irlandaises, n°30 n°2, 2005. L'Irlande et l'Europe, sous la direction de Christophe Gillissen. pp. 35-49
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