Paraverse press (35 Ergebnisse)
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Taschenbuch. Zustand: Neu. Neuware - 1. Identity - collective -- Japan 2. Orientalism -- Occidentalism 3. Intercultural communication - stereotypes 4. Translation theory - Japanese/English 5. Japanese - sociolinguistics Languages exotic to one another, such as English and Japanese, create false images of their respective speaker…s which form and confirm stereotypes that can be denied by Cultural Relativism but not disproved, much less vanquished. Being in denial is not the same as being cured. This book, like the author's seven books published in Japan/ese, treats prejudice by uncovering its roots and exposing them to the healthy light of reason. At the same time, it rethinks Orientalism together with Occidentalism by including the Sinosphere's perspective of what is East and West. While students of translation, sociolinguistics and cross-cultural studies may benefit most from the discussion (there are copious notes and indices of names and of ideas), the heart of the work is pure essay, 'a work of travel by the path of language' that 'leads us through delicious nuances . . . into important mysteries.' Robin D. Gill is an American, who began to study Japanese as an adult and published his first seven books in that language while working as an acquisitions editor and translation checker of fine nonfiction for Japanese publishers. His most recent book, and first in English, Rise, Ye Sea Slugs! boasts close to 1000 holothurian haiku. The three most common adjectives used by reviewers describing him and his work are 'eclectic,' 'erudite' and 'fun.'.
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Taschenbuch. Zustand: Neu. Neuware - Rise, Ye Sea Slugs! is a book of many faces. First, it is a book of translated haiku and contains over 900 of these short Japanese poems in the original (smoothly inserted in the main body),with phonetic and literal renditions, as well as the authors English translations and explanations. All… but a dozen or two of the haiku are translated for the first time. There is an index of poets, poems and a bibliography. Second, it is a book of sea slug haiku, for all of the poems are about holothurians, which scientists prefer to call sea cucumbers. (The word cucumber is long for haiku and metaphorically unsuitable for many poems, so poetic license was taken.) With this book, the namako, as the sea cucumber is called in Japanese, becomes the most translated single subject in haiku, surpassing the harvest moon, the snow, the cuckoo, butterflies and even cherry blossoms. Third, it is a book of original haiku. While the authors original intent was to include only genuine old haiku (dating back to the 17th century), modern haiku were added and, eventually, Keigu (Gills haiku name) composed about a hundred of his own to help fill out gaps in the metaphorical museum. For many if not most modern haiku taken from the web, it is also their first time in print! Fourth, it is a book of metaphor. How may we arrange hundreds of poems on a single theme Gill divides them into 21 main metaphors, including the Cold Sea Slug, the Mystic Sea Slug, the Helpless Sea Slug, the Slippery Sea Slug, the Silent Sea Slug, and the Melancholy Sea Slug, giving each a chapter, within which the metaphors may be further subdivided, and adds a 100 pages of Sundry Sea Slugs (scores of varieties including Monster, Spam, Flying, Urban Myth, and Exploding). Fifth, it is a book on haiku. E ditors usually select only the best haiku, but, Gill includes good and bad haiku by everyone from the 17th century haiku master to the anonymous haiku rejected in some internet contest. This is not to say all poe.
