VerseJunkies

The International Journal for Intersemiotic Translation VJ, ISSN: 2328-9171 www.versejunkies.com Issue1.1 July 2013

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= § "Sarit Siribud (Written - English Literal: Three Stanzas) : 4 , y Cecé Nobre (Painting - Graffiti) ~ t Wi '4 Leila Sadeghi (Written - Persian) b Sepideh Shomali (Conceptual Art - video: stills) / } i | Mostafa Alshawki (Written ~ Arabic) y Meme Golnaz Afraz (Painting - Oils) \ { A Thais Drassinower (Written - Spanish) ; Zeinab Ahmadi (Painting - Watercolor and oils) SX Edwin Kelly (Written - English) Bien Siar (Music translation) \ Azad M. Aziz (Written - Kurdish) \mmar Bin Hatim (Painting - Oils) Cutter Streeby (Written - English) \\ Keyvan Mahjoor (Pen and Ink) Tadgh McSweeney (Painting - Oils) pes a johrab Rahimi (Written - Swedish) . . >_< Arabic John Martin Streeby (Sculpture - Ste Alshawki Mostafa (Written - Arabic) The Six Tones (Music translation) pee

ine sing © ranslation Ss Remark , ia” Cutter eby \ Edwin Kelly (Fiction & Poetry Editor) Jordan Hobbs (Film technician) ; ~— \\\\” Yuti Matsko (interim Web Editor) y ‘ \. Jeff Streeby (Consulting eA Mehran Seyyedy me wwweveeradesign.com

‘mediums. ‘ Intersemiotic translation is the transfer of signifiers across semiotic codes. Simply put: translation across mediums. The movement of artwork, of inspiration, between artists and mediums has existed for many cen- turies. The earliest form of intersemiotic translation dealt with the transference of ayisual image into written text called ekphrasis. From the Greek roots ek and phrasis (‘out,’ ‘speak’), this practice has roots as far back as Plato and Homer in the Western tradition; in Eastern tradition, we see this transference between codes in the Arzhang of Mani (the Persian prophit) and Assyrian epigraphy. Examples of intersemiotic translation in pop culture include novel-to-film (Blade Runner, Harry Potter, etc), musicals (Cats), graphic novels, animation, _ Iranian dramatic story-telling called Naqqali (recounting stories in verse or prose accompanied by gestures and movements with instrumental music.and painted scrolls) and many other adaptations which blur and cross VerseJunkies operates in this intersemiotic space. Our source piece for the first issue is a poem from Thailand’s Zakariya Amataya. ‘Che’ (Cakaniya’ 's nick- name) i isa poet of firsts: his first collection won South East Asia’s coveted Write Award in 2010. He is the first poet to win this award writing predominantly i in free-verse. He is the first Muslim poet to win this award in Buddhist dominated Thailand. He is the first poet in the 32 year history of this award to be selected unani- mously by the jury. He has held residencies all over the world, and to date, his first collection of poems has sold over 38, 000 copies. With the recent release of his second collection, Che’s audience is more international than ever before. : 5 SS, va es < The poem selected by VerseJunkies as the source piece for our first issue is titled, “With only my hands.” It is a haunting piece with a timely message: it warns against the dangers of fundamentalism and gives shape and shadow to the devastation wrought by extremists in the Southern provinces of Thailand—Che’s homeland. Since 2004 there has been an insurgency in this area. Experts are not sure of the principle players: whether Pattani Muslims who received al-Qaeda training, or traditional separatist groups of Thailand. Whatever the cause—in this region, teachers, children, monks and soldiers are killed on an almost daily basis. 4 \ The question remains at the close of this poem, much a8 it does in the rest of the world: who is responsible for this devastation—there is no simple solution and Che’s answer, his resistance to this destruction can only be singular: “Silent, Tunclench my fists, lift my hands,/ palms bloody, bones bared.” He is a witness and one not free from blame. Artists from around the world have sought to capture the truth in Che’s writing. In this first issue of “ VerseJunkies, we have intersemiotic translations from around the globe: graffiti from Bangkok, conceptual art from Iran, music from Vietnam, Sweden and Ireland, video from France, steel sculpture from California, calligraphy from India, paintings from Iran and Afghanistan, film (coming soon) from Peru—the list goes on. By moving between semiotic codes, from words to paint sams from steel to graffiti and calligraphy, VerseJunkies seeks to advance understanding, tolerance and intercultural exchange. We seek to bridge the divide between artists, academics and the public by providing a platform that is easily relatable and which fosters interdisciplinary collaboration. We welcome academic and artistic submissions (articles/translation addressing the pieces in this naa in any medium. We read poetry and fiction: in Persian, I , English and Spanish ~ and our guidelines a are available at the end of this issue or alternatively on: ti ; \ http://independent.academia.edu/VERSEJUNKIESCOM As : These artworks and ideas are made available free to you, our reader. Please share them. Cutter Streeby, Editor-in-chief pat

“/ 4 ว ฯ ล: อ ด ค ว า ม ใน เ ิ ง ส ี ญ ล ึ ก บ ณ์ | (ไห ๓ ล เน ่ ง ถะ ห ร ล ท ร ไส น ์ อ น) น บั ้ น ห ม า ย ถึ ง ก า : เล ี ย น ส ึ ง ท ง ท ี ปรากฏ | 0 : (ร ะ เซ ไอ น ์ อ อ 0 ส่อ) ห น ึ ่ ง ไป ส ู ่ อ ี ก ร ห ั ส ส ั ญ ล ิ ก ษ ณ์ ห น ึ ่ ง 1 ห ร ื อ ก ล า ว ง า ย ๆ ค ื อ . ก า ร แป ล ถอด ค ว า ม ผ่ า น ส ื ่ อ ก ล า ง ใน ก า ร น ํ า เส 1 อ ท ี ห ล า ก ห า ย ซึ ้ ง ก า เลื | ร ร เ ป ล ี ่ ย น ร ู ป แบ บ ขอ ง ง า น ศิ ล ป ะ ห ร ื อ แร ง ป ั น ต า ล ใจ ด ้ า ง ๆ จ า ก ห น ึ ่ ง ศิ ล ป ิ น อี ก ห น ึ ่ ง ศิ ล ป ิ น จ า ก ส ื ่ อ ใน ก า ร น ํ า เส น อ ห น ึ ่ ง ไป ผู ้ ก า ร น ํ า เส น อ ใน ร ู -- ก ั ณะ = แบ บ ขอ ง ง า น ศิ ล ป ะ ร ู ป แบ บ อ ื ้ น ๆ นั ้ น [ปี น ศา ส ต ร ์ ที มี ม า ห ล า ย ศตวรรษ แล ว ท ั ้ ง บี ก า ร แป ล ถอด ค ว า ม ใ น เฟิ ง ส ี ญ ล ั ก ษ ณ์ ร ู ป แบ บ แร ก ๆ ค ื อ ก า 0 ไหล 515 0 “อ อ ก ” แล ะ * พ ู ด ” ตา ม ล ํ า ด ้ บ แล ะ ก า ร ถอด ค ว า ม ท ี ่ เร ี ย ก ก ็ น ว ่ า ๑ ไห ล 518 บึ้ ม ี ม า ย า ว น า น ต ั ้ ง แต๊ ส ม ั ย ขอ ง เพ เพ ล โต (51 ๒0) แล ะ เว . โฮ ม เม อ ร ์ (1 ๐ ๓ ๐ 0 ใน ว ั ฒ น ธร ร ม ต ะ ว ั น ต ก ส ้ ว น ใน ว ั ฒ น ธร ร ม ต ะ ว ั น อ อ ก ศา ส ต ร ์ ด ั ง ก ล ่ า ว ป ร า ก ฏ ใ น ห ล ั ก ค ํ า ส อ น ขอ ง แม น นี (ห ฑ์) แล ะ ก 2 0 า ร ศึ ก ษา แล ะ ถอด ค ว า ม ห ม า ย ขอ ง ต ั ว ห น ึ ง ส ื อ โบ ร [น จ ๊ ก ร ว ร ร ด ิ อ ั ส ซี เร ี ย ' น อ ก จ า ก น ี ่ ต ้ ว อ ย ่ า ง ขอ ง ก า ร แป ล ถอด ก วา ม ใน เช ิ ง ส ั ญ ล ี ก ษ ณ์ ย ั ง อ ส า ม า ร ถ พ บ เห ็ น ไต ้ ใน ว ั ฒ น ธร ร ม ส ม ั ย น ิ ย ม อ า ท ิ เซ ้ น ก า ร แป ล ค ว า ม จ า ก น ว น ิ ย า ย เป ็ น ภา พ ย น ต ร ์ (เช ้ น 13184 ๐ โซ แท ทอก, 1 ไล ก 01 อ 6 ไล ๆ ) | ก า ร ป ร ะ พ ั น ธ์ บ ท ล ะ ค ร เว ท ี ป ร ะ ก อ บ เพ ล ง (เซ ้ น 6 ๓ 5) ก า ร เข ี ย น น ว น ิ ย า ย ร ู ป ภา พ ก า ร ท ํ า ง า น แอ น น ิ เม ชั ้ น ร ว ม ไ ไ ป ถึ ง ศา ส ต ร ์ ใน ก า ร เล ้ า น ิ ท า น ๕ ขอ ง ชา ว อ ิ ห ร า น ท ี ่ เร ี ย ก ว ่ า น ั ค ค า ล ิ (ล ดล ุ ม 0 (ค ื อ ก า ร เล ้ า เร ื ่ อ ง ใน ร ู ป แบ บ ขอ ง ร ้ อ ย แก ้ ว ห ร ื อ ร ้ อ ย ก ร อ ง ป ร ะ ก อ บ ท ํ า ท า ง แล ะ ก า ร เค ล ื ่ อ น ไห ว ย ั ่ พ ร ้ อ ม ค น ต ร ี บ ร ร เล ง แล ะ ภา พ ว า ค บ น ม ้ ว น ห น ั ง ส ื อ ) แล ะ อ ี ก ม า ก ม า ย ซึ ้ ง ผสม ผสาน ก ล ม ก ล ื น ก ้ น ร ะ ห ว ้ า ง ส ื ่ อ ต ้ า ง ๆ 1 ป ท ึ ้ ง น ี ้ ห ๓ ๑ ร แต ไต่ ๐ ! อ ง ก ็ ท ํ า ง า น ใน ล ั ก ษ ณ ะ ขอ ง ก า ร แป ล ถอด ค ว า ม ใน เช ิ ง ส ั ญ ล ี ก ษ เ น ี ง 4 จ ร . “% ง ผล ง า น แร ก ท ี ่ เร า น ํ า ม า ต ี พ ิ ม พ ์ น ั ้ น แน น ร ท ะ ก า ร ี ย ์ ย า อ ม ต ย า ก ว ี ชา ว ไท ย ห ร ื อ ท ี ่ ร ู ้ จ ั กก ั น ใน น า ม " เช ป ู ถู ชน " ผล ง า น ร ว ม บ ท ก ว ี น ิ พ น ธ์ ค ร แร ก ขอ ง เข า ได ้ ร ั บ ร า ง ว ั ล ซี ไร ต์ ใน ป ี พ ู ท ธ ศั ก ร า ช 2553 เร ฑา ต ท ก ว ี ใน ร ู ป แบ บ ขอ ง ก ล อ น เ า เป ็ น ส ว น ม า ก แล ะ ย ึ ง เป ็ น ชา ว ม ู ส ล ิ ม ค น แร ก ท ี ่ ได ้ ร ั บ ร า ง ว ั ล น ี ้ ใน ป ร ะ เท ศ ท ี ่ น ้ เถ ื อ ศา ส น า พ ู ท ธ เ ป ็ น ส ว น ให ญ่ อ ย ่ า ต | ง ป ร ะ เท ศ ไท ย เข า ย ึ ง น ิ บ เป ็ น ก ว ี ค น แร ก ใน ป ร ะ ว ั ต ิ ศา ส ต ร ์ 32 ป ี ขอ ง ร า ง ว ั ล ซี ไร ด ์ ท ี ่ ได้ ร ั บ เล ื อ ก จ า ก ค ณะ ก ร ร ม ก า ร ค ั ด ส ิ น ด้ ว ย เส ี ย ง ท ี ่ เป ็ น เอ ก ฉัน ท ์ ฑ “ ญ เข า ม ี แห ล ้ ง พ ้ า น ั ก ม า แล ้ ว ทั ้ ว โล ก ก ร ร สั ณิ ญิ ก ) ง า น ร ว ม ก ว ี น ิ พ น ธ์ เด ิ ม แร ก ขอ ง เข า ได ้ ร ั บ ก า ร จ ํ า ห น ่ า ย ไป แล ้ ว 38.000 ฉบับ แล ะ ย ั ง " ฐ์ ณิ 6 5 ธิ 8 | มี ผู ้ อ า น ท ี ่ เป ็ น ส า ก ล ม า ก ย ึ ง ขึ ้ น ห ล ั ง จ า ก ท ี ่ ผล ง า น ร ว ม ก ว ี | อิ น ท ี ่ ส อ ง ขอ ง เข า ได ้ ร ั บ ก า ร ด ี พ ิ ม พ ์ ) ! บ ท ก ว ี ท ี ่ ๐๑ ๓ ญ่ ม ๐ ค ี ด เล ื อ ก ม า ส ํ า ห ร ั บ ก า ร ด ี พ ิ ม พ ์ ค ร ั ้ ง แร ก ม ี ซื่อ ว า * ข ้ า แบ ม ื อ อ ั น เป ล ื อ ย เป ล ่ า ” เน ปก ห ง ตา |' เป ็ น ผล ง า น ท ี ่ ให ้ ค ว า ม ร ู ้ ส ึ ก ห ล อ ก ห ล อ น อ ี ก ท ึ ้ ง ย ้ ส ง ข้ อ ค ว า ม ซึ ้ ง เห ม า ะ ส ม แก ้ เว ล า ใน ป ั จ จ ุ บ ั น ไป สู ่ ผู ้ อ ้ า น ก ล า ว ค ื อ บ ท ก ว ี ด ง ก ล า ว ม ี ใจ ค ว คั ก เตี 1 | . อ น ถึ ง ภั ย แห ่ ง ก า ร ย ื ด ม ั ่ น ใน ห ล ั ก ก า ร ขอ ง ศา ส น า ท ี ่ ส ุ ด โต ง อ ี ก ท ิ ้ ง ย ั ง บ ร ร ย า ย ใน เห ็ น ภา พ ขอ ง ค ว า ม เส ี ย ห า ย อ ิ น เก ิ ด จ า ก ก า ร ท ํ า ล า ย ขอ ง ก ล ุ ่ ม ค ผู้ ม ี ค ว า ม ค ิ ด ส ู ด โต ง ใน ส า ม จ ั ง ห ว ั ด ชา ย แด น ภา ค ใต ้ ขอ ง ไท ย ซึ ้ ง ย ั ง เป ็ น บ ้ า น เก ิ ด ขอ ง ซะ ก า ร ี ย ์ ย า อ ี ก ด ้ ว ย ซึ ่ ง ป ั ญ ห า ก า ร ก ๋ อ ค ว า ม ไม ่ ส ง บ ใน พ ื ้ น ท ี ่ ด ึ ง ก ล ้ า นั้ น เกิ ด ขึ ้ น ต ้ ง แต ้ ป ี พู ท ธ ศั ก ร า ช 2547 ผู เชี่ ย ว ชา ญ เอ ง ก ี ย ั ง ไม ่ ท ร า บ ก ล ุ ่ ม ผู ้ อ ยู เบื ้ อ ง ห ล ั ง ช์ ค เจ น ว ้ า จ ะ เป ็ น ก ล ุ ่ ม ม ู ส ล ิ ม ใน จ ั ง ห ว ั ด ป ั ต ต า น ี ซึ ้ ง ไค ร ั บ ก า อ ย ู ่ ตั้ ง เด ิ ม ใน ป ร ะ เท ศ ไ ท ย แล ะ ไม ่ ว ้ า ส า เห ต ุ จ ะ เก ิ ด จ า ก อ ะ ะ ไร ก ็ ต า ม | พ อ , ก ่ า ถา ม ย ึ ง ค ง ค ้ า ง ค า อ ย ู ่ ท ี ่ ค อ น ส ู ด ท ้ า ย ขอ ง บ ท ก ว ี นี ้ แล ะ เป ็ น ค ํ า ถา ม เด ี ย ว ก ั น ต ้ อ เห ต ุ ก า ร ณ์ ค ว า ม ร ุ น แร ง ท ี เกิ ด ขึ ้ น ท ั ้ ว มู ม โล ก นี น ั ้ น ค ื อ อ ใคร ค ื อ ผู ้ อ ย ู ่ เบ ื ้ อ ง ห ล ั ง แล ะ ต ้ อ ง ร ั บ ผิ ด ชอบ ต ้ อ ก า ร ก อ ว ิ น า ศก ร ร ม เห ล า นี ท า ง อ อ ก น ื ้ น ย อ ม ไม ่ ง า ย ด า ย ส ว น ค ํ า ต อ บ ขอ ง ซะ ก า ร ี ย ์ ย า ซึ ้ ง แส ด ง ถึ ง ก า ร ต ้ อ ด้ า น ว ิ น า น ร ร ร ค า ครู เด ็ ก พ ร ะ , เง ฆ ์ แล ะ ท ห า ร ก ็ ถู ก ส ิ ง ห า ร ร า ย ว ั น ใน พ ื ้ น ท ี ่ ด ั ง ก ล า ว ๒ ร ฝึก ฝน จ า ก ก ล ุ ่ ม อ ๊ อ ั ล ก อ อ ิ ต ะ ห ์ เพ า ศก ร ร ม น ั ้ น ก ็ ม ี เอ ก ล ึ ก ษ ณ์ ส ว น ต ั ว “ห ร ้ อ ม เด ิ น จ า ก ม า ด ้ ว ย ม ื อ ยั น ว า ง แล ะ เป ล า เป ล ื อ ย ” ซะ ก า ร ี ย ์ ย า เป ็ น ผู ้ พ บ เห ็ น เห ต ุ ก า ร ณ์ แล ะ ก จ ว ผู ) : 1# 14 เจ ก า ร ถู ก ก ล า ว โท ได ้ งง, | ซ้ .. ศิ ล ป ิ น จ า ก ท ั ้ ว โล ก (ได ้ ค ้ น ห า ค ว า ม จ ร ิ : ใน บ ท ป ร ะ พ ั น ธ์ ขอ ง ซะ ก า ร ี ย ์ ย า แล ะ ใน ๓ 5 แก ่ ๒ ๐ ฉบับ เร า ได นํา เส น อ ก า ร แป ล ค ว า ม เซิ ง ส ั ญ ล ึ ก ษ ณ์ (แพ อ ล ๐ ๓ ม่ อ ย อน ม น ต่ อ อ ) จ า ก ท ุ ก บ ู ม โล ก ก ล ่ า ว คื อ ภา พ ก ร า ฟ ฟ ิ ดี จ า ก ก ร ุ ง เท พ ฯ ภา พ ว า ค ก ร า ] ไก จา ก อิ ว้ า น ค บ ค ร ี จ า ก วี ย ด น า ม ส ว ี เด น แล ะ ไอ ร ์ แล น ด ์ ว ิ ว ิ ด ี ท ์ ศ น จ า ก ฝรั่ง เศ ส , ป ฏิ ม า ก ร ร ม เห ล ิ ก จ า ก แค ล ิ ฟ อ ร ์ เ น ี ย ศิ ล ป ะ ล า ย ม ื อ จ า ก อ ิ น เด ี ย แล ะ อื ่ น ๆ อ ี ก ม า ก ม า ย เว ไผ ร ห น ึ ่ ง ไป ส ู อ ี ก ร ห ั ส เซ ิ ง ส ั ญ ล ั ก ษ ณ์ ห น ึ ่ ง จ า ก ถ้อย ค ํ า ไป ส ู ภา พ ว า ค แล ะ บ ท เพ ล ง จ า ก เห ล ็ ก ไป ส ู ่ ภา พ ก ร า ฟ ฟ ิ ด ี แล ะ ศิ ล ป ะ จ า ก ล า ย ม ี ! ท า ง อ เร ะ น ย ' ไ ด ้ ม ุ ่ ง เส า ะ ห า ค ว า ม เข ้ า ใจ ท ี ่ ม า ก อิ ง ขึ ้ น ร ว ม ไป ถึ ง ก า ร แล ก เป ล ี ่ ย น ค ว า ม ค ิ ด แล ะ ว ั ฒ น ธร ร ม ท ี ่ ห ล า ก ห ล า ย 11 ไ อ ม ช้ อ ง ว ้ า ง ร ะ ห ว ้ า ง ศิ ล ป ิ น น ั ก ว ิ ชา ก า ร แล ะ ส า ธา ร ณ ชน ผ่ า น ก า ร น ํ า เส น . อ ช้ อ ง ท ท า ง แล ก เป ล ี ่ ย น ท ง่า ย ต ้ อ ก า ร เช ื ่ อ ม โย ง อี อ ี ก ท ั ้ ง ย ั ง เป ็ น ก า ร ส น ิ บ ส น ุ น ก า ร ร ่ ว ม ม ื อ ก ็ น ร ะ ห ว ่ า ง ห ล า ก ห ล า ย ทา ขา ว ิ ชา เร า ย ิ น ด ี แล ะ เป ี ด ร ั บ ติ น เบ็ บ ส ํ ห ร ั บ ก า ร ด ี พ ิ ม พ ์ ) ท ั ้ ง ใน เช ิ ง ว ิ ชา ก า ร แล ะ ใน เช ง ศิ ล ป ะ ( (บ ท ค ว า ม ห ร ื อ ก า ร แป ล ค ว า ม ท ี ่ เก ี ่ ย ว ขอ ก ็ บ บ ท ก ว ี ท ี ด้ (ได ร ั บ ก า ร น ํ า เส น อ ณ ท ี ้ นิ้) 1 จ โด ย ด่ า น ส ื ้ อ ได ก็ ไท้ ท ั ้ ง น ี ้ เร า ส า บ า ร ถ อ า น บ ท ก ร ี บ ิ พ น ธ์ และ น ว น ิ ย า ย ใน ภา ษา เป อ ร ์ เซี ย ส เป น (อ า 1 คู ม ื อ ได ท ที่ นี) 5 [ 0''

