CULTURE POÉSIE (POESIA CULTA t. 1) (French Edition)

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I had barely hung up when it struck me that they probably thought that I had written some poems in Spanish or at least had had some of my work translated into Spanish. Caught off-balance, I immediately set on the task of writing a poem in my host language, but when I finished the first stanza I had already used words and expressions from the three other cultures that a nomadic life had made me part of and that in turn had become part of me.

My native Danish culture, the French culture of my childhood, first nest and offspring and, finally, the American culture of jazz, my lifelong musical affair.


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My interest in orally transmitted poetry and my calling as a musician soon prompted me to start searching for musical improvisers in order to add their instrumental voices to my poetic voice. In I contacted Mark Solborg — one of the most original and sensitive musicians on the Danish improvisatory scene — to ask him to help me develop the instrumental dimension of my, still nascent, polyphonic poetry project. Our tours have convinced me that there are people with taste, sensibility and personal values who dare to seek other stimuli than raw, rational meaning when they listen to poetry.

Luckily, today we are only a click from one another. We really do live in a global village where the physical distance is easily overcome. This kind of discriminating people tend to meet in communities of interests rather than in housing communities: although they live worlds apart they live in the same world and will meet on the web or see each other at concerts, exhibitions, festivals etc. Delta will hardly be of interest to publishers whose main regard are the sales figures and rationalized distribution.

It is neither rational nor economically advisable to try to reach clients in the United States, another in France, another in Spain, and still another in Denmark, etc. For you and for me, on the other hand, the dispersion is no problem: what is essential is that the diversity is preserved and that art and the individual creativity can survive in spite of the dictates of trends and fashion.

In other words: By putting up money for what he or she wants to see produced instead of buying what the marketplace offers, the buyer has changed from the role of client to that of producer with the benefit of having a part in the goods produced. Since we live in each our corner of Europe — Mark in Copenhagen and Salvador and I in Madrid — we have settled on a place midway for rehearsals and exchange of ideas.

It would be hard to find a more ideal place for an intercultural and translingual project than Conques, spiritual watering-place on the Way of Saint James that leads through Europe to Santiago de Compostela near the northwestern finistierra of Spain. I found this town of my dreams thirty-five years ago. This is where I collect inspiration and where I wrote In Place of Absence , my second book of poetry. There are several reasons. Hopefully Delta too will open doors in you. Publishers who love books are today a threatened species. This is a guarantee that every detail in the production of the book will be done with utmost care and refined taste.

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I was not seeking illustrations for my poems; what I was hoping was to find a graphic artist who shared some of my ethical and esthetic preoccupations and with whom I could enter into a creative dialogue. Dinah and I had both crossed many borders before we met, and when we talk we understand one another. It is this convergence between the spoken languages which is reflected in our artistic endeavors.

On a more prosaic note we will also have to cover the expenses for postage, handling, rewards and presentations. Or — to put it differently — the more you put into the project, the better and more delicious your reward will be. In any case your credit card will not be charged until we are sure to be able to publish the book.

A crowdfunding campaign is a huge effort for everybody involved, but it is also an exciting period where we have to pool our best efforts to reach our goal so that Delta can be a joy for our eyes, ears, mind and thoughts. If the campaign is a success, we should be able to present Delta by the beginning of March. The copies to be sent by mail will be posted a week ahead. Et tout reste. We will send your question to the author of the project, who will be able to reply directly to your user email address.

If you are already a sponsor, please Log in to comment. In the framework of contemporary cross-cultural movements and migrations, multilingualism has become a basic characteristic of poetic language.

Members of WPM | World Poetry Movement

It is at once a natural and an artistic way of communication, which is not marginal any more, but more and more substantial. Such a dialogue can take place in various manners: as a direct or an indirect dialogue, by means of translation or of allusion, by writing different languages in different texts or by mixing different languages in the same text.

As a result of his extended and intensive wanderings through various cultural areas and eras, Peter Wessel has become a tetraglot poet who speaks and writes fluently in four languages that finally merge into one: Danish, English, French and Spanish. While Danish is his native language, English is related to his studies, French and Spanish to his relatives and their respective cultures. Three of these languages are European world languages, whereas Danish is a marginal, yet original, European language. With such a combination, Peter Wessel is an ideal European Citizen, on the brink of being a full Citizen of the World, with an eventual non-European language in sight.

