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Loading... Le Ton Beau De Marotde Douglas R. Hofstadter
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irá adorar Registre-se no LibraryThing tpara descobrir se gostará deste livro. 1   xtien | Feb 4, 2008 |  Hofstadter is the ultimate DIY author, except that he is much more handy with words and ideas than most carpenters are with wood. This is a book (like Goedel, Escher and Bach) that you can read and reread, and still come away slightly enlightened each time. (  ) Arctic-Stranger | Mar 21, 2007 | Fabulous book. An entertaining account of Hofstadter's experience with the difficulties of language translation. The subject is a single, "simple", poem by Clement Marot written in 1537. Hofstadter includes many translations in many styles, each attempting to capture some of the essential characteristics of the poem. Alternating chapters contain anecdotes about his involvement in translation--some dealing with his overseeing the translation of his previous work "Gödel, Escher, Bach". (  )1 bibliostuff | Jul 17, 2006 | I spotted this book using some 6th sense in a warehouse-like used bookstore in Newtown, Sydney from a long distance in the wrong section without its dust jacket and with my poor eyesight. The layout and typesetting are exceptionally fine. As for the content, I would not recommend trying to read this from cover to cover but it is a joy to pick up and read a random few pages. Always gives me something to think about. But I'm much more interested in translation than in poetry. (  ) hippietrail | Sep 9, 2005 |  sem resenhas | adicionar uma resenha
Amazon.com (ISBN 0465086454, Paperback)In the fall of 1537, a child was confined to bed for some time. The French poet Clément Marot wrote her a get-well poem, 28 lines long, each line a scant three syllables. In the mid-1980s, the outrageously gifted Douglas R. Hofstadter--il miglior fabbro of Godel, Escher, Bach--first attempted to translate this "sweet, old, small elegant French poem into English." He was later to challenge friends, relations, and colleagues to do the same. The results were exceptional, and are now contained in Le Ton Beau De Marot, a sunny exploration of scholarly and linguistic play and love's infinity. Less sunny, however, is the tragedy that hangs over Hofstadter's book, the sudden death of his wife, Carol, from a brain tumor. (Her translation is among the book's finest.)Marot's poem, in Hofstadter's initial translation (he is to compose many more), begins: "My sweet, / I bid you / A good day; / The stay / Is prison. / Health / Recover, / Then open / Your door ... "--a slim frame on which to hang 600 or so pages of text. But the book is far more than a compendium of translators' triumphs (with the occasional misstep). Most of the renderings are original and lively, some lovely, though Hofstadter often feels compelled to improve them. He lightly laments that Bill Cavnar's rendering, "though superb along so many dimensions at once, still seems to lack a bit of that intangible verbal sparkle that I associate with the deepest Maroticity." Hofstadter's talents lie in linking his intoxication, erudition, and vision with humor, autobiography, and free association. His book takes on "rigidists," asks questions like, "Is plagiarism potentially creative?" and strives to define linguistic soul. Along the way, it accords the same level of respect to the seemingly trivial: sex jokes, Texas jokes, The Seven Year Itch, and the puzzle of how someone you love can hate a food that you adore. Throughout there is pun, ingenuity, and above all, love for language--which can compress distance and, through constraint, lead to freedom. (retirado da Amazon Fri, 24 Apr 2009 07:58:22 -0400) O primeiro ciclo de testes foi encerrado. Visite o grupo Open Shelves Classification para mais detalhes. |
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There are of course brilliant concepts in this book. One example is his questioning of translations. If a work has been translated, what do you read, what do you appreciate? Is it the original writer who gets the credit, although this writer has written none of the language you read? Or is it the translator, who contributed almost nothing to the ideas in the book? Tough question.
Every other chapter is about various translations of a beautiful poem by Marot. Hofstadter asked all his friends and relatives to provide one or more translations, which all turn out to be very different. Unfortunately, of the examples he gives almost half are his own. I think it would have been more interesting to provide translations of different translators, for every person providing the best translation they have provided. (