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Twin Spin - 17 Shakespeare Sonnets Radically Translated and Back-Translated by Ulrike Draesner and Tom Cheesman

Cód:

491_9780995456402

Twin Spin - 17 Shakespeare Sonnets Radically Translated and Back-Translated by Ulrike Draesner and Tom Cheesman

Editora:

Taylor Institution Library

Código:

491_9780995456402

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Shakespeare's Sonnets have captured the imagination of German poetry translators for centuries, each of them interpreting them anew. None of these poems have been accessible in English until now. Ulrike Draesner's "radical translation", ‘Twin Spin’, entwines the languages of poetic reproduction and cloning. Tom Cheesman’s back-translation, 'Thymine', back-translates her work into English, completing a cycle of re-interpretation.Ulrike Draesner wrote in ‘Dolly and Will’ (2000) about her approach: "Shakespeare’s sonnets deal with procreation – manically, obsessively, directly. [...] Set against a keen sense of mortality, Shakespeare’s poems are dreams of survival – both in the flesh and in writing, the two prime means of self-reproduction through the creation of memory. The sonnets fantasize marriages; ‘procreate, procreate, reproduce yourself,’ their obsessive dream whispers. The interplay of gender roles goes so far and becomes so quick that the sexual determination of those involved more or less cancels itself out. Only one thing counts: to give temporality the slip (for oneself and perhaps for another, or for another and thus certainly for oneself). ‘Time’ is the real third party, the ‘uncanny other’. It is confronted by Shakespeare with his poems’ unconditional and shameless appetite for life – if there was ever anything scandalous about these poems, then it is this hunger: scandalous, intoxicating and wonderful. [...] In my radical translation, Shakespeare’s sonnets thus mutate into a sequence of a clone being spoken to, of the clone responding, of the speech of clones in a cloned world. [...] My radical translations turn Shakespeare’s words around, deliberately picking up on the wrong (i.e. non-canonical) ends of their polysemanticity, standing them on their heads – just as the “natural” world of re

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