Music, his fifth language, may be a bridge toward that non-European language, as it already serves as a bridge between his four European languages. Henceforth, le mot juste both offers more and demands more.

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An important part of the interlingual dialogue is its mediation through music, recitation and illustration. In cooperation with other artists, like the musicians Mark Solborg and Salvador Vidal, or the graphic artist Dinah Salama, a collective and multimedial form of art has been created, renewing the ancient tradition of lyric poetry. Yet, the predominant inspiration in Delta is verbal, vocal and instrumental. The formal not the thematic oppositions of native and foreign language, of norm and deviation, of source and target language become obsolete, including the corresponding typographic marks of italic and upright types.

The intrinsic nature of the poemario is in fact to be polyglot, not only additionally or accidentally, but substantially and necessarily.

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The inner necessity of polyglossia is confirmed by the fact that multilingual poems cannot be translated. At most, a fictive translation is possible through the translation of a given tetraglot poem into four other languages, but such a fictive translation would modify completely the linguistic structure and sense of the original. A multiple translation can only be conceived as a variation of the original poem, as a sort of tema con variazioni. The major stylistic device of Mr. This effect is achieved through the well calculated alternation of translated and untranslated passages. At first sight, the frequent translations inside the poems might be considered as merely pragmatic and didactic, or even pedantic.

The meandering of meaning in the stream of translations throughout the poemario gives Delta a very original note. The intratextual translations offer a kind of contrastive and creative linguistics, as they reveal the differences rather than the identities within the translatory process: differences of sound, rhythm, grammar and meaning, which add either a complementary or an antiphrastic sense to the monolinguistic structures. Furthermore, they produce the effect of a musical modulation.

Beside the differences within the interlinguistic couplings, there is a permanent change in the number and distribution of the translational elements and idioms, in the translating or translated role each idiom plays. The same mobility characterizes the untranslated words. They have a stimulating effect on the reader to know more about that tongue within the quartet of tongues where it plays an important part.

Carol A. Hess

He is the author of numerous books and articles on European and Latin American Literature, on creative writing and literary multilingualism, such as Literaturlabor — La Muse au point , co-editor of the encyclopedia Comparative Literature 3 vols. In he founded the literary review Dichtungsring Bonn, Germany , some of whose 44 volumes are focussed on the principle of poethik polyglott, an esthetics and ethics of polyglossy. Log in or Sign up to comment this entry.

Besos, Marion. Collage by Dinah Salama. Con su forma de vestir incluyendo su famoso pork-pie hat y gafas de sol bajo los focos de los clubs y auditorios , su costumbre de tocar el saxo teniendo el… read more. Listen, lyt, eschucha. Editorial newsletter translated from the Spanish Cuadernos de la Torre. It was in this setting that the poet on August 8th presented his book in a concert-reading accompanied by the French multi-instrumentalist Jean-Pierre Rasle.

Because he considers Conques to be his second birthplace, it was a deeply moving experience for the Danish poet, who settled there 37 years ago after recognizing the village from an adolescent dream. A year ago the Delta crowd had grown big and strong enough to push our project through the shiny surface that separates dream from reality.

I wish to express my deep gratitude to all of you who were - and are - involved with turning a dusty, stony road into a starry path. Link to article by Eric Guillot, Centre Presse. Photo Marga Lucas. Poeta mexicano. Mejor, gran poeta mexicano. Y no mexicano. Ya no hay excusas. The Danish-Argentinian… read more. Such a dialogue can take place in various manners: as a direct or an indirect dialogue, by means of translation or of allusion, by writing different languages in different texts or by… read more.

Lo cierto es que considero mi encuentro con Dinah Salama como otro prodigio de Sainte Foy. Abteilung III. Quellenlesehefte mit Bildern. P eter H agboldt : Building the German Vocabulary. G eorge H. D anton : Germany Ten Years After. E duardo M arquina. Edited with introduction, notes, and vocabulary by S turgis E. L eavitt. Volume 13 , Issue 1. If you do not receive an email within 10 minutes, your email address may not be registered, and you may need to create a new Wiley Online Library account.


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"Delta", Peter Wessel Polyfonías Poetry Project

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