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Taschenbuch. Zustand: Neu. Neuware - One of a line of books of translated haiku (from Japanese) about single themes by Robin D. Gill. Fly-ku! introduces hundreds of haiku about flies, fly-swatters and fly-paper, scores of which are by Issa (1763-1827), whose famous ku about a fly begging not to be swatted has long been controver…sial because of its alleged maudlinity and anthropomorphism. Gill defends Issa and his famous fly-ku, while showing that Issa-lovers, on their part, are wrong to assume he was the first to notice flies rubbing their limbs together. There already was a century of such flies in haiku and an even older tradition of expressive 'hands' in bracken that is given a whole chapter in this book otherwise dedicated exclusively to musca maledicta (and, occasionally, benedicta). Similarly to Gill's earlier Rise, Ye Sea Slugs! most of the poems included are hundreds of years old and thematically chaptered, but the approach is phenomenological rather than metamorphic: flies that beg, flies that are swatted, flies that escape, flies that stay, etc. To balance the picture, there is a long chapter with 100 modern and contemporary fly-ku, and part of the longest chapter (Sundry Flies) introduces a dozen or two foreign (English language) fly-ku. Gill, himself, professes more interest in the poetry of mosquitoes, fleas, silverfish, cicada and lightning bugs, but making a big (and totally accidental) discovery about Issa's famous fly-ku - it would seem to borrow from an unknown senryû about the warrior Benkei - he decided to do this book first. In addition to the original Japanese to all poems, there is an essay in Japanese about this discovery and its significance appended. It adds a bit to the price, but like all Paraverse Press books, Fly-ku! is extremely cheap for an English language book including Japanese. A sample paragraph from the Foreword: To swat or not to swat: that is the question posed by many if not most of the thousands of haiku written about flies over the past four or five hundred years. The answer, if there is an answer, is not simple. Most Japanese poets hardly shared John Muir's sense of kinship for 'our horizontal brothers', who 'make all dead flesh fly,' much less John Clare's gushy affection for 'our fairy familiars.' Even the haiku of the most merciful poet of all, Kobayashi Issa, whose feeling for flies comes closest to that of the American naturalist and English nature poet, did not really condemn swatting as most of his Western and, for that matter, Japanese readers, usually imagine.
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Taschenbuch. Zustand: Neu. Neuware - Robin D. Gill, author of seven books in Japanese, is best known in the English-speaking world for thematic books of translated Japanese poetry. From Rise, Ye Sea Slugs! (haiku) to The Woman Without a Hole (senryu) and, most recently, Mad In Translation (kyoka), he developed multiple readings…to prevent or compensate for loss of wit and style in translation between exotic tongues. Readings varying far enough from the original to become separate poems came to be called 'paraverses.' Readings combined into a single cluster to English Japanese poems of Joycean density untranslatable as single poems came to be called 'composite translations.' While this book essays the translation of poetry and glances at other books of multiple translation, it is mostly an exhibition of the art not only intended for serious students or scholars of translation but all word-lovers. While the author hates 'how to' books, writing the last chapter, he came to realize that not only translators, but monolingual readers who find it hard to compose poems or do not know how to get other people to do so, might find it instructive. He dreams of millions of people working out their own poems - or variations on others' work - rather than crossword puzzles. A crossword solved ends up in the trash; with a poem, you can have your cake and not only eat it, too, but serve it up for others to eat. Any major newspaper or magazine editor with brains who reads this book should be able to figure out how to make that a reality. A DOLPHIN has 8 punning pictures by Thomas Hood (1799-1845), and no index but a dual Table of Contents, one ordinal and one categorical. The main title is part of a phrase from Horace who warned those who played with words and variation in translation to take care lest they end up with a dolphin in the woods and a boar in the flood (delphinum sylvis appingit, fluctibus aprum). Sample of ORDINAL Table of Contents: 01 The Way of Ways, or count the ways to translate the first 6 characters of the Tao-Te-Ching. 02 Rise, Ye Sea Slugs! or the miraculous birth of elegant composite translation clusters. 03 'Still to be neat,' 'The Essay on Man' and other challenges for metaphysical paraverse. 04 God without turns demon within, or how aphorisms may be multiplied to no end. Sample of CATEGORICAL Table: I Multiple Translations: Watts/Tao-Te-Ching; Sato/Bashô's Frog; Mostow/100-poets, Hofstadter/Le Ton Beau de Marot, Weinberger/Nineteen Ways ch. 1, 5, 9, 13, 17. & my own 20, 21, 22.
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Taschenbuch. Zustand: Neu. Neuware - Even readers with no particular interest in Japan - if such odd souls exist - may expect unexpected pleasure from this book if English metaphysical poetry, grooks, hyperlogical nonsense verse, outrageous epigrams, the (im)possibilities and process of translation between exotic tongues, the re…ason of puns and rhyme, outlandish metaphor, extreme hyperbole and whatnot tickle their fancy. Read together with The Woman Without a Hole, also by Robin D. Gill, the hitherto overlooked ulterior side of art poetry in Japan may now be thoroughly explored by monolinguals, though bilinguals and students of Japanese will be happy to know all the original Japanese is included. This Reader is a selection from 'Mad in Translation - a thousand years of kyôka, comic Japanese poetry in the classic waka mode,' a 2000-poem, 200-chapter, 740-page monster of a book. It offers a 300-page double distillation high-proof sample of the poetry and prose, with improved translations, re-considered opinions and additional snake-legs (explanation some scholars may not need). The scattershot of two-page chapters and notes have been compounded into a score of cannonball-sized thematic chapters with just enough weight to bowl over most specialists yet, hopefully, not bore the amateur and sink a potentially broad-beamed readership. (More information may be found at the Paraverse Press website or Google Books).
