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Politicians must deceive the people in order to gain power over. Nov 1, Apr 28, Now out. This was a fabulous work by Eustace Mullins exposing the sons of Satan.

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Eustace Mullins the World Order PDF | Politics

The World Is Flat 3. Jump to Page. Search inside document. Related Interests Politics. But over and above grammar, it is the importation of the whole set of poetic forms of meaning through which the speakers of different tongues have managed to charge language and explore representation which holds out the greater promise of linguistic revolution and expansion of the receiving tongue.

The World Order: Our Secret Rulers

For regardless of whether the forms and rules developed in one language can be applied literally to another, when a foreign or old poetic device is grafted into a language, it is often able to achieve strong effects, making available a series of new ways of signifying for society as a whole, liberating realms and possibilities for human representation. These revolutions are not hard to find and have often been both sudden and lasting. Reversing Provincialism of Time: unfolding the meaning of the past and modifying the present Translation is not only interpretation, but also tradition The problem of translation, as a philosophical problem, is a recent and strictly localized problem This problem is indissolubly linked to the invention of the philosophy of history The locus of this problem is art, for all that it may be determined essentially as Dichtung poetry or, indeed, literature.

But greater still is its value in preserving our links with the past, the near past and the more distant of other literatures which are germane to our own. DAY LEWIS Shifting from a synchronic to a diachronic perspective, from space to time, one finds the same diagnosis of provincialism and the same solution of translation. As with provincialism of space, it is translation that emerges as a performative means to subvert the barriers between epochs, conferring in a same event new life on an original poem, a dead author and a past age, recasting the present and announcing the future.

If one starts at the level of the individual author, Pound often conceives of inspiration as a communion between the living poet and the great masters of the past: not so much as a possession by the gods or the muse, but by past men who express themselves and find a new life through the poet in the present. I began this search for the real in a book called Persona, casting off, as it were, complete masks of the self in each poem. I continued in a long series of translations, which were but more elaborate masks. Or one can see how the lament of the women in wartime in the China of the Tang period can be overlaid with that of European women in the First World War.

Thus, if one broadens the perspective from the personal to the cultural, translation is seen as a way of unfolding the past to shape the present and future of culture. The translator who revitalises a literary work not only resurrects the individual life of a dead author, but also renews the permanent elements of a past ethos.

But there is no subject of criticism on which there has been so much difference of opinion. Selected Prose, p. Guide to Kulchur, p. There is no such thing — nor can there be— as a science of translation, although translation can and should be studied scientifically. Just as literature is a specialised function of language, so translation is a specialised function of literature. PAZ I know of nothing more barbaric, more fruitless and thus more idiotic than a system of study that confuses the supposed acquisition of a language with the supposed understanding and enjoyment of a literature.

For he does not posit a dualism between sense and form, between spirit and letter classical dichotomies in the theory and practice of translation , but proposes a holistic conception where semantics cannot be separated from stylistics, what the language says from what the language does. He summarizes in his well-known technical categories: Melopoeia, wherein the words are charged, over and above their plain meaning, with some musical property, which directs the bearing or trend of that meaning.

Phanopoeia, which is the casting of images upon the visual imagination. ABC of Reading; my emphasis. It holds the aesthetic content which is peculiarly the domain of verbal manifestation and cannot possibly be contained in plastic or in music. It is the latest come, and perhaps most tricky and undependable mode. Now, if the meaning of a poem as a whole consists of denotation further charged by melopoeia, phanopoeia and logopoeia, a faultless translation would have to bring across the intertwined lexical and grammatical, phonetic and musical, imagistic and contextual aspects of a poem in such a way as to achieve a version which would have no variant from the original.

Pound had no such illusions. In fact, he was aware that already at the level of the plain or denotative meaning the translator encounters unsurpassable obstacles, a priori difficulties, as when it comes to proper names, for instance, which in a foreign language might refer to more than one thing at a time.

