Claudia J Fischer

Viena, Primavera de 1948. Na cidade ocupada pelos Aliados, cruzam-se os destinos de duas das estrelas mais brilhantes no firmamento da poesia de língua alemã, inaugurando um diálogo íntimo e literário que se estenderia por duas décadas: Ingeborg Bachmann (1926-1973), estudante de Filosofia, em choque com o pai, partidário do nacional-socialismo, e que sonhava com uma linguagem que cruzasse fronteiras, e Paul Celan (1920-1970), sobrevivente do Holocausto e poeta já consagrado. O futuro reservava-lhes glórias e dissabores: a ela, a luta pelo reconhecimento numa sociedade dominada por homens, vários galardões literários e a aclamação com O Tempo Aprazado (1953) e Malina (1971); a ele, o dilema de escrever uma obra maior na língua dos assassinos dos seus pais, as campanhas de difamação movidas nos anos 50 por um anti-semitismo persistente, o Prémio Büchner em 1960, o suicídio no Sena em 1970; aos dois, um incomensurável esforço para encontrarem «as palavras certas», como poetas, amigos e amantes.

Tempo do Coração reúne a correspondência dos dois autores – mantida em segredo até 2008 – e traça um retrato comovente de seres que se debatem com a escrita, os silêncios e a procura de uma voz própria depois de Auschwitz. Carta após carta, testemunhamos a ascensão de dois mestres da literatura, a sua vulnerabilidade perante os detractores e a exposição pública, e a constante busca pela admiração e pelo amor um do outro. Esta obra inclui também a correspondência trocada entre Ingeborg Bachmann e Gisèle Celan-Lestrange, mulher de Celan, e entre este e Max Frisch, companheiro de Bachmann. Em 2016, deu origem à premiada adaptação cinematográfica de Ruth Beckermann, Os Sonhados, a meio caminho entre a encenação e o documentário.

TÍTULO ORIGINAL Herzzeit. Ingeborg Bachmann - Paul Celan. Der Briefwechsel  ORGANIZAÇÃO, POSFÁCIOS E NOTAS Bertrand Badiou, Hans Höller, Andrea Stoll e Barbara Wiedemann TRADUÇÃO Claudia J. Fischer e Vera San Payo de Lemos  ILUSTRAÇÃO DA CAPA Carolina Celas  1.ª EDIÇÃO 2020 PÁGINAS 464 ISBN 978-972-608-362-7

Contos Musicais reúne cinco textos literários de figuras cimeiras do romantismo alemão, unidos pelo poder – redentor e demoníaco – da música, arte suprema do inefável e do metafísico.
Nesta colectânea de temática musical, Wackenroder, Kleist e Hoffmann cruzam universos, estilos e afinidades: do esboço biográfico e ficcional de um músico atormentado («A estranha vida musical do compositor Joseph Berglinger», 1796) à alegoria em torno da magia atribuída à música desde a aurora dos tempos (no poético «Um maravilhoso conto oriental de um santo nu», 1799) e à metáfora do poder da arte sobre a barbárie em «A Santa Cecília ou a força da Música» (1810). Hoffmann encerra esta colectânea com «Cavaleiro Gluck» (1809), a história fantástica de um excêntrico e carismático compositor na Berlim de 1800, e o «O Barão de B.» (1819), uma sátira mordaz a intemporais e pretensiosos musicófilos.
Páginas que nos relembram que a música sempre fascinou a literatura e continuará a intrigar a posteridade, quer como via para o onírico e o impalpável, quer, à margem das leis da racionalidade, como périplo pela alienação e pela loucura.

It is a well-known fact that Fernando Pessoa has translated numerous poets both into English and Portuguese. Nevertheless, we know little about the translations that concern his own literary production. If Álvaro de Campos, for instance, partly self-translated two of his poems ("Opiário" and "Ode Marítima"), the orthonym chose the "Marinheiro" – his "drama estatico n'um quadro" published in the first number of Orpheu in 1915 – to translate it both into French and English. Never published before and left in a fragmentary state among the thousand manuscripts of Pessoa's archive, these texts not only confirm the translinguistic feature of his oeuvre but also reveal interlingual processes that deserve our attention. I shall compare selected passages in order to verify any deviations that may or not be due to a change in the target languages. Based on this analysis, I shall finally inquire whether these fragments are translations of the Portuguese version or rather creative drafts directly done in French and English. In annex I present images of all the autograph texts (handwritten and typewritten) pertaining to "O Marinheiro" in the three languages along with complete transcriptions and textual variants.