تصویری؛ ی یا نقالی ذر تی ایرانی بزخوانی سل ماه موسیقی» + نقاشی ٍ حرکات ۳ یگ ار و بت 5 ۱ عملکرد ورس جانکیز دای فضای بیننشان‌ای ۱ 3 0 اثرادبی مبداً در شماره‌ی اول ورس جانکیزه شعری از شاعر تایلندی» زکریاآماتایا است. «چه» (نام ستار زکریا! شاعر 0 اولین‌هاست. مجموعه‌ی اول او در سال ۲۰۱۰ جایزه‌ی بهترین نوشتار آسیای چنوب شزقی را از آن خود کرد. ۱ اولین شاعری بو ۲ که‌اين جایزه زا برای شعر آزاد دریافت کرد. اولین شاعر مسلمانی اسب که در جامعه‌ی بودایی تایلند چنین جایزه‌ای را از آن خود کرد واولین شاعری است که در طول تاریخ ۳۲ سال‌ی این جایزه از سوی هیأت داورانانتخاب شده است. به او قامت در بشتر ۱ نقاط دنیا اعطا شده و تا به امروز اولین مجموعه اشیار او درپحلود ۲۸۰۰۰ تلسححه رون ارو مجموعه و 1 اوه متخاطیانش در سرتاسر جهان بیش از پیش گسترش یافته‌ند. #3 1 شعری که رای قاری ی ول 20۳ ورس جانگیز هن ارس تخاب شده اس «تها با 3 نام دار این مق ۷ ۱ ۳ منتقدان از باب 5 لقاعده بودند و یا گروه جایی طلبان خی تابلند. عام آن هر ۳ در این منطقه ۳ ۳ رهبا 9 "۱ از دست دادند. ۹ 1 1 ری ما ار ی ی دز ساده‌ای وجود ندرد و پاسخ «چه» و مقاومت او در برابر این ویرانی منحصر به فرد است. «خاموشء پرخون و استخوان‌هایی که عرتان+ او یکی از شاهدان این وقایع است و البته به دور از سرزنش 5 ِ 9 و مختلفی از کشورهای: مختلف دنیا تلاش بر آن داشتهاند که ماهیت اندیشه‌ی «چه» را به زیان خود بازتاب دهند. در شماره‌ی او 9۳ ورس ن ترجمه‌های قبل و از اقصی قاط اط جهان مد شده است: از دیوار نوشنه‌ای در پانکوک ک گرفته 5

Edi torial La traducción intersemiótica es la transferencia de significantes entre códi ióticos. Puesto de mane- ra simple: traducción entre medios. Es una práctica que ha estado presente pol milenios. La forma más antigua de traducción intersemiótica es la éofrasis: la transferencia de una i imagen visual a un texto escrito. El término Ñ proveniente de las raíces griegas ek” “afuera” y phrasis “decir”, es una práctica que tiene raíces en la época de Ñ Platón y Homero con ejemplos más contemporáneos que van desde la “Oda a una Urna Griega” de Keats a No “El Torso de Apolo 'Arcaico” de Rilke. En plos de traducción intersemiótica en la cultura popular se | - incluyen la adaptación de novela a val cine (Blade Runner, Harry Potter, etc), musicales (Cats), novelas gráficas, j animaciones y muchas otras adaptaciones que cruzan medios. ) VerseJunkies opera en este espacio AN Tomamos como nuestra pieza fuente para el primer ejemplar un poema del tailandés Zakariya Amataya. El “Che” (su apodo) es un poeta de primeras: Su primera colección ganó el codiciado premio peut East Asia Write. Award” en el 2010. Es el primer poeta en ganar este premio escribiendo principalmente en verso libre así como el primer poeta musulmán en ganar este Í premio en Tailandia: un país budista en su mayoría. Tam- bién es el primer poeta, en los 32 años de historia de este premio, en haber sido elegido de manera unánime por el jurado. Ha hecho residencias en distintas partes del mundo y, hasta la fecha, su primera colección de poemas ha vendido más de 38,000 copias. Con el reciente lanzamiento de su segunda colección, la audiencia del “Che” es más internacional que nunca. " » í El poema seleccionado por VerseJunkies como pieza fuente está titulado “Con Tan Sólo Mis Manosió * ” Es una pieza evocadora con un mensaje oportuno: advierte acerca de los peligros del fundamentalismo y da » forma y sombra a la devastación causada por extremistas en las provincias al sur de Tailandia — el lugar “natal del Che. Desde el 2004 han habido insurgencias en la zona. Los expertos no están seguros de quiénes son los responsables: o son Musulmanes Pattani entrenados por al-Qaeda ó grupos separatistas tradicionales de Tailandia. Lo que sí se sabe es que profesores, niños, monjes y soldados son asesinados casi a diario ce región. . La pregunta que queda al terminar este poema es quién es responsable por esta devastación- no hay una solución simple y la respuesta del Che y sus resistencia a esta destrucción lo demuestran de una Manera singu- lar: “Silencioso, relajé mis puños, alcé mis manos, / sangrientas palmas, huesos descubiertos.” Éles un testigo - que no está libre de culpa. x Ñ (y EOS E >, Arts tas de distintas partes del mundo han buscado capturar la verdad en los escritos del Che. En este primer ejemp! de VerseJunkies, tenemos traducciones intersemióticas de diversos lugares: graffiti de : Ban- gkok, dibujos en grafito de Irán, música de Vietnam, Suecia e Irlanda, video de Francia, escultura de acero de hos p Ein ed India, film pronto desde Perú — y la lista sigue. Al movernos entre códigos semióticos, a añ e úsica, de acero.a graffiti y caligrafía, VerseJunkies busca un avance en el entendi- miento, la tolerancia y el intercambio intercultural. Buscamos construir un puente que una la división que hay entre artistas, académicos yel el público, proporcionando una plataforma con la que es fácil conectarse y la cual 7 fomenta la colaboración interdisciplinaria. Recibimos piezas académicas y artísticas O o de las piezas de este ejemplar) en cualquier medio. Leemos poesía y ficción en Farsi, Inglés y Daño! (guías disponibles aquí). - Y pS 4 $ 13 o o Las obras de arte e ideas e onibles de manera gratuita para ti, lector. Por fnorcompárcas * Es e Streeby, Director a OEA 7 Y 4 : as Traducción: E j x

