1. How
important is poetry for Sabahudin Hadžialić today? What are the themes you
write about?
First of all I would kindly like to express gratitude for
the possibility to be interviewed for prestige Maltese magazine – „Il-Pont“ in regards questions about my
literature, and especially the poetry.
It is very easy to have an answer for your first question
and it is in the word of „creativity“. Suddenly, I can feel thyt appears a lot
of questions within the question itself, but as usual, the answer is
within...the question. Little bit confusing, isn't it? Yes, but only on the
surface. Namely, as Sternberg back in 2005 have said: „Creativity is possibility to
produce new, quality one and adequate (useful) product[i]“.
Myself, as the one who writes for almost 35
years (since 1979) see my product as my importance...my poetry as my
life...if you allow me, I will not further analyse and explain (within the
relation to my poetry) what Sternberg wrote, but I would like to underline
that having in mind that poetry is the
product of mind, and not just of heart (it is also very difficult to have a
pump to produce nothing else than to...pump) as well, we have to agree that we
must be more engaged as artist than just to write about the flowers and love[ii]
all the time. Because, when somebody writes poetry it is assumed that the main
subject is,of course love. Yes, it is partially, but it is just one of many,
subjects that came out from each mind. Of poets. The way how we will express
our thoughts within poetry will depends on our social presence, our heritage
and, of course, our knowledge and perception of the world in which we are
writing poetry. As I have said a long time ago:“It is not difficult to write.
It is difficult to know how to write.“ But, having min mind that, as
one of my short poems[iii]
said: „There are two worlds/Mine/And the real one.“ we, if wont to be real
artists, have to engaged in social-politic way to be able to express our
mission/message tothe world. To explain? Easy. Not like politician, but as the
people who sees beyond politics and sees the world as better place for
everyone, regardlles their political, social, racial and gender position[iv]
or behaviour. We have to respect diversities as the most given opportunity from
God (if there is any, after all, after last 100 years in which more people have
bruttaly murdered than in the last 2000 years through Three World wars and in
so call „peace period of time“ that we are living within.
My
themes are to be engaged as social and political poet who will try to give
possibility to my readers to see me as the one with the message but also as the
one of them.
Just
to, practically, show...[v]My
three poems of different kind of thoughts in front of you:
Reflection
of
my own madness
is
shining
within
the night of my restlessness.
Treating the cries
of
human dreams
I
cannot do alone.
With
whom I will?
And
when?
SHE...THE
POEM
The poem about her
decanted with my tears
through decades
arises
And, within the time
of blenching
light flashes
through the distance and
intention...
The poem disappeared
with return of her.
Am I wrong,
Or she is my
...poem?
The
place
of
personalization of the direct
democracy
and
the starting end
of
civilization.
Wondering
value of try
within
the announcement
of
disappearance of the species.
Two
thousand years
Later.
Today.
Us.
We
are the message, besides creating the message, through the poetry. We (as
humans, above all) are my themes.
2. How do people in Bosnia-Herzegovina
look at poetry and how is the poetry situation there today?
As all around the world, new media, such as social
networks (Facebook. Twitter and other ones) confirmed something what has been
said by the on of the most famous poets
in former Yugoslavia[viii] whose name was Branko Miljković[ix]:
„The
time will come when everybody will write and publish poetry“ .Yes, he
was completely right because there are more poets than ever but less poetry
than ever. Through new media, as mentioned, we have new poets, new critics, new
jury, but there is one thing missing...poetry. Yes, I know that a lot of people
we hate what I will say right now, but the quantity did not produce quality
this time. On contrary, the lack of knowledge have produced a lack of artistic
and poetry with the messsage. Do to not believe
me? Just go on social media networks and you will find million illiterate
poets and even more illiterate readers. Because of the lack of predicted and
foreseen knowledge of the world and him/herself within it. On other hand, new
media (is you use it properly) can be of help in connecting the knowledge of
the world. Bosnia and Herzegovina is not the exception of both above mentioned.
Namely, the poetry situation is here even worst than in other countries. The
country of little bit more than 4 million inhabitants have three etnic
association of writers[x]
and a lot of festivals, competitions, awards for poetry and etc. But, in the
same time, more than 40 % the people can consider themselves as illiterate, and
I add „and the other 60 % should prove that they are not“. Thera are a lot of
new and good poets arriving within Bosnia and Herzegovina: Goran Vrhunc, Jagoda
Iličić, Nihad Mešić, Samira Begman, Alma Jeftić, Anesa Kazić and others whose
names I can not remember right now, but they have not been recognized by the
most of the best mainstream cultural magazines (except DIOGEN pro culture
magazine[xi]).
Why? Because they are not part of any clans and fractions within the poetry
world of Bosnia and Herzegovina. They are self-awared poets who is trying to
pass the message that the beaty is within the diversity. DIOGEN pro culture
magazines gice them that chance according to the slogan of it „We are unyfing diversities“.
