Non-Hegemonic Homophonic Translations: The Rebus & Artemus Ward et alia's Gap between the sound & look of words
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IN RESPONSE TO A QUERY RE HOMOPHONIC TRANSLATIONS CRITICAL WORKS I FORMULATED TWO DIFFERENT OTHER WAYS FOR CONSIDERATION AS HOMOPHONIC TRANSLATIONS
IN RESPONSE TO A QUERY RE HOMOPHONIC TRANSLATIONS CRITICAL WORKS I FORMULATED TWO DIFFERENT OTHER WAYS FOR CONSIDERATION AS HOMOPHONIC TRANSLATIONS
this is not "exactly" homophonic translation (of which i'm guilty of myself) but perhaps more "radical" in the works and conceptions--or at least a lot of fun--("It's fun to have fun if you only know how," as the Cat in the Head says--)
I want it understood that only the avant-garde of the intelligence itself preoccupies me, and not all the schools this avant-garde fits into. I dread the day when the name of the invention--which is a phenomenon of commodification--overshadows the real search for transgression . . .
Throughout my life, I’ve had no other goal than to be an extremist, at that battlefront which alarm clocks suggest even as they lure us into the traps of life.
--Gabriel Pomerand, in Saint Ghetto of the Loans
(both the below examples i cite have a wealth of critical materials involved with them
the best way is to use the various--more than one--search engines at your disposal--)--
So- one finds then- "translation" at the core of a lot of the humor writing in 19th Century America, especially since the "American language of the time, despite the first Webster's Dictionaries, " had not yet settled down and become "fixed" in its spellings, grammar, usages, meanings,(it still hasn't to some degree--) --in other words, it hadn't yet "grown up " and started making rules which grammarians and others liked to break, and so essay "writing badly"--instead of merely mediocerly--
The American tongue of the time was still in wildly wandering flux and wildernesses of its own, so that often commentaries and maps and ideas or phrases get translated into something completely "wrong" but to the persons participating seems "perfectly clear," seems "all correct."---and is so well liked it is taken in and "made to home" and handed a big cool jug of dandelion wine--and "starts to take root in the hearts of the people" and next thing you know has become a truly recognizably American word--
"all correct" for example was turned into "ok" by President Jackson; It is said that in signing documents that met with his approval, the hard fightin, hard drinkin. rough edged Democratic general of a President would sign in large letters --underlined with a flourish to be sure!--the letters/word "OK"--which to his mind was the abbreviation of "all correct"-which he knew as -"Ol Kur-ect"
Artemus Ward was the past master of this form of translation humor--the translation usually involving the vast differences, , as with President Jackson, between the spoken and the written word in terms of shape pronunciation meaning and sounds-
In one of Ward's stories for ex, two boys are discussing with a third something really amazing that they have read about,in a big grimy book with a title like "This Savage Whirled" --the discovery being no less than an immense snake of the amazon itself a river twisting like a snake and so immense- and exotic--and this exotic snake -a creature of the jungles more vast than any in America as far as they know-- is called by the local inhabitants or at least the supposedly lost scientist adventurer--is called by the mysterious name of a "Boy Constructor"
The third member of the party is puzzling over how snake could be at the same time a boy who is constructing something--a raft no doubt-- to escape from the snake
but----confused he asks to see the actual book with the magical name for the exotic immense snake--
and he reads out loud the words: "boa constrictor"
of course the adherents of the boy constructor translation are laughing at the down right ridiculousness of such a name for such a grand snake as "boa constrictor"--
while the third boy is hopping mad and in rare Rumpelstiltskin form--pogoing like a deranged punk rocker on the Savage Whirled book and tearing it and pounding it to pieces--
another form of translation is also based on things popular in the 19th century in America, being the democratization of what had been primarily a language game of the elites in Russia and France--
this is the rebus madness that swept the country and was later seized upon by a French Lettriste painter/poet named Gabriel ("l"Ange Gabriel") Pomerand as the method for making of his underground ultra classic and until recently very hard to find book called in English "Saint Ghetto of the Loans."
On the left hand side of the book is are the pages with the poet's Prose Poetry about the beloved area of Saint-Germain des Pres where he often performed Sound and Lettriste Poetry in the chichest of chic cafes for the likes of de Beauvoir and Sartre, Boris Vian, Cocteau and al the rest of St Germain'
s In Crowd--
On the facing, right hand side of the book are the extremely complex and beautiful rebuses for each at times letter, syllable, word or tiny contraction of two words-that appear in the Prose Poem .--
The rebus then functions directly as for the most part homophonic translations of the lexical prose poetry into the visual--
(in some ways this process reminds me a bit of playing charades--"Sounds Like" (tugging the ear and then making faces and gestures people think mean something like-- . "i'm deaf and i can't speak either" or there is a white elephant in the room"---etc etc
I know these are not directly the recognized standard "homophonic translations" which are very common and usually very easy ones to do --
you can even find them in those games and puzzles books for kids and if you are really lucky maybe someday inside a Crackerjack box!
i know homophonic translations are often used as a writing exercise in various writing workshops etc--or so i am told and have seen online these things listed--
so i wd think just search of the words "homphonic translations would lead to some excellent and surprising sources!
meanwhile i shall return to my Artemus ward fragments and making rebuses for the spirit that tires of words and craves images--
all very best for your search
but a google one shd unearth tons of things--
I want it understood that only the avant-garde of the intelligence itself preoccupies me, and not all the schools this avant-garde fits into. I dread the day when the name of the invention--which is a phenomenon of commodification--overshadows the real search for transgression . . .