جر سه‌رووتار وه‌رگیرانی نتو نیشانه‌زانی گویزانه‌وه‌ی بایه‌خدانه به هیماکان له‌نتو هیماکانی دا. ماناکه‌ی به شنوه‌یه‌کی ثاسایی وه‌رگیرانه له نیوان شنوازه جیاوازه‌کان دا. له چه‌ندین سه‌ده‌وه جموجولی هونه‌رکاری و به‌هره‌مه‌ندی له نیوان هونه‌رمه‌ندان و شیوازه‌کاندا هه‌بوون. له سه‌ره‌تاوه» زووترین جوری شیوازی وهرگیرانی نیشانه‌زانی. هه‌ولدان بووه بق گویزانه‌وه‌ی دیمه‌نه سوماییه‌کان بز چاپه‌مه‌نی و نووسین که پیی ده‌ووتر؛ تکیفره‌یسز تن را هونه‌ری شیوه‌کاریه). ووشه‌که له یزنانیه‌وه و‌رگیراوه که چاووگه‌که‌ی پیک هاتووة له ایک" به مانای ده‌رهوه و آفرهیسز" به مانای آقسه‌کردن" دیت. له داب و نهریتی روزاوادا هم پیشهیه سه‌رچاوهکای دهگه‌ریتهوه بق پلاتق و هزمهر؛ له نه‌ریتی روژهه‌لات دا له گواستنه‌وه‌ی ثارژه‌نک ی مانی وده‌ستوخه‌تی ثاشوریه‌کان دا ده‌ده‌دن‌زریته‌وه. نفوونه‌ی وه‌رگیرانی نیشانه‌زانی له که‌لتوری میللی دا له‌چیرکه‌وه بق فلیم (بلهید رهنار و هاری پزته‌ر هتد)؛ ثاوازبه‌ندی (کاتس). رزمانی گرافیکی و ثه‌نیمه‌یشن» حیکایهت گیرانه‌وه‌ی ثیرانی که به گواستنه‌وه (گیرانه‌وه‌ی و ان ۱ له‌گهل جموجولی ده‌مي ده‌ست له‌گهل ثامرازی موسیقا و فلچه‌ی بویاخی هونه‌رمه‌ندان) ناسراوه و سازدانی که بوته, هی ته‌مومژی و له ننو شنوازه‌کاندا. ۱ ك سهرمه‌سته‌کانی شیعر (قیرس چه‌نکیس) لهنهم بواره‌ی لتونیشانهزانی داهاتوته کایه. به‌کهم سه‌رچاوه‌مان بو ژماره به‌ک» شیعریکه له تایلانه‌ده‌وه که به ده‌ستی زه‌که‌ریا ثه‌ماتیه ۳ شه‌ی ( نازناوی زه‌که‌ریایه) شاعریکی پله یه‌که: یه‌کهم چه‌پکی شیعری له سالی ۲۰۱۰ دا خه‌لاتی دانسقه‌ی نووسینی باشوری روژهه‌لاتی ئاسیای برده‌وه. به‌کهلم شاعر بوو که هم خه‌لاته به‌ریته‌وه که به شنوه‌ی شیعری ثازاد نووسیویه‌تی. یه‌کهم شاعریکی مسولمانه که ثه‌م خه‌لاته به‌ریته‌وه له تایلاند که بوودی زورینه‌یه. له میژووی ۲۲ ساله‌ی هم خهلاته‌دا. به‌که‌م شاعره که سهرتاس‌ری پگ ی توبارددران دهگیان مقداء له زلارشوینی یهانی داشافی نیشته‌چی بوونی دراوه‌تی و تائه مرش کزکراوه شیعره‌کانی زیاتر له ۲۸۰۰۰ نووسخه‌ی فرقشراوه. له‌گهل بلاوبونه‌وه‌ی دووهم کزمه‌لی شیعره‌کانی . گویگرانی شه‌ی زیاترله جاران نئونه‌ته‌وه‌یین. 1 ۱ هو شیعره‌ی که سه‌رمه‌سته‌کانی شیعرآههلی بژاردبو سه‌رچناوه ی .یه‌که‌م ژماره به ناونیشانی اته‌نیا به ۳0 1 پارجه‌یه‌ که که ودک تارمایی وایه و په‌یامیکی سهرده‌می پنیه: ثاگادارمان ده‌کاته‌وه له دژی ترسی * (فه‌نده‌مینتالیزم) و چوارچنوه‌یه‌که و سیبه‌ر ده‌به‌خشی به و کاره‌ساتانه‌ی 3 لایه‌نگیرانی توندره‌وه‌کانی پاریزگاکانی پا تج په‌یردوی د‌که‌ن که شوینی. له ایک بوونی شه‌ی به.-شه‌رهه‌لدان له سالی ۲۰۰۶دوه لهم ناوچه‌یه دا ههیه. شاره‌زایان زور دلنیا نین کار کر ریا اوه جاکهر مونلانه باتانی‌کان بی که لهرکیتن قاحدمیه مه ی بتکران انار توهبلی حلاوازخواره خومالیه‌کانی تابلاند بن. هزکه‌ی هه‌رچیه‌ک بیت- لهم ناوچهیه‌دا . ماموستایان. مندالان, قه‌شه و سهرباز هه‌موو روژیک . هو پرسیاره‌ی که ده‌مینیته‌وه له کق‌تایی ثه‌م شیعره دا و هه‌روه‌ک له له سه‌رجه‌می جیهان دا: کی به‌رپرسه انکاریه- چاره‌سه‌ره‌که‌ی اسان نیه‌و ودلامه‌که‌ی شه‌ی به‌رگری کردن س خاپورکردنه که ته به بی ده‌نگی که و خاوبوه. لپی دتم پرافکون تور فتقانه کاد ارو وت نرق کحویا شامدرتتیگ۹ک بش۱۲ تزمه‌ته‌که‌شی کازاد : ما ۳ 5 هو اتکی ما ماما وی نو تسیز و کی ی له وا کین شمی بابه و متیر یدق له به‌که‌م ی سه‌رمه‌ست‌کانی شیعر ومرگیرانی نیو نیشانهزانیمان له چوار سزراخی گوی زهویه‌وه هیناوه: گرا فیتی له بانگزکه‌وه. فوناری کرسییتق له ثیرانهو ها ناواز له فیتنام. سلویدری فبرلهندهوه. یدیل ! له فهزه‌نساوه. په‌یکه‌ری پولای له کالیفورنیاوه. خه‌تاتی " له هنده‌وه و لیستهه ۱ ههر به‌رده‌وامه. ۳ 5 به جولان له ماباینی هیمای نیشانهبی اله ووشهیه‌که‌ره بو بویاح او/,ناوانه له (قاسنهوه بق,گرافیتی رو خه‌تاني: سهرمه‌سته‌کانی شیعر به دووی به‌ره‌وپنشبردنی لهیه‌ک روز هاومامه‌له‌کردن و ثالوگرکردنی نیوان که‌لتوره‌کاندان. هعول ده‌دهین که پردیک درو ت که‌ین دق پرکردنه وهی ثه‌و مه‌ودا دابراوه‌ی نیوان هونه‌رمه‌ندان» شارمایان و1 ۹ دی نه‌ومی پهکزبهک دای اک بمرمکی اسان دنت کی هاوباشتی کرتن له‌نیوان ‏ چه‌مکه‌کاندا. ززر مه حوش الیو پیشوازی له به‌رهه‌می هو 2 و شاره‌زایان (ووتار ود نگتران) که دس هی که پارجانه‌بنکه لهمژهاره‌یه‌دا بلاوکراونه‌ته‌وه) به هه‌ر شیوازیک بیت دهکه‌ین یمه شیعرو چیروک به فارسی و ئینگلیزی و ئیسپانی. ده‌خزینینه‌وه (ر یکی رد ۰

الترجمة بين نظامين مختلفي الإشارة عتامتصءىمء م1 صو هامصمت والتي تعني استخدام الدلالات لنقل المعنى من وبعابرة ابسط هي تقل المعنى من وسيلة الى وسلة اخرى ٠‏ لهذا النوع من الترجمة جذور في الماضي البعيد. .الصورة أذ للترجمة بين نظامين مختلنفي الإشارة عتامتصمعممعغصآ دمن مامقممت يم من خلال اسَتَدَعَاء الصورة البصرية إلى نص مكتوق ٠‏ يصطلح على هذه الظاهرة ( الصورة المكتوبة ) د1كهعطمء1 الجذر اليو ناني | للكلمة كا :تعني خارج (01 ) و ونهه2]1 معنى الكلام. هذا النوع من الترجمة قديم قدم أفلاطون وهومر في الثقافة الغربية ويقدم الالواج الحجريةالاشورية وتُخت تلشيد في الثقافة ال إقية. من عينات الترجمة بين نظامين مختلفي الإشارة غنأهتدمءو هآ من هاقصهم في الثقافة الشعبية المعاصرة 0 تحويل الرواية إلى فام ( بليد رائر و هاري بوتر )» موسيقى (5اته)2 إبداع الروايات المصورة » الجداريات ومغذات المتقاهي الإيرانية التي ترجمت قصص الشاهنامة إلى رست بالإضافة إلى مسرح (الحكواتي) أو أي نوع آخر.من الاقتباس حت لوكان غير مباشرا أو من وسيلة إلى وسيلة أخرى ٠‏ أداء مجلة ورس جاكيز في هذا المضيار تصدّر الأعيال الاقية في عدد المجلة الأول شعر للشاعر التايللدي ريا اماتاياء والذني اك يسم (كريا) والذي حصلت جموعته الاولى عام "٠‏ أفضل كتابة في جنوب شرق ]ميا / كرا كان أول شاعر يحصل على جائزة الشعر ألخرء واول شاعر متشلم يحصل على هذه الجا ئزة من قبل هيئة التحكيم خلال 17 سنة؛ حصل على إقامة في الكثير من دول العالى تم بيع ما يقارب 7860 فسخة من جموعته 40 . وتحصل على 'جمهوو وانتتشار أوسع مع صدور جموعته الثانية. التص الشعزيي الذي افتتح به عد المجلة الأول هو تحت عنوانوحيدي مع يدي ) وهولذن القصائد المعروفة والتي تحمل رسالة خاصة» مالك والتطرف في المدن الجنوبية في تايلائد. أرضه الام الايلة إلى الامهيارء ففي عام 5 ٠١‏ فا بعد حدث قردا في هذه المنطقة ؛ الحالون م يتأكدوا من ن,أسبات هنا القرد : هل هم مسلموا لبان المقأئرون بأقكار القاقّدةء أم الماعات الانفصالية التايلندية ممأ كانت الاسبابك؛ فقد فية الأطفالٌ والرشبان والجنود حياتهم.. التساؤل الذي يولِدة هذا الشعر في اذهان الخاطلين وكذاك العاك هو من هو المسئوك عن هذا الانهيار, تيت لا يوتجد نجوابا بسيطا له ومقاوفة مل هذا الامبيار يعد أمرا اسَتَتنائيا” (صامتء بقبضة ويذين دامية: وعظام مكشوفة".) الله امنا عل فلك الأحداث؟ وبطبيعة الحال ليس بعيدا عن اللوم. فنانون عديدون من دول العام الختافة جادوا بأقكارهم ولختهم في هذا العدد. ترجمات مميز من أقصئ نقاظ الع, من الجداز الحر في بايكوك » إلى الفن المفهوني في إيران إلى الموسيتقى الفيتنامية / السويدية / الايرلددي» وفي فرنساء إلى العلاثم الفولاذية فيكاليفورنياء من الخط في الهند إلى لوئجات الفنانين العراقيين والافغان 7 الحركة وسظط الرموز والعلامات. من المصطلح إلى الرسم من,الجدار الحر الى الخطااو .. تسعى مجلة ورس جانكبز لغرس ثقافة التفاهم والتفاعل بين الثقافات امختلفة وتنسعى لإيؤاد ارتباظ (أسهل» كبس بين الفنانين» المفكرين الأكادعيينء والناس العاديّن في مختلف الوسائل (المقالة» الترجمة؛ ...) لتكون محل ترحيب .+ ستقاً في هذا العدد التشعر والقصص باللغات الفارسية » الالكليزية» الانسبانية (طريقة العمل على هذا الرابط) الأعال الفنية والمقالات ستكون متاحة للقراء وامخاطبين نجاناء كذاك بالإمكان الالشتزا تراك "تلك الأعمال » إذلك نرنجوا من قراء هذه الجلة ومن اجَلَ إيجاد فضاء أوسع للانتشار عمل مشاركة للموضوعات المنشوزة. ترجمة: مصطفى الشوي

ss ~ pa persiska, engelska, svenska och spanska. Konstverk och artiklar kommer att fini a tillgingliga gratis for Den intertextuella Sversiitinin innebiir en dverféring av bevis genom fenomenologiska gator. Med en- Klare ord handlar deta om att averst ta ¢ en media till en annan. Den hiir sortens 6versittning har funnits lange. Oversiittning av konstviirk och inspiratio it konstverk har under manga decennier funnits i i konsthisto- rien. De férsta sorterna av den intervisuella dyerstittningen verkade som en éverféring av den visuella bilden till den skrivna texten. Detta fenomen kallas for “transkription av bild” (ekphrasis). Detta mee harstammar / fran grekiskans “ek” som b etyder ute och “phrasis” som betyder “att tala”. Denna sorts dversiittning ar lika Y gammal som Homeros och Platon i visterlandets tradition och lika gammal som: Arjang och Mani och de assy- riska stenskripterna och stenristnitigama i i Persepolis. De samtida motsvarigheterna i den moderna litteraturen gar tillbaka till ” En sing om den grekiska vasen” av John Keats och ven ” Apollon, profilen av den antika solguden” skriven ay Rilke och i 6st kan vi tala om iranska miniatyrer och de kinesiska malarna som Hokosai osv. Som ett exempel pa den intertextuella i i den populira Kulturen | kan man naémna romaner som blivit film (tex. Blade runner och Harry Potter), musik (Cats), uppkomsten ay’seriebécker, den iranska cafeteaterkons- ten dir Shahnameh héglises tillsammans med malade dukar och : skadespel och alla andra sorters tolkning som. inte dr sjilvklara och vaxlar fran en till annan media. Versjankis agerande i i detta intertextuella rum \ Som kailférteekning har vi anvant oss av en dikt skriven av Zakariya Amatya i tidskriften Versjankisn nol. “Hans férsta diktsamling som publicerades 2010, fick priset | fér bista skriften i Sydostasien. Han var den férsta poeten som fick ett sidant pris for fri vers. Han ar dessutom den forsta muslimen i Thailands buddhistiska samhiille som eréyrat ett sidant pris och han ir ocksa den férsta poeten som under prisets 32 ariga historia har valts utav juryn. Han har fat uppehillstillstand i manga lander. Hans forsta diktsamling har salt i mer din 38000 ex. I och med hans andra diktsamling, har han fatt lisare virlden dver. Den dikt som har valts fér férsta numret av denna tidskrift, heter * Ensam med mina hinder”. Denna dikt dr en av hans mest kiinda dikter som innehaller ett samtida budskap. Denna dikt varnar fér faran med fundamentalismen. Omradet som pa grund av fundamentalismen i de sydligaste delarna ay Thailand, poetens hemtrakter, befaras bli férstérd. Sedan 2004 kallas detta omrade for t upproriskt omrade. kritikerna ar inte stikra pa huvudansvariga for dessa uppror. Var det muslimer i Patani, som var arviagare ay alquaida, eller Var det de traditionella separatisterna? Hur som helst har dessa uppror lett till att barn och vuxna, munkar och soldater fOrlorar sina liv dagligen. yS ~ En fraga upptar varldssamfundets ‘tankar och det ar vilka som skulle kunna vara ansvarig for all denna a forstirelse. Det finns inget enkelt svar pa denna fraga och poetens svar och hans motstand ar enastiende; a tyst, med e1 Sppen knytniive och med blodfyllda hinder och naket skelew’”. Han ir ett ay vittnen till denna. handelse och siikerligen ar han medskyldig till det som pagar. il: artister fran mae oa) Linder har gn att reflektera poetens uly ‘ Versjanki: an i Kalifornien, ain kalligrafin i i fall til malningar Ana och ital shires -och ga ee som -presenteras i detta nummer. be Irérelsen ‘mellan de de. gatfulla symbolerna, fran ord till maleri och musik, fran stal till aiggskrifter och kal- ¥ ligrafin, forséker Versjangis att dka frstaelsen, talamodet och avkastningen av den inte Iturella omvarlden mellan de olika territorierna. Denna tidskrift imnar genom skapande av en miljé for littare kommunikation, bygga en bro mellan Konstniirer, forskare och vanligt folk. Denna tidskrift tar arya ‘mot bidrag fran kons- tnarer och studenter i olika genrer som artiklar, oversattningar osv. I detta nummer liser ni dikter och noveller alla intresserade. Det finns ocks& m@jlighet att dela artiklarna i denna tidskrift och for att ka den hir ao £ S salu ber vi alla lisare att sprida angers om denna tidskrift. = ‘4