Fernando Pessoa devoted part of his prolific creative life to the practice of literary translation, mostly from his native Portuguese and English. He also wrote about this craft, as loose posthumous unfinished essays and scattered notes in his archive attest. Reading this material closely alongside a metrical analysis of selected published and unpublished poetry translations, we aim to: (1) understand the extent to which his thoughts on literary translation align with his poetry translation practice, primarily defined by his approach to poetic rhythm; (2) revisit some key ideas proposed by Wilhelm von Humboldt and Walter Benjamin on translation, as well as Plato's concept of anamnesis, all of which, arguably, resonate with Pessoa's poetry translation theory and practice. The article also includes critical transcriptions of unpublished material from Pessoa's Archives held at the National Library of Portugal (Pessoa's Papers) and the Fernando Pessoa House (Pessoa's Private Library), both located in Lisbon.

Some of the first German Romantic writers refer to the intangibility and
incorporeality of music as qualities that distinguish it from other arts,
arguing that it allows the spirit to access “the pure form of the movement of
the heavenly bodies, freed from any object or material” (Schelling,
Philosophie der Kunst, 1802/3). This paper explores how Novalis, W. H.
Wackenroder, Johann Wilhelm Ritter, and E.T.A. Hoffmann reinterpret this
assertion: either by saying that music allows human beings to separate
themselves from their bodies and thus reach an ethereal and harmonious
state; or, on the contrary, by considering music a physical phenomenon that
flows within the human body, visibly affecting it and leading to altered
states of (self)awareness.

Keywords: Music, body, illness, Novalis, W. H. Wackenroder, E.T.A.
Hoffmann, Johann Wilhelm Ritter

A voracious reader of poetry, Fernando Pessoa did not disregard the humbler role of the translator. Although having brought to light some translations in Portugal during his lifetime, a great score of them remained unknown to the public until recently. While providing a critical transcription of lines from Dryden, Keats, Tennyson, and Robert Browning, this article offers a brief account of the sources translated by Pessoa, as well as his handling of meter and rhythm in each one of the four translations.

Pretende-se, nesta sessão, observar de perto a música evocada numa selecção de contos de temática musical de Heinrich von Kleist, Wilhelm H. Wackenroder e E. T. A. Hoffmann,  caracterizando a relação que se estabelece entre os textos literários em questão e as escolhas musicais neles incluídas. Neste contexto, procurar-se-á pensar o papel de certos impulsos de origem literária na transformação da estética musical no início do século XIX.

Between 1780 and 1795 the German poet and dramatist Friedrich Schiller wrote several essays on aesthetics, eventually developing a theory on grace, fully described in Über Anmut und Würde (1793). While we know that the work arose as part of the European debate on the definition of beauty and grace, with their corresponding classification of value as either subjective or objective, sensuous or rational, we are less certain as to what influenced Schiller’s thinking on this matter. Kant's Critique of Judgement would seem to be the most obvious source.  However, the fact is that Schiller did not agree with the notions put forth by Kant--arguing that "it scares the Graces away." There is growing evidence from Schiller’s essays and letters to suggest that his ideas on grace evolved in the context of his English readings. This paper intends to show how writings by Shaftesbury, Edmund Burke, Henry Home and William Hogarth were essential for Schiller's process of designing a concept that would become crucial within his philosophical system. In order to attain a state of grace that reenacts its ancient redeeming quality, Schiller stressed the importance of a conscious aesthetic education while nonetheless underscoring the precariousness of that core aesthetic experience, due to its paradoxical nature.

Der Beitrag wendet sich an Fortbilder und Lehrer, die Übersetzung und Übersetzungstechnik unterrichten.
Dieses sehr ausgefallene Thema im Rahmen der fachspezifischen Ausbildung für Übersetzung hat sich als eine besonders interessante Form der Mediation zwischen zwei Sprachen (in diesem Fall Portugiesisch/ Deutsch) bewährt, da sie sich auf eine dritte universale “Sprache” – die Musik – bezieht, die ihrerseits sehr stark von einer vierten Sprache (Italienisch) geprägt ist.
Mein Beitrag wird sich einerseits mit Formen befassen, durch die man Studenten für diese charakteristische Mehrsprachigkeit der musikalischen Sprache sensibilisieren und somit eine bessere Übersetzungsqualität fördern kann. Andererseits werde ich auf verschiedene Strategien und Inhalte hinweisen, die die übersetzungsspezifische Auseinandersetzung mit dieser Thematik bereichern und die sich im Unterricht als effektiv erwiesen haben.
Die Zielgruppe, über die in diesem Beitrag gesprochen wird, besteht aus Studenten (Master-niveau), die im ersten Semester Fachübersetzung studieren und Deutsch mindestens auf Niveau B2 beherrschen.