To make long story short – Poetry in Bosnia and
Herzegovina today have been knocked down, but the battle have not yet being
lost. Through expansion of the knowledge of the quality of diversity (within
all nations of Bosnia and Herzegovina) and the expansion of knowledge about themselves
in and around the world of creation, the situation will improve. From my side,
as a poet I will do my best to do so.
3. You are very active in the cultural
sector and not only as a poet. You give lots of space to other writers, poets
and artists too. How? Does this help to strengthen people's love for poetry and
art in your country?
As started within the answer on previous question, I
think, that after 4 years (since 2009) as a new cultural star on the sky of
culture, art and education (I will dare to say – of the world) DIOGEN pro
culture magazine[xii]
have shown that not just in my country stregthening of poetry and art may
happen. How? Just to mentioned- we have presented 265 poets and writers from
more than 60 countries worldwide in the magazine; we have our regular
columnists from the area of South_East Europe and Europe as well; we have
published online and in print 3 annual issues of DIOGEN pro culture magazine,
37 issues (monthly) of DIOGEN pro art magazine (presenting academy artists from
all world continents) and 1 issue of DIOGEN pro youth magazine. And other
things as well, being socially and politically aware that the future is within
the unyfing of diversities as the best future not just for my country but to
the world itself. We all need just to be honest and say loudly „I do not want
to do something to other people what I do not want them to do me. If I will do
something it will be doing...good...Because, doing good, in long terms...wins.“
Let us seat down, discuss within the possibility to have consensual democracy
and you will see. The world will be better place. Naive? Maybe, but even the
flood was the rain drop at the beginning.
Also as coomunicative discurse, the poetry is very important. How we can talk
about poetry and to mention communication within it?
Is the poetry
communication sui generis or eo ipso communication of the poetry is
establishment of the new message without borders within the world of
globalisation?
Number of words
which somebody uses to frame up one poem is equally proportional to the power
of his or her vision.
But, to make an
analyse of modern poetry within the framework of communication it is no so
difficult, but neither it is easy. Namely, let us put some point which can be
underlined as starting point for discussion:
1. Why people writes
poetry? To send an inner message to outside world, or to release the burden of
inside reflections from their souls.
2. Does the
communication that comes out from the written or verbal poetry means anything
else than just a message of one person to another or many?
Since
communication in poetry occurs through parallelism
(segmentation) rather than logical and sequential communication (prose), it was
deemed necessary that syntactic analysis was better
realized prior to poetic devices. Is it?
Also,
today we distinguish between poetry and song, yet for the ancient
Greeks, a "lyrical" poem meant a song—words accompanied by a lyre.
Sound, then, has always been fundamental to poetry. The word "prosody"
is now used to define the study of poetry, comes from the Greek
"prosodia," or a poem sung to music. The first remnant of a written
poem dates to 2600 BCE Sumer, but poetry as an oral tradition is likely to have
existed beforehand. When dissecting a poem, it is important to keep sound in
mind. Just as a person may strike us as charming or untrustworthy not by their
character but their manner, so a poem may strike us as beautiful or jarring not
through meaning, but through sound. Take this poem, by example:
Death is a simple thing
K. I. Galczynski
Death is simple as a cradle
both are miracles of loss and gain
in the perfectly perfected present tense
is – isn’t
isn’t – is
there’s material evidence
The subject is obscure at first
as she contradicts herself and omits natural, vocal pauses through enjambment[xiv].
The effect is that we pause at the end of the line without finishing a complete
phrase, sounding as if we are short of breath or being "strangled,"
by material evidence just as the author is. So the meaning is confusing
syntactically, but lucid sonically. When I use relatively obtuse terms such
as tercet and enjambment my intention is to be
clear. The terminology used to describe the sonic conventions of poetry is
specific and consequently vast. Knowing the terminology is helpful to
understanding a poem, though by no means necessary—it is simply the proscribed
method of articulating what the poem is doing in order to manipulate your
emotion. Its hardly ever useful beyond academia, but it will give you poetic
authority, even if you have no idea what the poem actually means. At its most
useful, the terminology is the fastest way to convey your opinion on a poem,
and the more terms you know, the more you know what to look for while reading.
Before I get into analytic
terms, however, it might be useful to give a quick timeline of poetry in modern
English. Modern English poetry falls into 7 general historic categories: Renaissance, Augustan, Romantic, Victorian, Modern, Postmodern and Contemporary.
The Renaissance (16th century) produced poets such as Thomas
Campion, Christopher Marlowe and William Shakespeare; in the 17th century lived
Milton; in the Augustan period (late 17th century to early
18th century, called so because of a return to the Classical poetic form) wrote
Pope, Thomas Gray, and Samuel Johnson; The Romantic period
(around the turn of the 19th century) includes Blake, Keats, Shelley, Bryon,
Coleridge, and Wordsworth; the Victorian period (mid to late
19th century) produced Robert Browning, Elizabeth Browning, Tennyson and
Hopkins. The Modern period (1880-1950)—Yeats, T.S. Eliot,
Whitman, Dickinson, Wallace Stevens and Ezra Pound; The Postmoderns
(roughly 1950-80) include William Carlos Williams, Bishop, Ferlinghetti,
Ginsberg, and Frank O'Hara; Contemporaries (those still alive
today) include John Ashbery, Mark Strand, Mary Oliver, Billy Collins, Seamus
Heaney, Paul Muldoon and Jorie Graham.