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Taschenbuch. Zustand: Neu. Neuware - Imagine a cat who mastered more tricks than a highly trained dog, covered up cans of food he did not want to eat before they were opened and could delicately touch a tiny finger-spun top repeatedly without stopping it. Han-chan was such a cat. His memory, preserved in notes and sketches, insp…ired an authority on stereotypes of national character and translator of Edo era Japanese poetry to essay out of his fields of expertise and into felinity. Sample chapters: The animal that kneads the world. / Conversing with cats: easier in Japanese / Smiling with closed eyes, or far from Ecotopia. /Are cats the most or least false animal. / Beauty: Is it relative or . . . is it the cat / A little red mouse, or are we keeping the right pet / The third-generation tanuki - a new theory of domestication. Observations are coupled with thought about things such as 1) whether the altered behavior usually explained as saving face or covering up weakness is not more like improvisation that, retrospectively, makes melodic sense of what would be wrong notes by offsetting or dream-style logic that, ever present, keeps the flow from breaking. 2) Cats, or some cats, may avoid trauma from bad experiences by convincing themselves it was only a nightmare and continuing to hope until they can cope. 3) Cats demonstrate their social nature by showing off their catches, sleeping together in the cold and behaving themselves, but most are, unfortunately, like so-called feral children: because they are separated from their family while too young to have socialized, they re-enforce the stereotype of the independent asocial cat. One can only understand felinity by living with generations of cats under one roof. The author did this. People who liked Barbara Holland's 'Secrets of the Cat,' the cat chapter in Vicki Hearne's 'Adam's Task' and Leonard Michaels' 'A Cat' will probably purr while reading this.
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Taschenbuch. Zustand: Neu. Neuware - At 460 pages, this is the short version of Topsy-turvy 1585, a critical yet entertaining essay of the 611 ways Europeans and Japanese were considered contrary to one another, according to Luis Frois S.J. (1532-1597), a prolific letter writer who sent more information about Japan to Europe tha…n anyone before or since. The book includes a full English translation of his treatise (Tratado em que se contem . . .), of the 611 topsy-turvy items, each only two-lines long (a distich)in the original, and hundreds of additional topsy-turvy items in the Foreword on the history of Topsy-turvy and within the much longer annotations by translator-critic robin d. gill. The Tratado was not an exercise in what we now call Orientalism, but precocious cultural relativism born in connection with the revolutionary new Jesuit policy of Accommodation. Note that Herodotus made dozens of black and white contrasts between Egypt and the Greco-Roman civilization he called 'the rest of the world;' Alberuni (Il Bîrûnî) did the same for India and the West (mostly what Occidentals now call the Middle East); but no one found hundreds as did Frois for Europe and Japan. Some of Frois's contrasts are almost expected: We paid to have night-soil removed; They paid for the night-soil. Some are a surprise: Our (European) women were far less free than Japanese women at that time. And some are just plain fun: We sniff melons on the top to see if they are ripe; Japanese do so on the bottom. (There is a reason for this, but you must buy the book to learn it). This is a book that is meant to educate and entertain. The author is known in Japan for writing books against stereotypes, explaining how differences between cultures and people are exaggerated. So, he is the perfect person to introduce the most radical book of difference ever written.
