scholarly journals Translation as Appropriation in the Work of Paul Muldoon

2020 ◽  
Vol 19 (4) ◽  
pp. 125
Author(s):  
Lars-Håkan Svensson
Keyword(s):  
Paul Muldoon

When Spring is not a Spring: Revisiting Feinstein's Tsvetaeva

2017 ◽  
Vol 26 (2) ◽  
pp. 182-198
Author(s):  
Christopher Whyte
Keyword(s):  
Paul Muldoon

Elaine Feinstein's translations of Tsvetaeva have acquired a near-classic status. Paul Muldoon pointed out, however, that in one case a stanza from one of the originals was omitted without explanation, and close examination of other examples reveals further unexplained omissions, reorderings, conflations, and splittings of Tsvetaeva's compositions in Feinstein's renderings. From this point, other questions are asked about how much justice is done to the Russian poems by this non-Russian-speaking translator.

Paul Muldoon: Becoming Opera

Éire-Ireland ◽  
2011 ◽  
Vol 46 (3-4) ◽  
pp. 252-276
Author(s):  
Julia C. Obert
Keyword(s):  
Paul Muldoon

scholarly journals O Brasil de Paul Muldoon

2020 ◽  
pp. 101-110
Author(s):  
Viviane Carvalho da Annunciação
Keyword(s):  
Paul Muldoon

A tradução aqui apresentada visa mostrar ao leitor brasileiro a representação de seu país feita pelo poeta norte-irlandês Paul Muldoon. Entretanto, cabe ressaltar que esse retrato é mais do que um olhar alienado. Ele é, na verdade, parte constituinte de uma psique artística que tem o interculturalismo como alicerce de sua lírica. Todos os poemas sobre o Brasil são variações de sonetos narrativos. Sendo assim, expressam, duplamente, a coloquialidade da fala prosaica e a musicalidade do verso. Além do mais, as experimentações artísticas, bem como a métrica e o estranhamento das imagens, envolvem a experiência pessoal em uma rede de significados globais. O ethos produzido por tais relações é um espaço subjetivo de confluências, pois a poética torna-se um espaço criativo onde escritor e leitor configuram suas identidades coletivas e específicas.

scholarly journals Paul Muldoon em tradução

2020 ◽  
Vol 9 (2) ◽  
pp. 289-293
Author(s):  
Guilherme Bernardes
Keyword(s):  
Seamus Heaney ◽  
Pulitzer Prize ◽  
New Yorker ◽  
Paul Muldoon ◽  
Ciaran Carson ◽  
Sand And Gravel ◽  
Michael Longley ◽  
The New Yorker

Paul Muldoon (1951 ”“ ) é um poeta norte-irlandês de origem católica nascido em Portdown, condado de Armagh. Integrou junto a Seamus Heaney, Michael Longley e Ciaran Carson, dentre outros, o chamado Belfast Group, organizado por Philip Hobsbaum. Publicou seu primeiro livro, New Weather, em 1973. Desde então, já publicou mais doze coletâneas de poemas, sendo a mais recente Frolic and Detour, em 2019. Além disso, já publicou literatura infantil, libretos de ópera, coletâneas de letras de música e peças de teatro. Já foi premiado com o T.S. Eliot Prize for Poetry por The Annals of Chile (1994) e o Pulitzer Prize for Poetry por Moy Sand and Gravel (2002). Mudou-se para os Estados Unidos em 1987, onde foi professor do curso de escrita criativa na Universidade de Princeton até 2017 e foi, até 2016, editor de poesia da revista The New Yorker. As traduções a seguir integram o apêndice da dissertação “Uma Camisa de Força para Houdini: Paul Muldoon, Forma Fixa e Tradução”, defendida em fevereiro de 2020 na UFPR.

Maggot by Paul Muldoon

2010 ◽  
Vol 84 (6) ◽  
pp. 71-72
Author(s):  
Piotr Florczyk
Keyword(s):  
Paul Muldoon

Paul Muldoon

2019 ◽  
Author(s):  
Anne Karhio
Keyword(s):  
New York ◽  
Northern Ireland ◽  
21St Century ◽  
English Language ◽  
The United States ◽  
Political Commitment ◽  
Late 20Th Century ◽  
Paul Muldoon ◽  
Early 21St Century ◽  
Irish Poetry

Paul Muldoon was born in Portadown, Northern Ireland, in 1951 and spent his childhood in the village of Moy at the border of County Armagh and County Tyrone—a setting for several of his poems. He studied at Queen’s University Belfast and published his first collections of poetry in the early 1970s. At the time of the publication of his first volumes, Muldoon famously enjoyed the mentorship of Seamus Heaney, and this biographical and literary connection has been a constant reference point in criticism, to an extent that other significant literary exchanges and influences initially remained underexplored. After working for the BBC in Belfast until the mid-1980s, Muldoon moved to the United States in 1987. Now a US citizen, he currently lives in New York and works at Princeton University, where he holds the Howard G. B. Clark ’21 chair in the humanities. Muldoon has published twenty-two major collections of poetry, nineteen chapbooks and interim collections, two volumes of critical essays, three opera libretti, song lyrics, translations, and children’s literature. He has been repeatedly characterized as a shapeshifting figure, whose work simultaneously reaffirms and undermines preheld conceptions of what we mean by “Irish poetry.” Thus, to propose that his idiosyncratic style and the remarkable complexity of his verse resists critical categorization is a case of stating the obvious. A reverse claim, however, might be more appropriate: that his writing embraces such a variety of categories that attempts at classification lose their purpose. Muldoon’s densely referential writing and his technical mastery of poetic language are matched by few poets of his generation, and the issue of how successfully his undeniable dexterity translates into poetic efficacy has been a persistent tendency in his critical reception. Muldoon has been, in turns, praised for his unrivaled skill and technical virtuosity or accused of his poetry’s evasiveness, perceived as a lack of social or political commitment. Yet, few would question that his verse has a place in any overview of modern Irish writing, modern English-language poetry, or experimental 20th- and 21st-century poetics. In the early 21st century, Muldoon’s perceived obliquity, or his distaste for direct political engagement with the crises of late-20th-century Northern Ireland, has made way to a more outspoken approach, in poetry as well as in public life. His work has been highly critical of the US invasion of Iraq, for example, and also tackled problematic aspects of Irish culture and history in an increasingly direct manner.

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