Many of the devices we use today
to analyze poetry are from Latin versification. Enjambment, for example,
comes from the French word "to straddle," and occurs when a phrase
ends not at a natural line break, but in the next line, as if to
"straddle" the two lines. Toward the beginning of The Aeneid, Vergil
writes:
insignem pietate virum, tot adire labores
Impulerit. Tantaene animis caelestibus irae?
This is obviously Latin, not
English, but even without any knowledge of the language one can see how the
phrase does not end naturally at "labores," but in the next line,
emphasizing "Impulerit," which happens to be the main verb. In this
same excerpt is an example of the caesura, another important poetic
device that derives from Latin verse. A caesura is a vocal
pause (often indicated by a comma or a period) that breaks a line into two
halves; it is commonly used to contrast ideas. In Latin poetry, a caesura may
only occur between the first and fourth feet of a poem, a foot consisting
of two to three vowel sounds. Additionally, in Latin, a caesura must break up a
foot—in the example above, the caesura occurs at the period after
"Impulerit." If "Im-pu-le" is the first foot (it is a dactyl,
but that will be explained later,) then "it-Tan" is the second foot
(a spondee), with the period standing in the middle, acting as a
caesura. In modern English poetry, a caesura is generally used to mean any
pause within a line, for meter is not as proscriptive as it was in Vergil's day
(The Aeneid is written in dactylic hexameter, which means that
every line has six feet, and every fifth foot must be a dactyl).
Anaphora is a term used to describe repetition, deriving from the
Greek word "to bring back." The Latin poet Catullus used it in line
63 poem #63:
Ego mulier, ego adulescens, ego ephebus, ego puer,
Without knowing Latin, we are
struck by the word "Ego," showing the significance of sound even
before comprehension in poetry ("Ego," is "I" in Latin, and
as you have rightly assumed, ancestral to the English word "ego").
A favorite Latin device of mine
is the chiasmus. Latin is remarkable for its sentence structure;
the ancients appear to have thrown their verbs and nouns around wherever they
pleased, resulting in some unique poetic devices. A chiasmus, derived
from the Greek word for a cross, occurs when a sentence or phrase follows an
ABBA structure, as in "Ask not what your country can do for you, but what
you can do for your country." In Woodrow Wilson's famous epigram, A stands
for "your country," and B for "you." The most famous
example of a chiasmus in antiquity is Catullus' poem #85, a brief two lines
that read,
Odi et amo. Quare id faciam, fortqasse requiris?
Nescio, sed fieri sentio et excrucior.
If you don't know Latin that
sounds like a whole lot of mumbo-jumbo, but one thing might have stood out: the
bookend verb pairs "Odi et amo" and "sentio et excrucior."
Without knowing Latin, we hear a repetition that encloses the rest of the poem,
just as the A in the chiasmus encloses the two Bs. Translated, these verb pairs
read, "I hate and I love" and "I feel and am crucified."
The negative verbs, the As, enclose the loving, emotional verbs, the Bs. This
poem is a double chiasmus, crossing in sound and meaning. In addition,
"excrucior," which sounds harsh without knowing Latin, means "I
am crucified," contributing even more to the imagery of a cross implied by
a chiasmus. (Draw a line between "sentio" and "amo" and
another between "excrucior" and "Odi." See? A cross.)
If these Latin devices
interested you, you might want to read further about litotes, metonymy, synecdoche,
and elegiac verse. With the exception of elegiac verse,
a meter which seldom appears in English poetry, these terms are not sonic
devices but figurative, and so I will not attempt to demonstrate them. They are
very fun to pull out in conversation, however, so I suggest you google them.
I mentioned much about feet while
demonstrating the caesura. Feet are fundamental to meter in
both Latin and English poetry. We use the same categories that the Romans did
for scansion, or the method of determining a poem's meter. There
are three main types of feet: a iamb, a trochee and
aspondee. A iamb is an unstressed vowel sound followed by
a stressed, atrochee is the inverse, a stressed vowel sound
followed by an unstressed, and aspondee is two stressed vowel
sounds. What is two unstressed vowel sounds called, you may ask? This is less
common and called a pyrrhic foot. The word "pyrrhic" comes
from the Greek leader Pyrrhichus, who invented a dance in which the motions of
war are imitated. Shakespeare implements all four types when he writes,
When to the sessions of sweet, silent thought
The first foot, "When
to," is a stressed vowel and an unstressed: a trochee; the second,
"the sess," is an unstressed then a stressed: a iamb; the third,
"ions of" is two unstressed: a pyrrhic foot; and the last two feet,
"sweet, si" and "lent thought," are both two stressed
vowels, or spondees. The meter of the line feels fast in the beginning, but
once it hits the stressed spondees, vocally we must slow down the words in
order to hit the stresses, giving weight to "sweet, silent thought."