Pound summarises: The melopoeia can be appreciated by a foreigner with a sensitive ear, even though he be ignorant of the language in which the poem is written. It is practically impossible to transfer or translate it from one language to another, save perhaps by divine accident, and for half a line at a time. Phanopoeia can, on the other hand, be translated almost, or wholly, intact. When it is good enough, it is practically impossible for the translator to destroy it save by very crass bungling, and the neglect of perfectly well known and formulatable rules.

Logopoeia does not translate; though the attitude of mind it expresses may pass through a paraphrase. Letter to J. Laughlin, Or one might privilege from the start the most obvious and strongest poetic value, the melopoeic effect that charges the meaning: the verbal music of the labial alliterations that imposes in its sound iconicity a material sensation of the menacing weather.

Thus, in his complete versions from Daniel, Pound also translates my emphases : Briefly bursteth season brisk, Blasty north breeze racketh branch Or one might privilege the impact of the images, with its implied parallelism, in what would make us suppose a sort of Chinese original: Black sky breaks upon us North wind hoots amid branches. Privileging logopoeia, then, one gets: Another spring-opening? No please!

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Let us sing of stormy weather. But their multiplication in time forms a textual body which approaches asymptotically the transfer of the whole meaning of the original into a new language, the demands of the complex behaviour of the foreign in the realm of the native. Now, the fact that multiple translations of a poem can be made does not mean they are all equally good or valid.

The process is arduous and risky. And to do this it is necessary to start by taking the most important element and then trying to get in as much of the rest as possible. Take the first. For Pound thinks that poetic translation is like a photograph of a sculpture in that while it is able to capture one side accurately, and even reveal to the initiate certain details of that side that have never been seen before in the original, the others remain concealed.


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  5. Thus, what the good translator needs to do is to look for the best angle, that is, the angle which allows the largest amount of the original to be encompassed by a single shot; the angle, so to speak, that best captures the character of the original. Consequently, he will devise an ad hoc strategy of resolution, privileging the chosen variable as a constant , and, if necessary, converting or dropping some of the other charges. I make no exception of age or of country. ELIOT If Pound is the Western writer who succeeded in introducing the greatest changes into English poetry in the early twentieth century, who made it more porous to the behaviours of foreign languages, triggering a revolution that altered literature permanently, this was due to his technical and stylistic penetration and mastery developed by a constant effort of translation, where the most basic aim of his first sustained translation project was a conscious and differential study of poets he considered to be the masters of melopoeia, phanopoeia and logopoeia.

    Translating the masters of melopoeia: bringing over the vowels of love from medieval naturalism We can now see that there was no movement, no revolution, and there is no formula. The only revolution was that Ezra Pound was born with a fine ear for verse. Ford, All this is a plea for pattern music The old way of music, teaching a man that a piece of music was a structure, certain main forms filled in, with certain decorations, stimulated his intelligence, spurred on his constructive faculty In a sense that is true of any performer, but the contemporary way of approach lays stress on having a memory like a phonograph.

    The translator will most probably favour some structural device —rhythm, rhyme, alliterative patterns, vowel or consonant progressions, etc. And then, when the time comes to complete the score, he will leave aside details of the original which do not integrate into a unified effect and add some details of his own improvisation.

    Take an anonymous troubadour alba of the eleventh century.

    Let us see. As Pound puts it: The forms of this poetry are highly artificial, and as artifice they have still for the serious craftsman an interest We find these not so much in the words —which anyone may read— but in the subtle joints of the craft, in the crannies perceptible only to the craftsman They make their revelations to those who are already expert.


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    Spirit of Romance. The poem is sculpted from a single sentence, the thoughts all organised within a unique gesture of calculated proportions: the main phrase is followed by a temporal one, which precedes the appearance of the imperative and explicative phrases of the culminating moment. The lovers are the enemies of time and Dawn: they seek to live in an eternal nocturnal bliss a sort of pleasure principle which is suddenly interrupted by the hated Dawn of which the watchman reminds them a sort of reality principle. But of course, this is not all.