Throughout my life, I’ve had no other goal than to be an extremist, at that battlefront which alarm clocks suggest even as they lure us into the traps of life.
--Gabriel Pomerand, in Saint Ghetto of the Loans
(both the below examples i cite have a wealth of critical materials involved with them
the best way is to use the various--more than one--search engines at your disposal--)--
So- one finds then- "translation" at the core of a lot of the humor writing in 19th Century America, especially since the "American language of the time, despite the first Webster's Dictionaries, " had not yet settled down and become "fixed" in its spellings, grammar, usages, meanings,(it still hasn't to some degree--) --in other words, it hadn't yet "grown up " and started making rules which grammarians and others liked to break, and so essay "writing badly"--instead of merely mediocerly--
The American tongue of the time was still in wildly wandering flux and wildernesses of its own, so that often commentaries and maps and ideas or phrases get translated into something completely "wrong" but to the persons participating seems "perfectly clear," seems "all correct."---and is so well liked it is taken in and "made to home" and handed a big cool jug of dandelion wine--and "starts to take root in the hearts of the people" and next thing you know has become a truly recognizably American word--
"all correct" for example was turned into "ok" by President Jackson; It is said that in signing documents that met with his approval, the hard fightin, hard drinkin. rough edged Democratic general of a President would sign in large letters --underlined with a flourish to be sure!--the letters/word "OK"--which to his mind was the abbreviation of "all correct"-which he knew as -"Ol Kur-ect"
Artemus Ward was the past master of this form of translation humor--the translation usually involving the vast differences, , as with President Jackson, between the spoken and the written word in terms of shape pronunciation meaning and sounds-
In one of Ward's stories for ex, two boys are discussing with a third something really amazing that they have read about,in a big grimy book with a title like "This Savage Whirled" --the discovery being no less than an immense snake of the amazon itself a river twisting like a snake and so immense- and exotic--and this exotic snake -a creature of the jungles more vast than any in America as far as they know-- is called by the local inhabitants or at least the supposedly lost scientist adventurer--is called by the mysterious name of a "Boy Constructor"
The third member of the party is puzzling over how snake could be at the same time a boy who is constructing something--a raft no doubt-- to escape from the snake
but----confused he asks to see the actual book with the magical name for the exotic immense snake--
and he reads out loud the words: "boa constrictor"
of course the adherents of the boy constructor translation are laughing at the down right ridiculousness of such a name for such a grand snake as "boa constrictor"--
while the third boy is hopping mad and in rare Rumpelstiltskin form--pogoing like a deranged punk rocker on the Savage Whirled book and tearing it and pounding it to pieces--
another form of translation is also based on things popular in the 19th century in America, being the democratization of what had been primarily a language game of the elites in Russia and France--
this is the rebus madness that swept the country and was later seized upon by a French Lettriste painter/poet named Gabriel ("l"Ange Gabriel") Pomerand as the method for making of his underground ultra classic and until recently very hard to find book called in English "Saint Ghetto of the Loans."
On the left hand side of the book is are the pages with the poet's Prose Poetry about the beloved area of Saint-Germain des Pres where he often performed Sound and Lettriste Poetry in the chichest of chic cafes for the likes of de Beauvoir and Sartre, Boris Vian, Cocteau and al the rest of St Germain'
s In Crowd--
On the facing, right hand side of the book are the extremely complex and beautiful rebuses for each at times letter, syllable, word or tiny contraction of two words-that appear in the Prose Poem .--
The rebus then functions directly as for the most part homophonic translations of the lexical prose poetry into the visual--
(in some ways this process reminds me a bit of playing charades--"Sounds Like" (tugging the ear and then making faces and gestures people think mean something like-- . "i'm deaf and i can't speak either" or there is a white elephant in the room"---etc etc
I know these are not directly the recognized standard "homophonic translations" which are very common and usually very easy ones to do --
you can even find them in those games and puzzles books for kids and if you are really lucky maybe someday inside a Crackerjack box!
i know homophonic translations are often used as a writing exercise in various writing workshops etc--or so i am told and have seen online these things listed--
so i wd think just search of the words "homphonic translations would lead to some excellent and surprising sources!
meanwhile i shall return to my Artemus ward fragments and making rebuses for the spirit that tires of words and craves images--
all very best for your search
but a google one shd unearth tons of things--
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