Even if Shakespeare is somewhat complicated in his diction, his meter will
often direct his point. Also used in English is the dactyl, or one
stressed vowel followed by two unstressed, and the less common anapest,
the inverse, two unstressed vowels followed by one stressed. The first line of
Tennyson's "The Charge of The Light Brigade" contains two dactyls:
Half a league, half a league,
While William Cowper's
"Verses Supposed to be Written by Alexander Selkirk" contains three
anapests in a line:
I am out of humanity's reach
Compare the dactyl's stressed,
unstressed, unstressed in "Half a league" with the anapest's
unstressed, unstressed, stressed in "I am out." The first is
forceful, the second sounds near impotent, out of control. The meter directly
correlates with the meaning of the poems: Tennyson's describes a
"charge," Cowper's, estrangement.
When people comment that
Shakespeare writes in iambic pentameter, they mean that his lines
favor a iambic cadence, using other feet only to shift emotion, and are five
feet to a line. Writing in iambic dimeter would be two feet to
a line; three feet is trimeter; four is tetrameter;
five is pentameter; and six ishexameter. "The Charge of
the Light Brigade," two feet per line and favoring dactyls, is an example
of dactylic dimeter.
----
So, was this
communication discurs of modern poetry and/or something else?
So, was this a
lesson or just a hint of communication within the poetry?
So, was this a
poetry communication agenda or just a short fiction?
Let's discuss and
hear what you have to say, dear readers. I am always open for discussion[xv].
4. People like you in Bosnia Herzegovina
still prefer to write and read poetry in the native language or have you
realised the importance of exporting your literature through other languages?
I was lucky being thought English language (and still
learning, of course). As I have said in the interview given few months ago to
the International magazine for poetry, poetic culture and spirituallity „Kado“
from Romania and its editor (famous Romanian poet and writer) Marius Chelaru, I
will repeat again:“ I do not want to be national writer. I want to be writer of
the nations.“ That is the answer on your question, dear Patrick. I writes
poetry in BHS language, but I can feel it in other languages as well. When I
read not just my poetry in English, but ot he other ones as well. In other
languages the poetry does not just sound differently, but also influence all of
us in different kind of way. I would like to wider my answer and explain this
because after being translated and published in fifteen world languages (in
magazines and books published)[xvi]
I can say that every new translation is the new poems. To explain? Again, easy.
Should we talk about translating or rendering[xvii]?
It
is very difficult to distinguish methodologically, and in the same time it is
very easy to face with the challenge to explainthe above title of the assumed
essay.
Thus,
while on one hand translation is the introduction of civilizational[xviii],
cultural[xix]
and literary[xx]
norms implied within the space and time in which we live, in the other in front
of us is the uncovers the world of rendering that opens a entirely different
door. Of the paradise. Does it?
About
that little bit later - now we should
immediately separate the
translation from rendering
although both forms are very complementary. Verses[xxi]
renders while novels and stories[xxii]
translates. Such a rough definition of diversity is very sensitive and place
many questions that needs answers.
At
the very beginning there is, within the translation of prose, try of the approach
of one culture to another. How? The translator is faced with space and time
unknown to him, or at least partially known, and his wish is that he wanted to
get close to the time and space in which he currently lives. And translates.
Introducing with the creation which he translates is not only reading, knowing
the language of translation and orientation towards the long and difficult work
of the "literal" translation. No! In front of him is to be introduced
the culture of time and space which he
translates. He must know the historical,
cultural and civilizational weft of the issue he is focused on about which he
is talking and doing about during the translation, because the book[xxiii]
he might like it or not, but in the same time he must be also not just a translator
but a historian, linguist, sociologist, and a bit philosopher and politician as
well. Because you never know what can be "lost in translation".
Then
we arrive to the rendering of which occurs within the prose as well as an
upgrade because there is a thin line between a person's awareness of the
translation and doing it. To clarify-
Just because of entering of someone creations in a new space, but often
also in new time, we are faced with two types of translation – literal kind and
free kind[xxiv].
At first we are just under the jurisdiction of
our own responsibilities and knowledge of the language from which we are
translating[xxv],
and at the second we certainly have to know our own language on which are
translating into. Yes, not just only that, but also we have to, through
rendering, refining and shaping the creation. Now we comes to the interaction
of the translation with rendering, because there is an invisible border where
we cross from one to the another part of the work. And doing.
Great
nations have big translations and rendering, while small nations have small
translations and renderings.
However all, in fact, depends on:
1. Orientation
of the state[xxvi]
to assist the invasion of its creations into other spaces and times
2. The
strength and skill of those who translates and renders the creations.