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Ss & = versejunkies Isste ¢ \ 5 yA ~ qnu/ io /ou/ wldovnlay : | (aun /una/nzg* Joon /ai/wn/ Ar me UTE aaa /34/voa/iusna (in) (cathedral) (holy) toa / fia / ih faa (sound) (humming) (swarm) (fi snaiiy /1@tus / aaa (as if//like) (sound) (pray) pew i ‘ (wish for / ask for) . ‘\ fe % ga (hand) (which) (naked) (bare) ‘ P) an’ /nou /arwaunia \ i} (D (gather / hold up) (despair / hopelessness) A am Te : i : \ © uae /iih/ tiv / oon / g/ ore as: {and) (blow) Gi (out) (into) (ait) mignans jnlosiie/aon/tu/me/an (rose tree) (Persia) (grow) (in) (body) (1) , f aon / duad/uae / ? ee vitu = (blossom) (red) (and) (thor) (of) (i) * fe m : <i os x (penetrate) (pierce / stab) (through) (out): (come) (from) (eye) (I) . ‘6s x “unfiaay / aoa /#9 / a / fa /ugnon ~— A id (dove). (two) (2) ( (to hold something i in the mouth) (branch) (olive) \ j quay Ae in ». ( ' f ee (gather und) (make / ¢ do 1 create) (nest) (on) (head) (however) - SAS / @ (sake: ‘off) (nest) (of) (it) (throw away) fia /fig / way / aw / ay / una /qvary x “(wim (b an) ao <i 3 \ Ly (kate ‘ ( \ (while / along with / together with) (walk) (away from somewhere orsometing Heave) 9a / tte Bu /779 /tiae (ala /uldos (with) (hand) (which) (empty / blank) (and) (bare) (naked) - 74.15 _ meaning together ~ mostly for the pronunciation purpose/alliteration. The words here are nlfoanlaPivew= Plao ). “ ig Be in Pp Purp. » a I 1. 1il@oe and slay have similar meaning, ic, bare / naked / empty / blank etc. In the Thai language, we often put two or more words which convey the same or similar te “y 2. aon and aow— ibid. ~ (read: Lok ~ Lon)/ 3. Wu10 and init — ibid. (read: Naow —Nebb)/ 4 ‘INTEL ~a formal way to say clothes — derived from Pali and Sanskrit of 5, Haniseinetign 20710, 6, Renet Oettaaeciives in crease alliteration, /-aaif" means offen used in ancient Thai, in poems, oro show strong determination (i > 8. 119 and N#q are often used together, though the meanings are not quite the same but they can go together. They mean “pierce” and “through”. — Also alliteration (read: oe Tang — Talu) ‘ y

Cecé | Nobre (Painting - Graffiti)

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(13) Sepideh Shomali believes: “In one part, the poet mentions ‘the Iranian rosebush which grows from his body’. The rosebush multiples by propagation, a birth that comes from destruction. The rose cuttings are the signs of an abandoned city. When Zakariya Amataya speaks of the destruction of a magnificent elty- its long arches broken, its walls sundered-- the rose garden, absent its flower: s like that TUINed city. Later, the poet describes the desolation of an old woman whose soul is separated from her body. The woman is like the PUNE rosebush. Afterwards, he depicts the destruction of war and talks about men who cannot walk anymore. The white stalks of the rose cuttings point to this part of the poem and show the reestablishment of life after death and desperation. The rosebush is used by the poet to display several aspects of the human condition simultaneously: the Iranian rose is a sign referencing the Christian Virgin Mary and when the poet describes tearing off the thorns of the rose, it becomes a symbol for the blood of Christ. The dialogue between Cultures through these signs seems beautiful when such a Thai poet as Zakariya Amataya can show the alteration ‘in human condition through his statement’: “The Iranian rosebush ZFOWS from my body.” My mental image of the poet’s body is his poem and the languages into which it has been translated. My garden of rose cuttings with its and with no leaf remaining poetic roots in Amataya’s vision links it to the earth ail of us share and in the end, the Iranian rosebush grows from the poet’s body.” Translator: Farzaneh Shirreza ie m2) mosey.

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‘ - Ate 2 ‘ Con Tan S6lo Mis Manos Traducido por: Thais Drassinower wee 4 g Hay una ciudad desierta, su entrada 7 definida por un arco enorme, paredes desmorondandose a ambos lados, estuco gris descascarandose, rompiéndose — s por todos lados se ven los ladrillos, los cimientos expuestos, fracturados por el hielo en-el aire. En la base del arco, una anciana j en su vastra elegante, hermosa tela \ de carne estirada sobre huesos — un espantapdjaros en reposo: un alma, que lentamente se enrosca desde sus batas harapientas, vacias. 4 Su sonrisa, sus ojos: peces ambar saltando en los hoyos de su rostro. ~ Miré, me paré “2 bajo _ z laentrada desmoronada —» ‘ : por segunda vez. C=) \ Y el olor a pélvora estaba ahi, = i disperso por todos lados, 2 espesando cada particula del ambiente. = Y el humo trenzado como es = 17 del incienso que quema en la santa catedral. P Y las moscas moviéndose en masa, : zumbando una oracién sobre aquellos cuerpos que no corren mas. Con tan s6lo mis manos, descubierto y desnudo reuni aliento en su desesperanza. \ , Si, el rosal persa crece en mi cuerpo. } ‘Sus flores rojas y su espina 2 | perforan el mundo desde mis ojos. ~ Dos palomas llevando una rama de olivo hicieron un nido en. mi cabeza alguna vez. Yo sacudi su hogar de mi cabello. De nudé Ia estremecedora espina et del rosal dentro mio, 5 / / es y sali, afuera de la ciudad. Silencioso, relajé mis puiios, alcé mis manos sangrientas palmas, huesos descubiertos. Colado, lo mandé de regreso afuera: aire al aire. x Thais Drassinower (Written - Spanish) . eae . \

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@ 3 % 3, iB g Zeyban Ahmady declares: «His POCM is about the human condition and his damaged soul. Since the most vulnerable segment of any society psychologically and physically may certainly be the females, the poet focuses on an old WOMAN in her elegant clothes. The words old and elegant, paradoxically, suggest a damaged woman in a damaged society. While she is elegantly clad, her body is fragile and weak. This paradox shows how women in most societies exist in apparent carefree detachment with damaged souls and personalities >

Thold outmy hands, = “mere bone and skin Td Translated by Edwin Kelly create an enormous entrance - to an emptied city J ( (| e cracked cement Wallsa. Vy AW, f = broken brick = \ oe — ecrow in a sharp suit SS LNs efi f \ See f Se caught out in a cold wind — - ; desiccated skin hy 1S 4 \ of an old womai APE ) \ curled up in mourning clothes, » bhi "her veiled smile 4, half compassionate ‘i rising from hell. ~— “ ‘ = ~ T look through, pass once more = ‘ } L under the enormous arched curve — Pr the smell of gunpowder / , oS fills the air— pervades the atmosphere like an incense stick lit f j \ in a holy cathedral as a swarm of flies hum an imploring prayer ‘i \ el 72). \ Here are my hands, mere bone and skin ‘ \ eles hopelessness , I) fs 3 , ; | to pus! itout into the ae = es - : | the Persian ian rose tree e Bre through my body y vA red petals, thorns z Yt: j emerge from my eyes, Se (Dh ay * « £4 ~ two doyes, an olive branch in their “beaks, . build a nest in the upper limbs — bui I shake them off, ss cut back the Tors bush, its thorns, leave ~~ with, hands, mere bone and skin. 4

Bien | Sdr (Music translation) “I was really inspired when I first heard an audio recording of Naked Hand by the rhythmof some ofthe phrases. immediately heard the COminant beats ana tuned into the general prosody of the poem. Although I had an English translation on hand, I think NOt understanding the literal Meaning ’of the audio made these other elements stand out”. Naked Hand by Canadian musician Bien Sdr @ https://soundcloud.com/versejunkies/naked-hand-bien-sur

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versejunkies Issue 1.1 @) July 2013, = i | fs x z Ry Gud So this Ammar bin Hatim writes of his translation: “Although I worked from a translation of the poem, I tried to translate Zakaria’ s VISION into the language of color. 1 felt this poemas if it blended a range of different civilizations and the result was spectacularly beautiful. I was very happy with this experience because I love how this kind of work MIXES poetry and art. I believe that every drawing is a silent poem and that every poem is a drawing that uses words. This i simply what I felt after this beautiful experience with the poet Zakariya Amataya and my artist friends.”’

With only my “hands » ve by Cutter ante There’s a deserted city, its gateway s . ’ - er spanned by a massive arch, walls: : on either side crumbling, gray stucco \ ry ‘ _ flaking, breaking off— | ‘ ~ ) j everywhere bricks show through, foundations (> exposed, fractured by ice in the air. f ~ : At the base of the the arch, an old woman f NT) | ; 4 i elegant vastra, beautiful cloth By: ied tight over bones— ; a scarecrow in repose: a soul, slowly curling from its empty, ragged robes. \ \ ‘ “a ) \ Se ~ Her smile, her eyes: amber \ y : fish flashing in the pits of her face. A “ _- Tlooked through, Speeds . = under \ re: the crumbling gateway __ for the second time. And the smell of gunpowder was there) ¥ €Loz Aine, rr ae spread over it all, sr 2 thickening every particle of the atmosphere. i wT And the smoke twisted as it does 4 ees from incense burning in a holy cathedral. “<, . bed And the flies swarmed thick, - yy humming a prayer } i 5 Li over those bodies no longer tuning. \ with ally ay 'y hands, bared and naked I \ gather, breathe in their despair. \ Sieved, I send it back out: air into air. c ‘ 4 Yes, the Persian rose tree grows in my body. : 4 | Te 7 s red blossom and its thorn \ once made a nest on my head. ___ Ishook their home from my hair. - Ate te — I stripped the rending thorns ee Sy ; _ from the rose tree within me, \ fi | and stepped out, away from the city. \ . Silent, I unclench my fists, lift my hands, palms bloody, bones bared.

| Keyvan | Mahjoor (Pen and Ink)

Tadgh | McSweeney (oil paint) Tadgh McSweeney: “The 11) I get from the t 1 of the poem is dominated by the image of the arch, mentioned with the desolation and destruction of a war zone all around. AN Tennysons’ Ulysses: Tama part of all that I have met; Yet all experience is an arch where through gleams that untraveled world, whose margin fades for ever and forever when I move but of course the arch has also been used as a symbol a8 ©) camtorrers

“Med n i) V5 _ Translated to Swedish : Sohrab Rahimi ann En éde stad och pa vardera sidan av dess port as ett hégt tak upprest och dess murar ‘ ___ fran alla sidor har fallit, dess graa gipsmassa i ’ ee avskalad, avskild- r 2 } ft tegelstenarna huller om buller och rutménstret éde, sprucken av frysningar i vinden ’ \ = vid sidan av taket, en dlderstigen kvinna 5 es = indiska eleganta klider — SS ae = \ Si och en ay kétt, téttdragen éver hennes ben, vacker J Vs ; en fagelskr: a siiger att sjalen skall vara lugn iy j 4 J \ témmas fran sin grova och tomma kldnning. va } \ ‘. ~ hennes leende och blick ar samma oroliga Barnstenstensode fisk_ * _ om snurrar i hennes ansiktes urgrépningar. x % WA 7 nyfiken gick jag under = ‘ ed —_—— portens fGrédelse ; - y for andra gangen. det luktade krut “ } ;: och omgay hela omradet t ey ~ varje partikel av luften. é } hy » réken spred sig " . g som om nagot utav kyrkans heliga hade brunnit upp. eS . insekterna kom i skaror - ¢ versejur j med en psalm de sjong mumlande éyver kroppen av de personer som inte gick lingre. ensam med mina hinder, naken och blottad 2 \ ansluter jag mig till insekterna, _ \ med ett andetag andas jag in frtvivian. jag blir be i en utandning limnar jag tillbaka luften till luft. © .‘ if} tee : . Ja. En buske persisk réd blomma vaxer inne i min ye } . dess réda knopp och dess taggar a0 4 | 2 \ Sex r ut virlden ur mina 6gon. ‘ ; 3 = H t in ie ) ‘

“The poet mentioned stepping through the ‘a second time’ I understood this as a reference to his rebirth as a poet and observer rather than a participant in the melee. My sculpture has two sets of elliptical structures with a sphere passing through. The ellipses representing the creative center pierced by contrasting angles representing [| nature and so the piece can be read on different levels as the female as the center of creativity or as emotional or int rebirth.” Title: “We are our own creations”. — John Martin-Streeby a8 ©) camtorrers

The Six Tones | Music The main ambition of The isto create a foundation for a meeting between two distinct musical cultures on equal terms. With Only My Hands 118) m0 >) Visit https: //soundcloud.com/versejunkies/with-only-my-hands-the-six to listen to With Only my Hands by the Six Tones.