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Taschenbuch. Zustand: Neu. Neuware - In this book, the first of a series, Robin D. Gill, author of the highly acclaimed Rise, Ye Sea Slugs! and Cherry Blossom Epiphany, the largest single-theme anthologies of poetry ever published, explores the traditional Japanese New Year through 2,000 translated haiku (mostly 17-20c). 'The Ne…w Year,' R.H. Blyth once wrote, 'is a season by itself.' That was nowhere so plain as in the world of haiku, where saijiki, large collections called of ku illustrating hundreds, if not thousands of briefly explained seasonal themes, generally comprised five volumes, one for each season. Yet, the great doyen of haiku gave this fifth season, considered the first season when it came at the head of the Spring rather than in mid-winter, only a tenth of the pages he gave to each of the other four seasons (20 vs. 200). Was Blyth, Zen enthusiast, not enamored with ritual Or, was he loath to translate the New Year with its many cultural idiosyncrasies (most common to the Sinosphere but not to the West), because he did not want to have to explain the haiku It is hard to say, but, with these poems for the re-creation of the world, Robin D. Gill, aka 'keigu' (respect foolishness, or respect-fool), rushes in where even Blyth feared to tread to give this supernatural or cosmological season - one that combines aspects of the Solstice, Christmas, New Year's, Easter, July 4th and the Once Upon a Time of Fairy Tales - the attention it deserves. With G.K. Chesterton's words, evoking the mind of the haiku poets of old, the author-publisher leaves further description of the content to his reader-reviewers. 'The man standing in his own kitchen-garden with the fairyland opening at the gate, is the man with large ideas. His mind creates distance; the motor-car stupidly destroys it.' (G.K. Chesterton: Heretics 1905).
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Taschenbuch. Zustand: Neu. Neuware - 17-syllabet Japanese poems about human foibles, sans season (i.e., not haiku), were introduced a half-century ago by RH Blyth in two books, 'Edo Satirical Verse Anthologies' and 'Japanese Life and Character in Senryu.' Blyth regretted having to introduce not the best senryu, but only the best… that were clean enough to pass the censors. In this anthology, compiled, translated and essayed by Robin D. Gill, like Blyth, a renowned translator of thousands of haiku, we find 1,300 of the senryu (and zappai) that would once have been dangerous to publish. The book is not just an anthology of dirty poems such as Legman's classic 'Limericks' or Burford's delightful 'Bawdy Verse,' but probing essays of thirty themes representative of the eros - both real and imaginary - of Edo, at the time, the world's largest city. Japanese themselves use senryu for historical documentation of social attitudes and cultural practices; thousands of senryu (and the related zappai), including many poems we might consider obscene, serve as examples in the Japanese equivalent of the OED (nipponkokugodaijiten). The specialized argot, obscure allusions and ellipsis that make reading dirty senryu a delightful riddle for one who knows just enough to be challenged yet not defeated, make them impenetrable to outsiders, so this educational yet entertaining resource has not been accessible to most students of Japanese (and the limited translations prove that even professors have difficulty with it). This book tries to accomplish the impossible: it includes all the information - original poems, pronunciation, explanation, glossary - needed to help specialists improve their senryu reading skills, while refraining from full citations to leave plenty of room for the curious monolingual to skip about the eclectic goodies. [Published simultaneously with two titles as an experiment.].
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Zustand: New. pp. 740 50:B&W 7.44 x 9.69 in or 246 x 189 mm (Crown 4vo) Perfect Bound on White w/Gloss Lam.
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Paperback. Zustand: Brand New. 740 pages. 9.50x7.40x1.70 inches. In Stock.
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Taschenbuch. Zustand: Neu. Neuware - This is the first book to translate a broad spectrum of the informal, improper and generally comic side of 31-syllable Japanese poetry called 'kyoka, ' or 'kyouka, ' literally, 'mad-poems' or 'madcap verse,' representing in the words of Aston (1899), 'absolute freedom both in respect of langu…age and choice of subject.' Literary anthologies have only translated a handful of kyoka to date, and the sole exception, recent catalogues of the color prints called 'surimono, ' stick to the rather tame kyoka of the early 19c that accompany the prints. The 2000 poems in Robin D. Gill's 740-page book include hundreds of 'wild waka' ('waka' being the formal side of 31-syllable poetry) to help define the field and demonstrate how humors presence or absence depends upon our expectations and, in the case of an exotic tongue, our translation. 'Mad In Translation' re-creates the wit of the originals in English on the one hand, while explaining what requires Japanese on the other. Many poems will delight those who appreciate the best of the Metaphysical Poets, the grooks of Piet Hein and all that might be called 'light verse for egg-heads.' Because of the narrow focus of most work published on kyoka in Japan, even specialists in Japanese literature may be surprised to discover in this book a brave old world of humor far larger and more entertaining than they might have imagined.