Item
1. is very contradictory because also from small people comes big translations[xxvii]
but also from great nations. But, generally speaking, the smaller[xxviii]
nations must invest more in translating to shape up their place under the sun
of the world appearances. Thanks to the World Wide Web, we have come closer to
the absolute freedom[xxix]
which can become absolute[xxx]
only until it threatens the freedom of others and different ones, where we can
make contacts, exchange of knowledge and hopes. And in any moment not to forget
that we are, first and foremost, the humans. But there is a
"catch-22" that exactly at Internet generates suspicion. Because more
than 95% of the World Wide Web is polluted with overall ugly forms of representation
of translation and / or renderings[xxxi]
that makes disservice for the culture
they come from.
Item
2. is a conditio sine qua non of
translation and/or rendering. Though I agree with Mladen Machideom[xxxii]
who sets seven postulates within translating of poetry: the reasons of
translation[xxxiii],
translation[xxxiv]
effects, questioning the translation as such, melancholy after translation,
moralism with translation, solidarity with other translators, poetry and
function of translatio, I would add one more thing. Simple one and it is in two
words: Rendered translation[xxxv]
which can be very good upgrade.
At
the same time, we must take into account the historical assumptions when
translating and/or renderings are in question. Some creationss have to wait
hundreds of years to be translated and/or rendered for one reason or another[xxxvi],
and some are here, just around the corner, as once upon a time "bread and
games" where we have a home
writers and poets, depending on how close to the government or not they are.
But, thanks to the liberalization of consciousness (within the specified 5%)
the quality, and not just assumption of the market, sometimes knows how to be
avangard. But the patience is needed. Because of that I have to answer the
question "Does it ...?" from the beginning of the essay on
translation or rendering. We just have to make sure that the waves of
inspiration do not carry us and crash us the rocks of the hopes. One thing is
what the author has written, and quite another
one how we translated or rendered it. If we are not "taught"
to think just about it.
So,
translation or rendering? Both, because the translating and the rendering are
of the equal forces only when they are molded wtihin the creation which is
transferred from one culture to another, from one area to another.
Just
on that have thought Jules Marouzeau in The
application of Latin language[xxxvii]
when he mentioned problems in transferring creations from one culture to
another.
However,
as a conclusion imposes quotes of the translators from the area of
South-Eastern Europe, Zlatko Crnkovic: "When you read the translation as
the original, it's beautiful[xxxviii],"
or something slightly towards East at Milorad Pavic, author of "Khazar
Dictionary" and the translator of Pushkin[xxxix]
and Byron, who says that the character of Onegin has been made up of three
elements: the autobiographical character, appearance of the character and
contradiction within the character. If we take as a modus causalis both, Zlatko and Milorad, we get what every
translated creation must have: translation and rendering. In that is the
solution, regardless if we're talking about fictional or poetic creations.
If
we know what we are doing. Not just for ourselves. But primarily for readers to
whom we offer the creation for judgment and understanding.
And
last, but certainly not the least is that we must never overlooked that "he's not the biggest fool who can
not read, but the one who thinks that everything he reads is true[xl]."
To be able by ourselves to read creations which we are translating or
rendering, we need to know how to separate the truth from the lie. It is the
same with translation as well as with rendering. Simply, we have to know when
to do the translation and when to do rendering. Simply, we have[xli]
to know when to translate and when to translate.
It
is a never ending story.
But
with the beginning.
Last,
but not least to underline again and to prove all above mentioned from my side
in this interview for your prestige magazine, as a writer and poet from Bosnia
and Herzegovina, I have just published a novel[xlii]
by Serbian Publishing company „MostArt“ ( Belgrade, Serbia) and have promoted
that in Albanian Embassy of Sarajevo on 18.4.2013. Three in one, isn't it?
__________________________________________________________________________________________
[1] Sternberg, R. ;
Grigorenko, E; Singer, J (2005) Creativity
– from Potential to realization. American Psychological Association,
Washington DC. Also, definition of the creativity lays on the issue to whom we
are targeting the question: What is definition of creativity and this time I
was focusing on the poetry as the product of its own within the mind of
creation.
[ii] Feeling is not the same as ratio
[iii] Titled:
„Destiny“
[iv] As Prof. Bojana Škorc, Phd. (Belgrade, Serbia) wrote in the
title of the book „Creativity within interaction“...I add: „My creativity is
interaction as well“.
[v]
[vi] All poems
translated in English from Bosnian/Serbian/Croatian (South-Slav language- BHS
language) by Sabahudin Hadžialić
[vii] The agora (Ancient
Greek: Ἀγορά, Agorá)
was a central spot in ancient Greek city-states. The literal meaning of the word is "gathering
place" or "assembly". The agora was the center of athletic,
artistic, spiritual and political life of the city
[viii] Bosnia and
Herzegovina was part of Socialist Federal Republicf of Yugoslavia from 1945
until 1992 and disolution of the country (as of 1991/92 now we have new
countries instead one before: Slovenia, Maceddonia, Croatia, Serbia, Bosnia and
Herzegovina, Montenegro and recently Kosovo*)
[ix] From Belgrade,
commited suicide at the age of 27 back in 1960's.