@ 2 % 3, 3 g Who'ls'Alive: the More3"ehess The intersemiotic translation of “The Conference of the Birds’” Written by: Leila Sadeghi Farid al-din Attar (1146-1221), a Persian poet, composed his mas- terpiece ‘The Conference of the Birds’ (Mantiq al-tair) in 1177. Although other writers, notably Avicenna (980-1037), Moham- mad Al-Ghazali (1058- 1112) and others authored similar works before him, the version attributed to Attar is considered by most scholars to be aesthetically superior to the others. Furthermore, a number of different intersemiotic translations have been done from Attar’s work which reflects the significance of his work. How the Birds gather in a Conference According to the poem’s plot, thirty birds gather to decide who is to be their king. The wisest of them (the hoopoe) suggests that they should seek out the legendary Simorgh, a bird more or less analogous in the Western tradition to the mythi- cal Phoenix. “Simorgh” literally translated means “thirty birds” and functions in Attar’s version of the poem as a metaphor for God. When the assembly of these thirty birds at last reaches the Simorgh nest, they find only their own reflections gazing back at them from the surface of a lake. Attar organizes his poem so that each part is narrated by a different bird, and eventually the thirty individual frame stories accumulate to produce a single effect, uniting in a single construct-- a multiform but coherent and therefore superior bird. Because of its distinctive structure, Attar’s work is, by definition, an early example of macrofiction. What is macrofiction? According to Van Dijk, it is possible to interpret many phenomena as “wholes” (macrostructures), i.e. as cognitive units of some kind, which with respect to the relationships between their various “parts,” “sections” or “elements” (micro- structures) can be said to realize a “logic of text.” Thus, macrostructure could be considered as plot, as either summary or outline of the idea structures and/or substructures of the particular text, or as large-scale statement of the content of a text. This part-whole relation, in my formulation of the concepts as they apply generally to poetry and to Attar’s poem in particu- lar, can be analyzed into a more basic cognitive notion called macrofiction. Not only does this formulation apply to specific properties of different thematically unified narrative macrostructures, but it also applies to those modular, loosely aligned structures joined together by transtextual elements to build an unspoken but implied backstory and to build larger and more intricate narrative arcs as well. This technique of ordering in Persian storytelling, in my opinion, starts from “The Confer- ence of the Birds” (Manteq-ol-teyr) (Sadeghi, 2012). The structures of various narrations by the different bird-narrators (the

micro-fictions) share a similar and predictable pattern (the logic of the text) in which all the elements are in harmony with the lexical, semantic and mythical properties of the bird-identity which tells the story. In other words, the ideational components of a single framework are simply replicated and the lexical components of the other narrating identities are systematically inserted into the frame. The larger theme of the macrostructure remains the unchanged but is further elaborated by each suc- cessive narrator. Three levels of a literary work: Evaluation of literariness Every literary work has to have three levels of conceptual mapping, including attributive, relational and system mapping in Freeman’s terminology which are Projection, pragmatic and schema mapping, respectively, in Fauconnier and Turner’s terminology. Generally, attributive mapping is a perception of similarity between objects (Freeman, 1998: 255). According to conceptual domain theory, an identified property is mapped in one domain then the resulting pattern is repli- cated in a different domain. Attributiveor projection mappingmay “project part of the structure of one domain onto another” (Fauconnier, 1997: 9). Secondly, relational or pragmatic mapping is considered as “sensitivity to relations between objects” (Freeman, 1998: 255) and generalized a small resemblance between the corresponding objects and their relations in terms of cause and effect as well as their contiguity. “The two relevant domains which may be set up locally, typically correspond to two categories of objects, which are mapped onto each other by a pragmatic function” (Fauconnier, 1997: 11), Finally, system or schema mapping refers to mapping based on objects and relations that are highly interconnected, so each element in the source is mapped consistently and is uniquely related to an element in the target (Holyoak&Thagard, 1995: 31). It operates “when a general schema, frame, or model is used to structure a situation in context” (Fauconnier, 1997: 11). The attributive and relational mapping may account for the details and microstructures of a fictional work, and system mapping could reveal its larger ordering rationale, its macrostructure. In addition, system mapping, adapted as a tool of literary criticism, could differentiate and establish the necessary criteria for evaluating two literary works that treat the same subject matter. Since Attar’s ‘The Conference of the Bird’, for instance,was more treasured, imaginative and challenging through the history than Avecina’sone,an individual could claim that the structure of Attar’s poem, its three levels as well as its macrofiction, not its content, leads to its being a master piece of mystic literature. The harmony of form and meaning: ‘manyness turns to oneness’ “The Conference of the Birds” includes 196 secondary stories, each one containing approximately fifteen couplets. All of them share a common pattern with only modest variations in lexical and semantic elements to accommodate each different narrating identity. The narrative arc moves from variety (manyness) to unity (oneness), and this progression is the same in all the stories. However, they represent the multiplicity of voices and variants of the main character. Traditional embellish- ments, like the introduction and the opening verses of this work, transform into a part of the main body through the holistic interpretation of the work, rather than as some opening verses. The introduction begins with a verse in the Eulogy of Lord, his prophet and the four Caliphs (who had ruled after the death of Muhammad). Then, the schema mapping of the verse could not be illustrated without reading and analyzing the opening verse which is about thirteen birds. Furthermore, the first line of every bird in the opening includes three lexical and semantic items, which are: welcome terms, the name of the bird (thirteen names) and the attributive terms. Dear hoopoe, welcome! You will be our guide. And you are welcome, finch! who is like Mos And welcome, parrot, perched in paradisel... Welcome, dear partridge -- how you strut with pride... and so on... The stories about birds in the main body of the poem (see couplet 749, ed. Goharin) have the same pattern as well. It is worth to mention, this pattern have been repeated in different parts of the work to show the manyness. That is, the main body starts with three items as well, such as the entrance of the birds, the name of the bird and a modifying term: The parrot comes with sweet wore The partridge approaches joyfully... The hawk came forward with his head held high... The owl approached with his distracted air... and so on...

8 = versejunkies Issue 1.1 For the most part, the frame of all the stories about the birds is repeated except Simorgh (the thirteenth bird of the opening verse), the main narration to which all the other birds’ narration united. The items of each narration isomorphically repeated in the rest with replacement of some lexemes. Thus the conceptual mapping of one structure is mapped to all the other birds’ stories. It is worthy to mention that the different structure of Simorgh represent the oneness, which is a string united all the stories together. But how different spaces blend to create a new space? According to Fauconnier, blending theory could operate on more than one domain or space and inherits partial struc- ture from the input spaces and has emergent structure of its own. It works on two input mental spaces to yield a third space, the blend. A poem may be formed from lots of blending spaces and some parallel, simultaneous or crossed system mappings which refer to a macro-system mapping as well. In fact, through reading the epic, an individual meet a number of different entities attributed to other different entities to make a new space. According to the first lines of the poem, for instance, hoopoe and the king Solomon blended to create a new character, the hoopoe as a prophet or guide, as following: Dear hoopoe, welcome! You will be our guide; It was on you King Solomon relied To carry secret messages between His court and distant Sheba’s lovely queen. He knew your language and you knew his heart -- As his close confidant you learnt the art Of holding demons captive underground, And for these valiant exploits you were crowned. And you are welcome, finch! Rise up and play Those liquid notes that steal men’s hearts away; Like Moses you have seen the flames burn high On Sinai’s slopes and there you long to fly, Like him avoid cruel Pharaoh’s hand, and seek Your promised home on Sinai’s mountain peak. There you will understand unspoken words Too subtle for the ears of mortal birds. And welcome, parrot, perched in paradise! And so on. (Darbandi and Davis, 1984) There are, therefore, some input spaces which blend to create a new phenomenon (a Prophet bird that is as seeker) for all the mentioned birds. To see the structure of the first story (Hoopoe), which is repeated for the parrot, hawk and others, see the table 1. Input: seeker Input: bird Input: Prophet Traveler Hoopoe Solomon Character Truth goer return flight Be guided Atributive Valley’s habitant Messenger Messenger Role God Queen of Sheba | Goal Self Knowledge Language Language Vehicle Secret Crown Secret Valuable object Ego Demons Obstacle Austerity Prison Obstacle Uniting palace Finish | Components from mb oe Generic space domain Hoopoe’s domain | Solomon's domain oC Blending space Prophet + bird + seeker Table-1. Conceptual blending of the Hoopoe’s story in the opening verse

In the opening verse, a single theme or voice is considered a string which links all the other voices to one. In the other words, Simorgh (phoenix) as a holistic structured story-motif considered a connecting string which unites all the other birds/ stories/voices. The following schema is repeated twelve times for all twelve birds which open the list: 1. Hoopoe is a seeker and if his head is Solomon, he could pave the way, leaving his internal demons and reaching the palace which is like joining the god. 2. Finch is a seeker and if his head is Moses, he could pave the way, leaving his internal Pharaoh and reaching Sinai’s mountain peak which is like joining the god. 3. Parrot is a seeker and if his head is Abraham, he could pave the way, leaving his internal Nimrod and reaching a garden which is like joining the god. 4. Rare falcon is a seeker and if his head is Mohammad, he could pave the way, leaving his internal enemy and reach- ing a cave which is like joining the god and so on. Since all the stories follow the same pattern, they represent the schema ‘manyness of realities’ (the birds) which are in- tegrated into a ‘unity of existence’ (the main story being about the phonix). In other words, the ‘manyness is oneness’ schema mapped on the macrostructure of the poem, so the macrostructure interacts with system (or schema) mapping. Subsequently, all the microstructures of the stories are similar and share the same theme (macrostructure). To short the long story, the micro and macrostructures symbolize ‘manyness is oneness’, although system mapping illustrates the structure in micro and macro levels of the poem, as it is displayed in Figure 1. 6stories Sstories Sstories Sstories 6stories Tstories The valley of] The valley of | The valley of | The valley of | The valley of |The valley of} ""¢ valley Nothingness |Astonishment] Unity | Independence | Understanding] Love | Que Story99 | Story... | Story... | Story... | Story... Story.. Story6 StoryS Story4 | Story3 | Story2 | Storyt | Exeusing Decide to travel Hoopoe’s Answer Story Story Story Story Story Sparow Owl Heron Homa Duck 3 ES a FS a Story Story Story Story Story Story Story Story Story Story Hawk | Turtledove] Pigeon | Cock | Peacock | Nightingale | Franeolin | Rare Falcon | Partridge | Parrot | Finch | Hoopoe is = = © a S a a = a a 7 Stories ‘About Ege ot (ogy oI Calinh? Story Eulogy of Pronhet Story Eulogy of Lord Figure 1. The interaction of System mapping and Macro structures of “The Conference of the Birds” | ans] sanjunfesian

8 Ss versejunkies Issue Here, attributive and relational mappings have created the metaphor which “the Conference of the Birds is like a path toward the phoenix”, “the valleys are like the obstacles in the journey”, “the birds are like the seekers”, “the phoenix is like the shadow of God”, “the stories are like manyness”, “the phoenix is like oneness”, “the path is like the arrow”, etc. Valleys Excuses Stories Birds Caliphs of One bird Phonix 2 Thirty birds j | a i Z The main schema of the poem is ‘source, path, goal’, a road in which some birds/seekers start to walk, nevertheless the obstacles or stages guided by a prophet/head. The main path includes many secondary roads (multiplicity/ manyness) that the seeker starts his journey from manyness (source) to oneness (target). It is the macrostructure of ‘the Conference of the Bird’ which becomes able to be represented by mapping in different media. Picure1.‘Conference of the Birds’, Juan Ford, 2011 Juan Ford’s ‘Conference of the Birds’ installation exhibited at the Footscray Community Arts Centre in 2011 is considered an intersemiotic translation of Attar’s ‘the Conference of the Bird’. According to Ford’s installation, conflicting Attar’s work, a large number of black birds gather to start a journey, but just one small bird stands back from the flock, sitting on the earth and picking up seeds. The flock seems to be a large black spot, a black monster, including different sorts of birds. It is worth to mention that Ford’s work converse the logic of the story, which is small group of seekers can pave the way, so here a large number of birds gather to take a trip, while just one bird is not going to be a seeker, but a seeder. It means that one bird seems not to be a looser in Ford’s installation. The black spot seems to be an enormous creature, a single theme or voice as a string which links all the other voices or birds to one. In other words, Simorgh (phoenix) resembles a large black monster contains birds’ moving nowhere. This large spot which refers to a large bird, the phonix, is moving toward an ambiguous purpose. The phonix seems to be like a con- necting string which unites all the other birds/stories/voices. The birds’ gathering as one entity has slightly similar structure with the arrow in figure 2, in which the microstructure consists of a number of different birds with different styles of flying. However, there are three small different points which leads to a different interpretation. Not only does simply one bird reject to travel with the rest (in contrast to the poem which most of the birds have rejected to continue the spiritual journey), but also all the birds in the painting are not flying forward; it seems they are wandering in the sky without any special purpose. Furthermore, ‘the bird is like a human’ is not expressed directly in Ford’s installation. In the poem, the birds could speak and treat like the human being, so the metaphor of ‘bird imilar to human’ is created. As a result, whole the story of the birds is mapped on the whole story of human’s life. In the installation, however, the title of the work, ‘The conference of the Birds’, as a paratext may activate the metaphor of ‘bird is like a human’.

One bird Figure 3- system mapping of “the conference of the birds” in Ford’s installation To sum up, Ford has changed the macrostructure of the poem in his intersemiotic translation. He expresses his point of view about life through extracting one bird, which signifies focusing on temporary goal, picking up the seeds. As a large number of birds are not thinking about the seed, but wandering in the sky, it seems Ford is criticizing Attar’s point of view about perfect contemplation. What is Ford’s message in his work: stick to the current moment, live and enjoy the life?The following mapping displays how an author could express his point of view through changing a part of macrostructure of a text as well as the relations between structures which leads to a different macrofiction. Picure2.‘Conference of the Birds’, Tom Block, 2009. Another work with the same title, “Conference of the Birds’, painted by Tom Block may offer a different intersemi- otic translation of Attar’s story about the birds. This work is exhibited at District’s Hamiltonian Gallery in 2009. Block has explored the birds’ journey as urban tale in the series of his works, including a number of panels that all are considered as one, titled ‘the conference of the bird’. Each panel was six feet high, and altogether measures 62.5 feet wide. Thus, Block’s presentation attractively reflects the same pattern of the poem systematically. In other words, it represents the ‘manyness of realities’ (the birds) which are incorporated into a ‘unity of existence’ (the phonix) in the form of a visual art. In actual fact, the ‘the manyness turn to be oneness’ schema mapped from the poem’s structure to the painting’s presentation system by putting a number of panels next to each other for creating a larger work. Block translates the poem’s macrofiction interse- miotically through mapping the whole structure or system of the poem into his work, so the poem’s macrostructure, which is ‘integrating many objects to one object’, is mapped onto the paintings, on the contrary to Ford’s work but with the same general point of view and interpretation. LL anss sanjunfasian = x 8

July 2013 ef z 3 = g Picure3.Tthree panels of ‘Conference of the Birds’, Tom Block, 2009. Each panel may appear at first a chaotic graffiti-like art work; while with a closer look, it refers to the totality of hu- man interaction with the world around them, as Attar’s “birds” metaphorically have met each other in a conference to start a journey, a shared road, a common way of living. It is significant that just a few birds (human) who gathered as a social com- munity reached the end which was itself another beginning for another journey as well. The rest of birds or human missed the journey, the goal, the evolution, the right style of living, the experience of being a part of one entity and some similar signifiers. In fact, Block’s work is a precisely ‘orchestrated series of images echoing the allegorical quest of thirty birds in the spiritual epic’ of Attar, the Persian poet. What Block has done is translating the written text and its structure into a visual media by his point of view, focusing on the target domain, the people’s life and their communication. Although Ford’s instal- lation has explored the function of seeker and loser by changing the macro-structure, Block expresses a similar idea by omit- ting the birds as source domain of the metaphor, just speaking about the target, the human itself. However, Attar in his poem focuses on the birds’ life, the source domain, not the target domain, to express human’s life. For Block, the goal of knowledge is action, not sitting in perfect contemplation. The meaning here is the social life with the benefit of wisdom, not spirituality, leads to integrity of every single person to a larger community, which is culture and civilization. 1. Copy-editor: Jeff Streeby Reference Attar, Farid al-din (1177).The Conference of the Birds (Mantiq al-Tayr).Ed. SadeghGoharin (2990). Tehran: ElmiFarhangi. Attar, Farid al-din (1177).The Conference of the Birds (Mantiq al-Tayr).Trans, Darbandi and Davis (1984). Fauconnier, Gilles (1997). Mappings in thought and language. Cambridge: Cambridge University Pres Freeman, M. H. (1998). Poetry and the scope of metaphor: Toward a theory of cognitive poetics, In A. Barcelona (Ed.), Metaphor and metonymy at the crossroads (pp. 253-281). The Hague: Mouton de Gruyter. Holyoak, K. J., &Thagard, P. (1995).Mental leaps: Analogy in creative thought. Cambridge: MIT Press. Lakoff, G. (1987). Women, fire, and dangerous things: what categories reveal about the mind. Chicago: University of Chicago Press. Sadeghi, Leila (2012) “Structuring the macro-fiction of mantiq al-tayr (‘conference of the birds’) by Farid al-din Attar”. 4th UK Cognitive Linguistics Conference, King’s College London, 10-12 July 2012 Van Dijk, Teun (1980), Macrostructure, New Jersey: Lawrence Erlbaum Associates Publishers.