[x] We have to get
out from national exclusivity (we can use Heine and Troeltsch as starting
points who have seen the problem between Franch and German – coomunication
problems and mentality issues - people
after I World war, one as the person who
inherited romantism and other as historian and sociologist) and thoughts that
other have to adjust to us without any questioning instead of thinking about
exlusivity that we all are exlusive and let us unite within our diversities
- let us be with multi –identities,
instead having just one. I often quote my aphorism: „Nation is the creation of
the history. We just have to wait until the end of history.“ Only few are the
members of two, but only one person is the member of all major ethnic
association of writers within former Yugoslavia area (Association of writers of
Bosnia and Herzegovina, Association of writers of Serbia, Association of
writers of Montenegro and Croatian association of writers of Herzeg-Bosnia).
The mentioned person 's name is Sabahudin Hadžialić.
[xi] http://www.diogenpro.com Editor in chief
Sabahudin Hadžialić
[xii] Not just me as
an Editor, but also the whole Editorial board of the DIOGEN pro culture
magazine
[xiii] Krystyna
Lenkowska
[xiv] In poetry, enjambment or enjambement is the breaking of a syntactic unit (a phrase, clause, or sentence) by the end of a line or between two verses.
It is to be contrasted with end-stopping, where each linguistic unit corresponds with a single line, and caesura,
in which the linguistic unit ends mid-line. The term is directly borrowed from
the French enjambement, meaning
"straddling" or "bestriding". Enjambment is sometimes
referred to as a "run-on line."
[xv] E-mail:
sabihadzi@gmail.com
[xvi] English, German,
Spanish, Arabian, Slovenian, Macedonian, Albanian, Estonian, Polish, Italian,
French, Hungarian, Turkish and Romanian -
Official www site: http://sabihadzi.weebly.com
[xvii] In verse(poetry)
and/or prose
[xviii]
With affiliation to the same civilization, we can only expect upgrade at the
translation or rendering. The second question just imposes: What about
translating or rendering other civilizations that vanished into the darkness of
time, before us? How we could know if we
are "inserted that" in the translation or rendering when we talks about civilization per se?
[xix]
Although the culture is the heritage of the whole group and the
Latin word colere that talks about
the "colonization, farming ..." it a strange word. In fact, we live
in a time when culture is often gets skew form of simplified assumptions of
expected hopes - with translations or
rendering. In medias res: Culture is
called aqlso the rigid forms of human dreams, downgrade forms of the presentation
of own legacy aimed towards underrate of other and different one. How do you
fight against that? Through the culture,
but different kind. Promoting those values that unite, inspire, and for a one
moment not doing to others what we would not want someone to do to us. It is
difficult, but as Erich Fromm wrote in the book "Escape from
Freedom", "But, through whistling in the dark the light is not
created." (Nolit, library Constellation, Belgrade, 1983, p.125). All we
have to do is to act effectively.
[xx]
About the the standards (the norms) all the best! When we talk
aboutthat we have to know to make difference between literary language and its
rendering and /or translation in relation to the daily, slang language in which
we live.
[xxi] Poetry
[xxii] Prose
[xxiii]
"A book is like a pair of scissors, a hammer or a nail, once
fictional subject and nobody is no longer can
change it significantly, he said, and said that he is not afraid of the
forecasts that modern media will overpower the book because the book is"
definitely will be in use forever, " Umberto Eco, Book Fair in Istria,
Croatia, 2006.
[xxiv]
Scientific Research Institute IBN SINA, Sarajevo -
"Translation as the art and the science":
[xxv]
Peščanik: Boris Buden - "I believe that this fact must be
associated with the traditional idea of
translation as a mere reproduction of an original, which lacks authenticity
and autonomy of its own": http://pescanik.net/2008/12/o-prevodenju/
[xxvi] country
[xxvii]
Ivo Andrić: "The bridge on the Drina" and the Nobel Prize
for Literature 1961 and it comes from the little people from the Balkans.
[xxviii]
According to the number of members of the community and not in any
other way.
[xxix]
Although not just once Erich Fromm mentioned in his book
"Escape from Freedom" that it does not exist, but the ongoing/without
stop battle for her...
[xxx]
And what is the "absolute" than divine form of your own mind about the size
of insects whom somebody call the people.
[xxxi]
Generally, as we stated, 95
% of the WWW is burdened with ignorance, hypocrisy, false hedonism that is
directed towards insults and scorn of other and different ones, in other words,
treating of own trauma becoming, electronically, entirely something else. Twenty-five
percent is at the crossroads of knowledge and ignorance. How to overcome this?
My suggestion is to always check what is that person and /or group was/were
doing 10, 20, 30 years ago, and you will
know. Evolution, in my humble opinion, in human consciousness exists only to
the fact that it does not threaten me, because humans, stronger than
animals, tends towards admiration and
obedience. Just need a leader or more of them, and the livestock is ready for
pasture. Those 5% of others, with different opinion and attitude are here to be
a force of the betterment as directed towards.