The International Journal for Intersemiotic Translation www.versejunkies.com

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The International Journal for Intersemiotic Translation www.versejunkies.com

= 8 3 eorge Szirtes n Translation Each issue ‘Wersejunkies will interview an established translator to ask about their process and practise. This issue we are delighted to speak to GEORGE SZIRTES. Having returned to his birthplace, Budapest, for the first time in 1984, he has also worked extensively as a translator of poems, novels, plays and essays and has won various prizes and awards in this sphere. Most recently, his translation from the Hungarian of Laszlé Krasznahorkai’s Satantango, published by New Directions, was awarded the BTBA (Best Translated Book award) for 2013. The BTBA aims to bring attention to the best original works of international fiction and poetry published in the U.S. during the previous year. His own work has been translated into numerous languages.

‘Wersejunhies Edwin Kelly — Has your translation process changed much over the years? George Szirtes — My process hasn’t changed very much. Start at the beginning and work through, then re-read and re-draft, often several times. I suppose it should be different for poetry and for fiction but essentially it is the same. Once the work is there I can’t wait to get my hands on it, to feel how it might sound in English. With poems perhaps there is a sense of form in terms of stanzas, prosody and rhyme, if any, because I don’t think these things are distinct from voice, in fact it surprises me that anyone should think they are. That is not to say that such aspects can be simply copied but one has to get inside the clothes, so to speak. Then you walk around in them and see how it feels. In so doing you discover something about both the original and what you yourself seem to be producing. In the case of a poem the idea is to produce a poem. The produced poem springs out of the forehead of the original and will bear a strong family resemblance to it in most cases, though I can see a perfectly good argument for treating the translation as a new work. That shows how elastic a term ‘translation’ is. In poetry one expects more liberties than in fiction if only because fictional prose implies a narrative drive in which ambiguity plays a smaller part. But for me personally, the actual process is pretty well the same. Wersejunkies EK - I imagine the influence of translation has been profound, on both your own work and on you personally. GS —Thave learned a good deal from translation. How could one not? Technically there are the components of voice. I hadn’t written hexameters of any kind until I started translating certain Hungarian poets. They are not strict classical hexameters but varieties of a six-stress line that can gather pace and urgency. The tone and register of certain poets sticks with me: the epigrammatic short poems of Agnes Nemes Nagy, the breathless rush of Zsuzsa Rakovszky, the muscular yet broken drive of Ott6 Orban. I have benefitted from all three, and more from others. Think of it as the mouth learning to make new sounds. After a while, with some luck, the sounds become part of your own voice-scape. I advise any young poet to translate: it’s a great school. ‘Wersejunkies EK - You respond to artworks quite regularly in your own work. I know you have a background in art, could you tell us a little about it? GS —I went to art school and was a painter in a broadly surreal, sometimes Chagallian mode. My mother was a photographer. My work has responded more to visual art than to music, at least in the sense that I have actually written a great deal more around and through works of visual art than about or through music. ‘Wersejunkies EK — Why do you think this is? GS — Music seemed self-complete to me, but then it may simply be that though I do play musical instruments to a low level and have done so since early childhood, the language of music has spoken to me more slowly and more rarely than the images of visual art. Having said that I have written the lyrics and books for a number of operas, choral pieces and musicals over the years, but the poetry of those - with a few exceptions - has been less substantial than the poetry of art. It may be because music generally swallows up poetry. I am, of course, married to a visual artist whose studio is in the house. I was head of art and art history in a number of schools before being invited to teach at the art school in Norwich (now Norwich University of the Arts) from which point on, ironically enough, I never taught art again. Wersejunkies EK - Can you identify any similarities in your approaches to creating a response to a visual work of art and translating a Hungarian poem? Would you consider them both acts of translation? Is one more difficult than the other? GS — The two are quite different in my usual practice. The art work is generally a door through to somewhere interesting beyond. Ekphrasis in the strict sense is boring. I can’t see the point in writing a poem that tries to reproduce the picture. Understanding the picture is different, but that doesn’t necessarily need poetry. The focus of the best poetry about art, in my view, lies through and beyond the work in a new space that established itself and no longer needs the visual stimulus as a point of reference. No one thinks that a poem about another person needs the other person to be present at the reading of the poem. An artwork is just another object in the world as far as the poem is concerned. The poem has no direct obligation to the artwork. That is not the contract. I have undertaken to write poems about paintings - most recently about the Titian exhibition at the National Gallery last year. The contract was to produce a poem based on looking at one of the pictures on show. It was not to render the work in verse. Writing through art and translating a work of literature from any language are both as difficult as required. In the sense that the work of art is mostly obligation-free it is ‘easier’ but writing any good poem is difficult. The difficulty is in writing the poem not in responding to the work. £107 ©) LL anss} sanjunfasian

July 2013 3 ES Wersejunkies EK - How do questions of faithfulness to the original text affect your creative process? GS — Literary translation is different. There is a wide range of activities that one may describe as translation, including writing itself so it may be easier and more useful to address this in practical terms. When a publisher offers me a contract to translate a work of fiction they don’t expect me to look through the work to a space beyond. My obligation is to render the book into the best English I can and not to depart from the text by adding or subtracting material. There is, naturally, the question of interpretation, but interpretation is a matter of fine degree. A horse may be translated as a steed, a mount, a mare, a colt, a stallion or some such thing depending on context but it may not be presented as a bus or an aeroplane. That is the general ap- proach to fiction and that is what is understood by the contract which is the same as any other contract. You define what you can while realising that most definitions are negotiable to a greater or lesser degree. Poetry offers far more ambiguity, as ambiguity is a major aspect of its being - so a degree of freedom is understood to be necessary. In translating an unknown poet for the first time the translator may feel obliged not to stray too far into the space beyond. To pursue the metaphor, the ‘faithful’ translation looks for a space in the house or garden not in the city or forest be- yond. For me that means attempting to undergo the process and to follow the manner of the original poem. If I have a strictly rhymed sonnet I will try to translate it as a strictly rhymed sonnet, or at least to give an earnest of it. Form is not an extra to a thought: it is a way of thinking. But of course there are spaces beyond house and garden and those become ever more valid once the original poem has become established as a text in the receiving language. So I have translated - with considerable liberality - from poems by Montale, Mandelstam, Akhmatova and Apollinaire secure in the knowledge that the reader knows what I am doing because he or she has recourse to closer translations. ‘Wersejunkies EK - If the author you are translating is alive, do you work with them during the translation process? GS —I tend not to work closely with my living Hungarian authors. It would be OK in the odd one-off poem but would become so cumbersome in a longer work that it would never get done. Translation, for me at least, requires a certain momentum. I listen out for the voice emerging from the translation and when it sounds convincing enough as an echo of the original then I finish the project. Interestingly enough, most authors don’t in fact want to interfere. They know their grasp of the receiving language is less firm than the translator’s. Simple mistakes can, of course, be pointed out, by either the author or a bi-lingual editor. “Wersejunkies EK - Can you speak a little more about your own experiences of moving from one language to another, and your return to Hungarian? I can imagine these experiences focused attention on the gap and differences between languages, maybe not as a child, but retrospectively as an adult? GS —T have no memory of the abrupt language-change in late 1956, early 1957, probably because I was losing the language in which I might have registered it. English and Hungarian are radically different languages, not only in terms of grammar, syntax and vocabulary but in their physical articulation. The mouth moves quite differently in Hungarian - the production of sound is more physically demanding. There are no diphthongs so the mouth is constantly stretching and opening rather than closing as in English; the consonants too are produced in a different way. This is an aspect of feeling with its own cultural context. No part of a poem is without meanings (plural) and a poem is, among other things, a physical experience. I think I would probably have been a slightly different person in Hungary, and something of that would be down to the language. I am more aware of this now than I was before of course. at least I am capable of speculating about it. It is likely - though I would be the last person to know - that under the deep layer of English and all it stands for historically, physically, psychologically and politically there is a bedrock of Hungarian of which I am rarely ever conscious. All I remember of learning English are my more comical mistakes in spelling and pronunciation and the odd puzzlement interpreting idiomatic language. It might be a good thing to possess a sense of two deeply seated languages as exotica, the one slightly destabilising the other. You could argue it keeps both languages fresh. On the other hand you could argue that neither of the two languages is sufficiently deep- ly-seated, so the writer never becomes a true member of the tribe, and cannot sing its complex yet simple-sounding heart. ‘Wersejunkies EK - That brings us to your translation of Krasznahorkai’s Satantango. Congratulations on your re- cent award! What are the challenges of translating Krasznahorkai? GS — Thank you. It is the prose style that makes Krasznahorkai difficult, the lack of paragraphs, the very long sentences that sometimes extend to a whole chapter of several pages, as they did in the second novel of his I translated, War and War.

ersejunisies EK — There are a number of powerful film adaptations of his books directed by Béla Tarr, including Satantango. Does the presence of these versions influence your translation choices? GS —I didn’t actually see the Béla Tarr films until I had translated the books. Films are not the books on which they are based, of course, they never are: what they are in this case are excellent free-standing film equivalents of the books, Satantango, the film, is some seven and a half hours long and it is beautiful, a real masterwork, but my job is to translate the novel not the film. It has sometimes annoyed Krasznahorkai when asked whether he has been influenced by Tarr. The films have invariably come after the book, and the influence runs the other way. It is only in English-language translation that the films appeared before the books, and that confuses people. ‘Wersejunkies EK — You have experience of working in, or passionately loving, the arts in three modes - music, lit- erature, visual. Are there forms of experience that you feel one mode articulates better than others? I know it may be simple to say, for example, that visual art “speaks” most easily about other visual art, that poetry “speaks” more easily about poetry etc, but I mean in a deeper, more profound sense, do these different modes access different parts of a person’s being? GS —It is as you say. Each of the arts addresses the world in its own way, apprehending whatever part of it is pertinent to its mode of apprehension. But there is much in common between them, if only because the senses are not entirely distinct from each other. There is an essential synaesthesia in human perception. It is not nonsense that there is a red sound, or that such and such a sound is hot. Our senses are aspects of our imagination: imagination processes the senses and that inevitably leads to a certain overlap. Metaphor depends on finding points of equivalence between different kinds of sensory experience. I think I am primarily a language person, secondarily visual and thirdly aural. I do play musical instruments rather badly, I have been a visual artist and did quite well at that, but I was always at my best with words. So, in my case, when writing, all the other senses feed their way through language. But that is a purely personal hierarchy and even that changes. My pleasure in music is greater now than it has ever been. My interest in painting (purely painting, not other image making) is slightly diminished for now. Words have always been the most important and there is neither increase nor decrease in my pleasure of them. If anything an increase, more love of play. ‘Yersejunkies EK - I’ve asked you a number of questions about your own personal experiences of translation. What are your thoughts on the importance of translation in a wider cultural and political sense? GS — Translation is a peculiar term. Hungarian has different terms for three aspects of it: tolmacs (interpreter, as in a political discussion or for an interview in a foreign language), fordité (a non-literary translator) and méfordité (literary translator). But even that fails to cover the range. We translate all the time, from sensory experience into thought experience which is a form of language-experience. Translating across languages is an extension of the same function, or so I think. Literary translation - which is what we are talking about here - isn’t simply a matter of precise lexicographical definition (there’s no such thing in any case) plus some reordering of grammar and syntax. It is a complex act that knows its goal is not the reproduction of one language text in terms of another but the creation of a new text that is related to the old one in a more or less direct manner: it is, if you like, an understanding of a text in one language in terms of another. Having said that, there are purely transactional terms in which some degree of precision is vital: in politics, commerce and science for example, almost anything that relates to precision of action. It is where, what, when and how many matter. In literature it tends to be how and why that are at stake. The questions are equally important but address different equally vital aspects of experience. ‘Wersejunkies EK — Do you feel the state of translation is particularly healthy at the moment? GS — As to the condition of translation at the moment, each translation is as good as its translator. But if you mean the activ- ity of translation into English, there is some improvement there. I understand the percentage of translated books in the UK market has risen from c.3% to about 4%. It’s still tiny. In Germany it is about 50%. ‘Wersejunkies EK — Anything else you'd like to add? GS - I think writing and translating are complementary activities that can improve the quality of the original writing, simply because the translator learns and extends his or her range. = 2 5

Closing Remarks: Translating Inspiration Inspiration (n.) c.1300, “immediate influence of God or a god,” especially that under which the holy books were written, from Old French inspiracion “inhaling, breathing in; inspiration,” from Late Latin inspi- rationem (nominative inspiratio), noun of action from past participle stem of Latin inspirare “inspire, inflame, blow into,” from in- “in” + spirare “to breathe” (see spirit). Conveys the idea of motion, direction, or inclina- tion into or to a place or a thing. Meaning “one who inspires others” is attested by 1867. [1] While traditional ideas of ‘equivalency’ may perhaps prove fruitful or diverting when considering intersemiotic translation, I believe this practice moves beyond such simple issues; we approach the more primordial space that exists before the creation of art, that space before art takes place, that space before the work assumes form. ‘Inspiration’ in the Western tradition means to in/flame, to breathe (spirit, action) into another person or an idea. In Arabic languages, Ilham (translated as ‘inspiration’) means to exist as a medium between God and the people; a mental state that overwhelms the heart and mind at the same time. In Avestan [2] the word ‘Srav’ (hearing) and the Sanskrit word ‘Crav’ (singing) have a common root with the name of the angel So- rush, a medium who brings secret, spiritual messages to the people. ‘Srutan’ in Old Persian means singing, writing verse, and shares the same root with the name of the angel Sorush. Across this small sampling of traditions, we see similarities in definition and etymology: the idea of ‘inspiration’ as the act of transference of ideas or spiritual messages from a place beyond the artist. If we look to the Chinese language, the word for spiritual inspiration did not exist and was adapted from the English idea in the early 20th century becoming ‘linggan’ (ling-‘soul’, gan-‘feeling’). The Chinese adaptation of English ‘inspiration’ then moved into usage in the Korean language becoming “younggam.” As the English idea of inspiration was translated and moved through Chinese and Korean cultures, so too the artwork in this first issue of VerseJunkies moves from the poetry of Zakariya Amataya into the artwork of artists around the world. The source piece is the inspiration; the new artworks are the translation of that inspiration. Imagine that moment before a poem comes to the poet; before ideas for lines or images or musical movements: that moment (quiet, chaotic, eternal: however we choose to define ith—that moment, across cul- tures and languages, is ‘inspiration.’ Artwork is simply an enunciation of inspiration, of closeness to God or the void that exists before creation. That’s why we’re drawn to it. Intersemiotic translation is the movement of this inspiration across cultures, mediums and artists. The artworks in this first issue are efforts to re-capture, re-experience, re-define Che’s original instance of inspiration: each piece is a new enunciation of that inspiration filtered by the medium, by the artist. Each piece is, as described by Carl Sandburg, the “opening and closing of a door, leaving those who look through to guess about what is seen during [that] moment.” Each piece in this issue is undoubtedly influenced by an understanding of the original, by that “opening and closing” that existed for Che when he wrote, “With only my hands.” However, all the artists—except perhaps Cecé Nobre, who speaks Thai and met with Che in Bangkok for the filming of his piece— experience Che’s original poem through the veil of intrasemiotic translation: the original piece, and the ‘window’ into Che’s inspiration, is 2 or 3 times removed, especially for the artists in 5 3 inkies Issue 1.1