[xxxiii]
positive
[xxxiv]
negative
[xxxv]
The explanation is simple: Although within his postulates exists
already mentioned, I think that it is necessary to separate "rendered
translation" as upgrade of the creation itself, and that in collaboration
with the author of the creation, which we are translating (in a case of the
living, contemporary, author), where in the course of translating we conducts
interviews and contacts with a a goal to have clarification of the certain
parts of poeteic. Poetry is a wonder in the world. And then we add our "schmek"
which creates a new creation. Because sometimes rendering is an upgrade of the
creation itself. Example: My poems are translated from BHS language into
English in 2011. by Anya Reich, and then from English into Estonian in 2012.
University professor, Ph.D. Lauri Piltel, who has translated my poems from
English, working on an introductory overview for the journal Akadeemia from
Tartu, Estonia (November / December 2012th, No. 11, p. 2001.), have compared
verses from my ten poems with poetic of the creation of Charles Bukowski,
Witold Gombrowich, Walt Whitman, Ivo Andric, Mikhail Bulgakov, Danilo Kis and
Mesa Selimovic: http://sabihadzi.weebly.com/akadeemia-magazine-estonia.html
. And what to say after this? Through silence you say everything.
[xxxvi]
Linguistic, ideological, sociological reasons
[xxxvii]
Jules Marouzeau, Einführung ins Latein. Deutsche Übersetzung von
und Bearbeitung André Lambert unter Mitwirkung Heinz von Haffter, Zurich und
Stuttgart: Artemis Verlag, 1966. (Original: 1954.), Sec. XI.: The application
of Latin language. Translated by Ivica Studenović - "Yes to could do that
effectively, I thinks that should be determined the essential parameters of a
good translation: the translation must be such that the reader finds in it not
only the exact content of the text, display and sequence of thoughts with its
nuances, but, as far as it is possible, the shape/form that encircle that meaning: the form of linguistic treasure, grammatical form, syntactic structure,
peculiarities of style, so that makes the translated text to be able to serve
as a basis for interpretation or judgment of
the valuation as well as the
original text. "Exactly express the content of the text," says A.
Guillemin in an article about the difficulties in translating (Revue des études
latines, 1924. P. 182), "but also expressed the impression which the reader gets
through reading of the text."
"To be faithful" says Marcel Prévost in the introduction to his
translation of Heroida (Collection of Buddha, p. XXII), "but also to
express distinctiveness of a style ... achieve literary value of the original
text in French ..., to set up French readers in that kinf of relation to the
French text exactly as which Latin reader was towards the Latin text. "
Squaring the Circle? asks Prévost himself. Certainly! "Express the Latin
text in French," he says, "is one of those problems that
mathematicians say that they have too many restrictions, such as four randomly
spots to connect with a circle ... in
most cases the best is that we can try is to draw a circle through three
points, and to bring as much as possible towards the fourth. " Very good!
We set a goal for ourselves this convergence to the quadrature!
Another
difficulty and the last - final warning. There's a tendency of translators
whose roots are in our literary ambition, and it is difficult to be corrected:
it is an attempt to sacrifice the sense to
the shape/form - how to say that in a happy way - literal towards a
beauty. Question that students often ask themselves and that sometimes takes a
fight against the affinities of their
teachers, being able to understand it more or less correctly, is this: can it
be true or must it would be writen in good German? This question I woul like to
formulate differently: Considering these two languages which are both, in
form and spirit, so different, it is impossible to have direct transition from
one to the other, and must be applied endless efforts and drolleries to express
one with another and it always seems
that we can do the task and/or is
not developed enough to deal with - which one of these two incompatible demands
we will sacrifice: fidelity to the text, or beauty of the form? I would without
hesitation, and from my own experience, no matter what it cost me to respect
this response, say neither of them. If there is a readiness in principle to a
abjure of a portion of the task, it will affect the whole task. Translation
must be accurate and must be "German". Since it is impossible to
simultaneously fulfill both requirements, the force of circumstances in both we
are stopping halfway. However, this convergence is more valuable than any kind
of half solution that would compensate the lack of interest for one claim
through excessive concern for anothe claim. The worst would be for a translator
that from principles to satisfy with the compromises. The translation must be
and remain a struggle. In that case, the translation may be, more than the
exercise of Latin and German language, become fruitful exercise and methodical
act of spiritual integrity.
[xli]
Although I do not like that word because has ordering in it.
[xlii] Titled CROSSROADS OF THE WORLDS- I part THE BOX OF LIFE“, I
edition 2013. – story settled within XI and XXI century within South-East Europe - Bosnia and
Herzegovina, Croatia, Serbia (and Turkey, Austria and France as well) seeking
for identity, love and future of humanity.
_________________________________________________________________________________
A brief c.v. of Sabahudin Hadžialić:
Sabahudin Hadžialić was born 23.9.1960.g. in Mostar, Bosnia and Herzegovina, Europe.