Tran, Afghanistan, France. Much as the Korean ‘younggam’ is adapted from the Chinese ‘linggam’, these artists attempted to connect with the original poem using a translation of a translation: Thai to English to Turkish, Thai to English to Persian, ete. I believe this raises some interesting questions related specifically to the works in this issue, but also relating to intersemiotic translation in general. If we accept that an artwork is an enunciation of inspiration, an artifact that stands as a representation of God or the void that exists before creation: then the artists who translate this must have an intimate under- standing of both the original piece, and their own medium if they hope to successfully translate the original artwork. At least this is the traditional approach to translation. It is an old argument with new players: “only poets can translate poetry,” has become “only painters can translate paintings.” It is my hope that the contents of this first issue, that the premise of Verse- Junkies will generate a dialogue regarding these issues within their respective artistic communities. Some questions then: Is there an ‘efficiency’ factor in the transfer between artists, between mediums? Do some art- works manage to connect more fully with the original, or are these issues irrelevant in the face of new art? Do some mediums lend themselves more easily to being translated across mediums: e.g. is an urn easy to translate into poetry, or into sculpture? Or into music? How can the value of translation across mediums even be established? -Cutter Streeby NB: “The word ‘translation’ comes, etymologically, from the Latin for “bearing across’... Itis normally supposed that some- thing always gets lost in translation; I cling obstinately to the notion that something can also be gained.” — S. Rushdie anviledunifeunlan (with) (hand) (which) (naked) (bare) Mnnounnuduna (D (gather / hold up) (despair / hopelessness) uaznhiueengeina (and) (blow) (it) (out) (into) (air) With only my hands, bared and naked I gather, breathe in their despair. Sieved, I send it back out: air into air. Here are my hands, mere bone and skin who gather hopelessness Con tan sélo mis manos, descubierto y desnudo push it out into the air reunj aliento en su desesperanza. Colado, lo mandé de regreso afuera: aire al aire. jag gick ut, fjarran fran staden. tyst, med en 6ppen knytniive och med hander deal 25 St fulla av blod med nakna ben. Shea ace 43y2S play 28 51 992 8) 9 og gl pdm S S. Sos pba bg jb ate b acigals gee OU pyshatestt ob e S olaglecely os 2 0952 S999 eS [1] Harper, Douglas. 2013: http://www.etymonline.com [2] an East Iranian language, considered sacred = 2

VerseJunkies Mission The mission of VerseJunkies is to advance understanding, tolerance and intercultural exchange through research in the fields of translation, aesthetics, cultural and semiotic studies. We seek to bridge the divide between artists, academics and the public by providing a platform that is easily relatable and which fosters interdisciplinary collaboration. Vision Our vision is to be a world leader in advancing translation and translation studies. This vision will be pursued by providing exemplary content, in both the academic and the artistic aspects of our journal. We will gather information, both academic and artistic, on issues pertaining to intersemiotic/traditional translation and distribute this content free of charge on our website for use by all interested parties. With the novel approach of intersemiotic translation, we hope to encourage participation from both artists and academics in the study of (cultural) semiotics while providing engaging and relatable content to our audience base. Through these measures we seek to foster an intercultural environment where ideas and art can be exchanged/engaged by the global community. In this way we hope to encourage tolerance abroad. FOR ALL SUBMISSIONS Please include a cover letter with any relevant information and a biography of 150 words or less. Si- multaneous submissions are accepted as long as this is noted in the cover letter. Response time is generally 4-6 weeks. Please do not query before this time has passed. Please note: as VerseJunkies is a quarterly magazine, we can only accept 4 pieces of art for submis- sions in the ‘original material’ category. This, coupled with the fact that we accept mediums on a rotating basis (e.g. Issue 1: writing, Issue 2: music, etc.), make it extremely unlikely that your submission will be selected as ‘source’ material. There is a much higher chance for publication for those pieces which respond to material already published in the journal. NOTE: We will accept new material that responds to the artworks included in this issue until November 1, 2013. At that time we will close submissions and incorporate all accepted material into a new release, Verse- Junkies Issue 1.2 which we will archive online. Please indicate in the submission line whether your piece is a translation of published material or origi- nal piece. If your piece is a response, please indicate the original work you are interpreting. *Again, if you are responding to a single published piece (e.g. a painting, a music composition, sculp- ture, etc.) please indicate in your submission which piece you have elected to interpret. * At VerseJunkies we appreciate a combinatory approach; if you are attempting to integrate two seem- ingly disparate mediums/pieces (perhaps with a poem broken into sections or a fiction piece with different narrative perspectives?) please indicate this in your cover letter as well. For Artistic submissions (academic submissions below) VerseJunkies welcomes submissions of intersemiotic translation (a ‘response’ piece); traditional trans- lation; and/or unpublished material to be considered for each issue’s feature, or ‘source’ piece in the journal. For written submissions please limit poetry (original poems, response poems and/or new translations) to no more than 5 poems (10 pages maximum); for fiction we ask writers to submit fiction/non-fiction of up to 4,000 words. Address your email to the writing editor (Edwin Kelly) and include last name and submission genre (original poetry, translation, response, fiction, non-fiction, etc.) in the subject line. For visual art submissions (video art/film is a different category) please include 3-4 high-resolution files of your response piece and/or material for ‘original’ artwork as attachments to your submission; please also include a link to your online gallery. In your biography please list relevant information (medium, month/ year completed) and exhibitions. Please address visual arts submissions to [Visual Arts Editor]. Include your last name and the medium of your submission. For video art/film submissions (including screen plays and/or VerseJunkies’ Blog entries on audiovi- sual translation, translation from novel to screen, video adaptation, etc.) please include a brief explication of

your piece (up to 250 words) including what issues you hope to address with your work. For VerseJunkies Issue 3, we will be selecting a submission in film/video art as the ‘source’ material to be translated across mediums. Please address submissions to [Thais Drassinower]. Include your last name and the medium of your submission. For photography submissions please include a high-resolution attachment and address to [Thais Drassinower]. Include your last name and the medium of your submission. For music submissions please include a link to the original composition (SoundCloud, YouTube, or other online host site). Please address your submission to [Cutter Streeby]. For submissions in/regarding Persian, Arabic, Kurdish literature (fiction, poetry, non-fiction), or academic submis- sions that consider cognitive semiotics or cognitive poetics, please address your submissions to [Leila Sadeghi]. For submissions to VerseJunkies’ Blog Entries please limit the word count to between 500-3000. These entries can be on a wide range of topics including but not limited to: news from academic conferences, issues in aesthetic/cultural semiotics, artist exhibitions, or even questions on the process and product of translation. The goal here is to encourage interdisciplinary dialogue. Address submissions to [Cutter Streeby]. For Academics: VERSEJUNKIES.COM (ISSN: 2328-9171) is a peer-reviewed, interdisciplinary journal dedicated to the process and theory of translation (an emphasis on intersemiotic translation). For Academic submissions: We invite researchers and/or artists to submit original research manuscripts or recommend papers to be published in VerseJunkies (VJ, ISSN: 2328-9171). We are a peer-reviewed, open access journal. Our first issue is forthcoming in June and offers an array of material from artistic translation (intersemiotic) to traditional translation and academic research. We welcome articles that encourage (not limited to) research on aesthetics, cultural semiotics, translation studies and intersemiotic translation including: - semiotics: theoretical/philosophical/ ethical differences between non-verbal sign systems and written works. - the efficacy of cognates in intersemiotic translation* (i.e. “F-minor is a sad sound”) - the theory and process of intersemiotic translation - adaptation: screenplays, novel, music, art, poetry, short-stories, video art - translation of music into art- for example see the work of Joseph Nechyatal translating computer viruses and background noise into visual art - interaction between mediums* - adaptation of graphic novels for the screen - new media and art installations - intersemiotic reference (intertextuality, hyper-textuality, user-based art installations) -theoretical/philosophical aspects of intersemiotic translation as a tool for the study of cultural semiotics* Benefits of Open Access Publishing Open Access publishing allows an immediate, world-wide and barrier-free distribution of full research papers. Authors and readers will have full access to artwork and articles published in VJ without a subscription fee. This free-publication and archiving format coupled with VJ’s extensive social networking presence (Iran, Peru, UK, Southeast Asia, USA) will ensure that your work reaches a global audience. Submission Deadline and Details Submissions are rolling and all abstracts will be processed in the order they are received. Abstracts of up to 300 words should be sent to: contact @ versejunkies.com Cutter Streeby Editor-in-chief, WWW.VERSEJUNKIES.COM unfasian LL anss} se

ACERCA DE LA CONVOCATORIA Por favor incluir una carta de presentacién con cualquier informacién relevante y una biografia de 150 pa- labras como maximo. Aceptamos piezas y articulos simulténeos siempre y cuando se informe de esto en la carta de presentacién. El tiempo aproximado de respuesta es de 4-6 semanas. Por favor no consultar antes del tiempo mencionado. Por favor tener en cuenta: Como VerseJunkies es una revista trimestral, s6lo podemos aceptar 4 piezas de arte en la categoria de ‘material original’. Esto, junto con el hecho de que cambiamos medios de manera rotativa (e.g. Ejemplar 1: escritura, Ejemplar 2: miisica, etc), disminuye las probabilidades de que tu pieza sea selec- cionada como material ‘fuente’. Es mucho mas probable que publiquemos las piezas que responden a material que ya ha sido publicado en la revista. NOTA: Aceptaremos material nuevo que responda a piezas de arte incluidas en este ejemplar hasta el lro de Noviembre del 2013. En ese momento cerraremos el proceso de convocatoria e incorporaremos todo el material aceptado en una nueva edicién, VerseJunkies Ejemplar 1.2 el cual archivaremos online. Por favor cuando nos envies tu material indica si es que tu pieza es una traduccién de un material previamente publicado o una pieza original . Si tu pieza es una respuesta, por favor indica cudl es el trabajo original en el que se basa tu interpretacién. *Nuevamente, si estas respondiendo a una tinica pieza publicada (e.g. una pintura, una composici6n musical, escultura, etc.) por favor indica en tu presentacién cual es la pieza que has elegido interpretar. En VerseJunkies apreciamos las propuestas combinatorias; si intentas integrar dos medios/piezas aparente- mente disparejas (quiz4s un poema partido en secciones 0 una ficcién con diferentes perspectivas narrativas) por favor también indfcalo en tu carta de presentacién. Para Presentaciones Artisticas (presentaciones académicas debajo) VerseJunkies recibe muestras de traduccién intersemiética (una pieza ‘respuesta’ ); traducci6n tradicional; y/o material que no haya sido publicado previamente para ser considerado para cada ejemplar como pieza ‘fuente’ de la revista. Para piezas escritas, por favor limitar la poesia (poemas originales, poemas como respuesta y/o una nueva tra- duccién) a no mas de 5 poemas (10 paginas como m4ximo); para ficcién pedimos a los escritores que manden ficcién/no-ficcién de hasta 4,000 palabras. Dirijan sus correos electrénicos al editor de escritura [Edwin Ke- lly] e incluyan su apellido y el género de su pieza (poesia original, traduccién, respuesta, ficcién, no-ficcién, etc.) en la lfnea de tema. Para piezas de arte visual (videoarte y film son una categoria distinta) por favor incluye de 3 a 4 archivos de alta resoluci6n con tu pieza de respuesta y/o material para trabajo ‘original’ como adjunto en tu presentacién. Por favor incluye un link a tu galeria online. En tu biograffa por favor menciona informacién relevante (me- dio, mes/afio) y exhibiciones en las que hayas participado. Por favor dirige tus piezas de arte visual al [Editor de Artes Visuales]. Incluye tu apellido y el medio de tu pieza. Para piezas de videoarte/film (incluidos guiones y/o posts para el blog de VerseJunkies acerca de traduccién audiovisual, traduccién de novela a la pantalla, adaptacién de video, etc.) por favor incluye una explicacién breve de tu pieza (de hasta 250 palabras) que mencione los temas que abordas con tu trabajo. Para el Ejem- plar 3 de VerseJunkies, seleccionaremos una pieza de videoarte/film como material ‘original’ para que sea traducido a distintos medios. Por favor dirigir tu presentacién a [Thais Drassinower] Incluye tu apellido y el medio de tu pieza. Para piezas de fotografia por favor incluye un archivo adjunto en alta resolucién y dirige tu correo a [Thais Drassinower]. Incluye tu apellido y el medio de tu pieza en el titulo. Para piezas de musica por favor incluye un link a la composici6n original (Soundcloud, YouTube, o alguna otra pagina). Por favor dirige tu correo a [CutterStreeby]