Today he is a member of
the Bosnia and Herzegovina Association of Writers (Sarajevo, BiH),
Croatian writers association Herzeg Bosnia (Mostar, BiH), Association
of writers Serbia (Belgrad, Serbia), Association of writers of Montenegro
(Podgorica, Montenegro) and Journalists Association
of Bosnia and Herzegovina, Association of independent intellectuals “Circle
99”, Sarajevo and Ambassador of POETAS del MUNDO in Bosnia and
Herzegovina.
He
has the status of the Self-sustained artist in the Canton of Sarajevo since 1.1.2009. As of 1.1.2013. he has a status of
Distinguish self-sustained artist in Canton of Sarajevo by the Decision of the
Minister of culture and sport of the Canton. He writes poetry and prose with the editing and reviewing books of other authors. Works as honorary teacher on International University
Travnik (BiH), Faculty of media and communications.
He was freelance editor in the publishing house Dhira, Küsnacht, Switzerland (2009-2012).
He published poems, articles, essays (PR), aphorisms, plays and short
stories in almost all major newspapers & magazines in Bosnia-Herzegovina, Serbia, Croatia, Slovenia, Macedonia. His poems, short stories and aphorisms have been published in journals in England, Ireland,
Spain, Kosovo*, Italy and USA.
His poetry and prose
were translated into
English, French, German, Spanish, Turkish, Italian, Arabian, Polish, Estonian, Albanian and Romanian.
He
was the co- owner is the first private newspaper in SR BiH "POTEZ", Bugojno, Bosnia and Herzegovina
- 1990.
So far he has published fourteen books of poetry and prose.
He published four books internationally: Book of poetry in France 1998 (French language),
Book of aphorisms in Italy (Italian language), Book of poetry “Beggars
of mind” (published in BiH back in 2003.) in Switzerland (German language) and
“Selected poems” book of poetry (in English, German, Italian, Albanian, Spanish
and French language). His art
work has been included in
anthologies of poetry in France, Canada and Bosnia and Herzegovina, and in the Anthology
of satire of Bosnia
and Herzegovina and of Balkans. He has won several awards among which are the best: "May pen" for the best young poet of former Yugoslavia in 1987 (Svetozarevo). He lives in Sarajevo,
Bosnia and Herzegovina.
Prepared and edited:
2011. - Co-editor of the “Poets for
World peace” Vol. 3 (Anthology of poems – poets from 25 countries from all
around the World together with Dr. Ram Sharma from India)
2011.
– Editor of the FIRST Anthology of ex-Yu aphorisms with 73 satirics/aphoristics
from ex-Yu republics.
2014/15: Within the preparation are Second
part…First part (The Box of life) has been published in April 2013., by
Publisher, MostArt, Belgrade:
The
novel (trilogy "CROSSROADS OF THE WORLDS")
Destiny of hope.
Kif jidher, dan kollu jieħu dimensjoni importanti fi ħdan Malta Ewropea fejn
il-Ġnus saru nazzjon wieħed filwaqt li kull wieħed baqa’ jżomm l-identità
partikolari tiegħu. Għaldaqstant l-għarfien ta’ ilsna differenti biex ikun
jista’ jsir dan ix-xogħol huwa importanti wkoll. Iżda tajjeb li wieħed jgħid li
biex issir it-traduzzjoni dak li jkun mhux biss irid ikun jaf il-lingwa imma
mkisser f’dik il-lingwa li jkun qed jittrasporta lejha u dan minħabba l-użu ta’
kliem kif użat minn nies tal-post, kif ukoll l-idjomi. L-użu tad-dizzjunarji
għandu rwol importanti wkoll. Hawn ma nistax ma nsemmix ix-xogħol kolossali
tal-Profs. Gużè Aquilina. Frankament ma nafx x’konna nagħmlu mingħajr ix-xogħol
ta’ Erin Serracino-Inglott u Gużè Aquilna.
Il-kitba tal-poeżija għalija hija attività importanti. Bħala volum ta’
poeżiji jien forsi b’xorti ħażina ma tantx nikteb poeżiji, mhux għax ma jiġunix
versi f’moħħi jew fil-ħsus ta’ qalbi, imma nħossni tqil biex naqbad il-pinna u nniżżel
ħsibijiet. Għalhekk b’xorti ħażina, ħafna poeżiji mietu fuq xufftejja.
Madanakollu, meta vers jew versi jew ħsibijiet nibqa’ niftakarhom, mela dak
huwa mument li ma nistax naħarbu u rrid jew ma rridx ikolli nikteb dawk
il-versi. Ħafna drabi mbagħad inħossni kuntent illi ktibthom imma mhux
neċessarjamanet li nerġa’ nirrikori għalihom. Iżda dawn il-mumenti uniċi
bil-mod il-mod jinġemgħu f’għadd ta’ poeżiji li jista’ jkun ’il quddiem ikunu
ppubblikati.
6.
Dwar il-poeżjija tiegħek: inti tippreferi fuq kollox is-sempliċità fuq
livell ta’ lessiku u xbieha, jew int favur il-poeżija ermetika li tinftiehem
mill-ftit? Għaliex dan?