Para piezas de literatura Persa, Arabe 0 Kurda (ficcién, poesia, no-ficcién), 0 piezas académicas que traten semidtica cognitiva 0 poética cognitiva, por favor dirige tu correo a [Leila Sadeghi]. Para posts para el Blog de VerseJunkies por favor limitarse a 500-3000 palabras. Estos posts pueden ser sobre una amplia gama de temas incluyendo, mAs no limitados a: noticias sobre conferencias académicas, temas de estética y cultura semiética, exhibiciones artisticas, 0 hasta preguntas acerca del proceso y el producto de la traduccién. El objetivo aqui es motivar el didlogo interdisciplinario. Dirigir el material a [CutterStreeby] Para lo Académico: VERSEJUNKIES.COM (ISSN: 2328-9171) es una revista interdisciplinaria con revisién por expertos dedi- cada al proceso y la teorfa de la traduccién (con énfasis en traducci6n intersemiética) Para piezas académicas: Invitamos a investigadores y/o artistas a mandar manuscritos originales de investi- gaci6n 0 recomendar ensayos y articulos para que sean publicados en VerseJunkies (VJ, ISSN: 2328-9171). Somos una revista de acceso abierto revisada por expertos. Nuestro primer ejemplar sera lanzado en junio y ofrece una selecci6n de materiales desde traducciones artisticas (intersemidticas) a traducciones tradicionales e investigacién académica. Recibimos articulos sobre investigacién sobre la estética, semiética cultural, estu- dios de traducci6én y traduccién intersemidticay demas temas relacionados incluyendo: - Semi6tica: diferencias teéricas/filos6ficas/éticas entre sistemas de signos no-verbales y trabajos es- critos - La eficacia de cognados en traduccién intersemistica* (i.e. “Fa menor es un sonido triste”) - La teorfa y el proceso de traduccién intersemiética - Adaptaci6n: guiones, novelas, miisica, arte, poesia, cuentos cortos, videoarte - Traduccién de misica al arte — por ejemplo ver el trabajo de Joseph Nechvatal traduciendo virus de computadoras y ruido de fondo a arte visual - Adaptacién de novelas graficas a la pantalla = Nuevos medios e instalaciones de arte - Referencias intersemi6ticas (intertextualidad, hipertextualidad, instalaciones de arte para usuarios) - Aspectos teéricos/filos6ficos de la traduccién intersemiética como herramienta para el estudio de la semi6ética cultural* Beneficios de una Publicacién de Acceso Abierto Una publicacién de acceso abierto permite una distribucién inmediata de manera global y sin barreras de articulos completos de investigacién. Autores y lectores tendran acceso completo a obras de arte y articulos publicados en VJ sin un costo de suscripcién. Este formato de publicacién gratuita y archivo, junto con la extensiva presencia en las redes sociales de VJ (Iran, Peri, Reino Unido, Sureste de Asia, EEUU), aseguraran que tu trabajo Iegue a una audiencia global. Fechas limites y detalles Estamos recibiendo material de manera constante y todos los abstractos seran procesados en el orden en que sean recibidos. Abstractos de hasta 300 palabras deben ser enviados a: contact @ versejunkies.com CutterStreeby Director, VERSEJUNKIES.COM unfasian LL anss} se

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Biographies Comprehensive biographies and contributor photographs can be found at facebook.com/versejunkies. Afraz Golnaz, an Iranian artist, was born in Tehran in 1981. Golnaz attended the University of Azad in Tehran for her undergraduate studies in painting. She has also received two Masters of Arts in Fine Art: the first of these de- grees conferred by University of Tarbiat Modarres in Tehran and the second in 2007 by the University of Strasbourg in France. She has been a member of the Association of Iranian Painters of Tehran since 2007. Afraz now lives in France. She has exhibited widely, including several solo and joint exhibitions in Europe and Asia. http://www.golnazafraz.com/ or email: golnazafraz @ yahoo.fr Ahmadi, Zeinab, an Afghan artist, was born in 1993 in Mashhad, Iran and is a third-year student at the College of Computer Science at Balkh University. She earned top honors in a 2009 drawing competition held on behalf of UNAMA to commemorate the elimination of violence against women in Mazar Sharif. She also took part in New Year Fair in the House of Culture in Balkh; in the National Exhibition of Afghanistan in Kabul, which was organized by the Office of Information and Culture; and several other notable exhibitions. She is currently a member of the Painters’ Forum and is undertaking the communications part in the House of Culture in Balkh. She also is helping various institutions create and improve designs for children’s fiction books and posters. Amataya, Zakariya is a poet, translator and fiction writer. Born in the southern province of Narathiwat’s Bacho, he attended the Islamic College in Bangkok and later spent five years in India studying Islamic Sciences, Arabic Language and Literature before returning to Thailand to study Comparative Religion at Mahidol University. Zakariya’s first translation book, Duay-Jit-Winyarn-Aun-Piemsook, (Happy Soul) is translated from the Arabic work of Sayyid Qutb. No Women in Poetry, his first collection of poems, received the 2010 S.E.A. Write Award for Thailand. In 2011 he was the artist in resi- dence program for the Doris Duke Foundation for Islamic Art and University in Hawaii. His first collection of poems sold over 38,000 copies and he has recently published his second collection But in us it is Deep as the Sea (Feburary 2013). There are translations of these poems forthcoming from Modern Poetry in Translation and many other venues this Autumn. www. thaipoetsociety.com Bezuglov, Sergej is an underwater videographer, musician and filmmaker who was born in Lithuania in 1984. After an excessive traveling around Europe and Asia he moved to Thailand, where he worked and studied for the last 7 years. Driven by a great passion to street art, filmmaking and music Sergej started a collaborative project BEZocEAN, where he gathered together artists from different countries and different backgrounds. With rapidly growing multicultural art scene in Thailand Sergej is honored to work with many great artists whose talents and dedication is fascinating and inspiring. Bin Hatim, Ammar, an Iraqi artist, was born in Kirkuk on August 29, 1978. He is a member of the Iraqi Artists Asso- ciation and has worked as a correspondent for the Qatari newspaper Al-Arab, which is issued in Doha. His exhibition titled “Nobooaat “ was held at the Hall of Cordoba at the Mansour Melia Hotel in Baghdad on February 16, 2010. Also in 2010, Bin Hatim participated in joint exhibitions with the Kurdistan Artists Group (in collaboration with the Association of Fine Art in Kurdistan in Nowruz) and with Artists of Al-Noor in the fifth festival of Al-Noor Baghdad. He also was a part of Culture Po- ziom with the artists’ group in Kirkuk 2012 held under the auspices of the Iraqi Ministry of Culture. In 2012, he also attended the Fine Arts Exhibition “World Arts Takes Times Square” in New York. He recently published a collection of poems entit- led Ramad Al-Tein by Dar Al-Ad’ham. His own new book, Souar Min Al-Iraq, a collection of texts dealing with the history of Iraq in the past half century and events in Iraq wars and crises, was recently released. ammarbinhatim@ yahoo.com Drassinower, Thais is a young artist and an innate child of the world. She was born in Peru, but her wanderlust and interest in diverse cultures and human behavior have taken her to live and travel in many places in America, Europe and the Middle East. She graduated from The University of Texas at Austin with High Honors, a concentration in Latin American Studies and a deep love for South By Southwest. Her writing flair and passion for blues took her to Chicago to work as a writer at Leo Burnett Worldwide Headquarters’ Lapiz. Her work has been awarded at international festivals such as The Idea Awards in Miami and El Ojo de Iberoamérica in Buenos Aires. After two years writing little stories and travelling around the world to shoot them, Thais has decided to explore other kinds of narratives. She will start her MFA in Film at Columbia University in NYC this coming September. You can find her at: behance.com/thaisdrassinower or Film @versejunkies.com.

Hobbs, Jordan scores music, writes poetry and fiction, edits film, shoots film and photography and is well connected with the art scene in Los Angeles where he lives. He is available for freelance film and photography work: jhobbs468 @live. Com. You can also find him at vjinla@ versejunkies.com. Kelly, Edwin is from Co Limerick, Ireland. He holds a BA in English from UCC, with a focus on Middle and Old English, and an MA in Creative Writing (Poetry) with distinction from UEA. During his time in Norwich he began studying translation and was a member of the Threads Translation group. He works as a primary school teacher and also facilitates writing workshops for children and adults. He is one of the organizers of the Quantum Sofa Poetry Sessions (quantumsofa. tumblr.com) in Dublin and is currently working on an experimental full length translation of Julian of Norwich’s A Showing of Love. You can find him at: twitter.com/etakelly or writing @ versejunkies.com. Mahjoor, Keyvan an Iranian artist based in Canada, was born in Isfahan in 1948. Keyvan first learned Persian mi- niature painting in his hometown under the supervision of the masters of this art. He followed his interest in Persian art and literature by pursuing a degree in Persian Literature at Pahlavi University in Shiraz. He worked for the Niavaran Cultural Centre of Tehran for five years before establishing Ketab-e-Azad, a bookstore and publishing company, in 1979. He moved to Montreal, Canada, in 1982. He is currently preparing his new artwork for upcoming exhibitions in Europe and Canada in 2013. keyvanmahjoor@ videotron.ca Matsko, Yuri Is a webdesigner and film enthusiast. He writes and lives in Montana with his wife and children. twitter. com/yurimatsko McSweeney, Tadgh, an Irish artist, was born 1936 in Kilnamartyra, County Cork, Ireland. He grew up on the family farm and attended the local national school and Macroom De La Salle Secondary School. He left when he was 16 because he was needed on the family farm. Always drawing and painting, mainly watercolours when possible, McSweeney began painting in oils at age twenty. He attended the National College of Art, Dublin 1959-’60 and lived and exhibited in Ireland during the *60’s and *70’s, in London between 1986-1990, and in Hamburg in 1990. Except for a few exhibits abroad, he has worked exclusively in Ireland since 1990. He is particularly interested in various print media and has used woodcuts quite often of late. www.tadhgmcsweeney.ie Nobre, Cecé, an American graffiti artist, was born in American-Paraguayan-Brasilian in 1984. He received his BA in Cultural Anthropology from University of Missouri-Columbia in 2006. He has been an anthropological artist working in a Tropicalist style. Heavy saturation of colors and unique spray painting techniques are qualities for which his work is known. His portraits are uniquely expressive. Cecé Nobre was born to an American mother and Paraguayan father while he himself is Brasilian. He has worked and painted in all three countries as well as Thailand (since late 2010) displaying an interesting mix of world culture in his work. Coming from a graffiti background in Rio de Janeiro, his paintings often are of considerable size. He has participated in several solo and joint exhibitions. http://www.flickr.com/photos/ocece Sadeghi, Leila is an Iranian fiction-writer and poet, born in Tehran in 1977. She is part of the avant-garde creative writing movement in Iran. Sadeghi holds a BA in Persian Literature (Allameh Tabatabai University), a BA in English Trans- lation (Islamic Azad University in Tehran) and an MA in Linguistics (Allameh Tabatabai University). She is currently a Ph.D student in the Linguistics Program at the University of Tehran. Sadeghi has published many papers on language and literature, which have appeared in academic journals in Iran and abroad. She has to her credit also a couple of fiction and non- fiction books. A comprehensive list of publications can be found on her website. www.leilasadeghi.com and she is available at: middle-east @ versejunkies.com Shomali, Sepideh, an Iranian graphic designer and photographer, was born in Behshahr in 1984. She lives in Tehran and received her BA in Visual Communication from Shariati Technical College and an MA in Visual Communication from the Academy of Art at Islamic Azad University in 2008 and 2010 respectively. Since 2004, she has been the art director in Noghre Group (Communication Solution and Brand Marketing). She is a member of the Iranian Graphic Designer Society. From 2000 to 2001, she worked as a graphic designer for Ravesh Magazine and from 2002 to 2004, for Niloo Graphic Kish Institute. Besides her activities in her career speciality, she is a researcher in anthropology and in communication studies with €L0z (3) LL anss} sanjut

July 2013 3 3 a special interest in cultural semiotics. Shomali has published a number of papers about the role of tea as a semiotic media within various Iranian ethnic groups and is currently conducting research on the role of Iranian traditional bread in society. sepideh.shomali @ gmail.com Siribud, Sarit is a Thai university student, who is currently studying his undergraduate degree in Business English, in the Faculty of Arts at Assumption University of Thailand. He was born in Chonburi province of Thailand in 1991, and grew up in Rayong province. At the age of 8, he moved to California to live with his uncle while studying the English language. He spent two years in California before coming back to continue his studies in Thailand. Being a person who is keen on reading, especially poetries, and having done several translations in the past, he seeks further experiences from this project. saritsbd@ yahoo.com Streeby, Cutter holds an MA in English literature from King’s College, London. He also holds a Master’s in poetry from the University of East Anglia where he graduated with Distinction. Nominated for a Pushcart Prize this year, he was most recently the featured poet at The White Review (UK) and has poetry and translations in many journals including Hayden’s Ferry Review, The Cincinnati Review, Existere (Canada), Southern Humanities Review and both Spanish and Thai features forthcoming from Modern Poetry in Translation (UK). He presents at academic conferences on issues relating to translation, most recently at ‘The Asian Conference on Arts and Cultures’, (June 13-14, 2013) Srinakharinwirot University, where he presented a paper on political issues related to the translation of Zakariya Amataya. He is a lecturer at Assumption University in Bangkok where he lives with his wife and son. Full profile available at: https://twitter.com/cutterstreeby. He is available at: editor@ versejunkies.com Streeby, John Martin, a Redding, California-based artist, began producing public art in 1999 when he was awarded his first project by the City of Redding’s Art in Public Places program. His work now includes over one hundred separate sculptures placed in large scale and site-specific installations. He has created both figurative and abstract work and cu- trently uses dimensional steel, heavy flat bar, rolled cut and welded, to build rising circular and curvilinear constructions that often include an architectonic base element. Despite the weight and mass of the materials, they strongly suggest motion, vitality, growth and continuity, creating a dynamic connection between viewer and place. He has many joint exhibitions. jmarti3470@shasta.com Streeby, Jeff grew up in Sioux City, Iowa, where he attended Morningside College. He holds an MFA in Poetry from Gerald Stern’s program at New England College in Henniker, New Hampshire. He is a horseman, cowboy poet and perfor- mer whose recent work has appeared in or has been accepted forAlehouse; Flashquake; Rattle; Simply Haiku, Naugatuck River Review, and others. You can find him at: contact @versejunkies.com Sar, Bien is a Canadian musician who has resided for the last several years in Dublin, Ireland. Although her musical style hints at her background in classical piano, her current compositions are heavily influenced by electronic music: “I find the endless possibility of sounds achievable through synthesis truly exciting”. In her translation effort, Bien Sir plays with a recording of Zakariya Amataya reading his poem Naked Hand. Through clipping and synthesis, poem fragments are given a different rhythmic interpretation and are integrated into rich layers of sound. Outside of her musical undertakings, Bien Sir also teaches politics and undertakes research on youth lifestyles in post-conflict societies at University College in Dublin. myspace.com/biensur Szirtes, George was born in Budapest in 1948, and came to England as a refugee in 1956. He was brought up in Lon- don and studied Fine Art in London and Leeds. His poems began appearing in national magazines in 1973 and his first book, The Slant Door, was published in 1979. It won the Faber Memorial prize the following year. He has published several books and won various other prizes including the T.S. Eliot Prize for Reel in 2005. http://www.georgeszirtes.co.uk/ The Six Tones is a Swedish/Vietnamese project that, since 2006, works on a long-term basis on the amalgamation of art music from Vietnam and Europe. The ensemble plays transcriptions of traditional Vietnamese music for Western stringed instruments and traditional Vietnamese instruments in combination with live-electronics. The Six Tones are Ngo Tra My, two Vietnamese performers, and the guitarist Stefan Ostersjé. The main ambition of The Six Tones is to create a foundation for a meeting between two distinct musical cultures on equal terms. They also commission new works by Western (European and North- and South-American) as well as by Vietnamese composers. Their practice explores what is “central” and what is “peripheral” in music. http://www.myspace.com/thesixtones or email stefan_ostersjo@hotmail.com

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