Приречений кохати тебе - м. дарвiш en-ua ver. 1-2
Я був приречений кохати тебе,
Не тому що ти найсв?тл?ша,
А тому що ти - найглибша,
Адже прихильник краси - зазвичай на?вний.
(a free verse Ukrainian translation version as of 08.01.2022)
Не через сяйво рис краси,
А через глибину природи,
Приречений в соб? нести
Фатальний зм?ст тво?? вроди.
(a rhymed yet more stylistically vague 'glocalization', 'adaptive' version
as of 08.01.2022)
? Mahmoud Darwish (from one of Instagram international poetry groups)
? A Ukrainian version of a verse by a Palestinian poet Mahmoud Darwish (1941-2008)
translated by Maryna Tchianova (2022)
*NB!
If any concerns regarding this particular or other translations of original works by Mahmoud Darwish may arise, the respective representatives of his legacy communities are free to contact me via social networks using English or French languages. My selection of poems to be translated does not involve and is not connected directly to my personal political choices, it is merely done for education, self-education, multiple literacies spreading goals and for raising the online art interest groups' aesthetic and academical awareness, as well as to promote diversity in academia and beyond it.
I do as much correct quoting as possible for my translation experiences to be utterly bright and to keep balance between the accuracy of form and the depth of cultural appropriation and glocalization of universal meanings, concepts, truths and terms.
Speaking about conceptual domains from the point of view of academic comparative linguistics, the authoress of this translations sees the multiplication of meanings which are likely to radiate or stem from the main keywords which are involved into the original version of the aforementioned poem and are transferred from one language into another.
In case of Mahmoud Darwish's general conceptual domain, the concept 'beauty' does not only overlap with the concept of knightly love towards a woman.
Numerous scholars might find indirect links between the concept 'beauty' which is verbalized explicitly and the concept 'homeland' which is implied as a 'sotto voce' subtopic and is noted to be significant by some Francophone or Italophone representatives of postmodern schools, methods and approaches of exegetic linguistic analysis.
The conceptual continuum involving lexemes 'fate', 'fatality', 'destiny' might have different connotations in Palestine, the US, France, Ukraine, The Russian Federation and Italy. For instance, in the aesthetic philosophy of M.Darwish 'destiny' is something potentially cognizable via deep subjective devotional experiences and fully informed voluntary choices, a modifiable process which is far from the image of the aforementioned notion that Mikhail Lermontov dwells on in his ''The Fatalist'' epic story. The German ''Sturm und Drang'' poetry which also relates to the following range of approximate synonyms might be semantically equidistant from both Russian and Palestinian Arab variations.
Не тому що ти найсв?тл?ша,
А тому що ти - найглибша,
Адже прихильник краси - зазвичай на?вний.
(a free verse Ukrainian translation version as of 08.01.2022)
Не через сяйво рис краси,
А через глибину природи,
Приречений в соб? нести
Фатальний зм?ст тво?? вроди.
(a rhymed yet more stylistically vague 'glocalization', 'adaptive' version
as of 08.01.2022)
? Mahmoud Darwish (from one of Instagram international poetry groups)
? A Ukrainian version of a verse by a Palestinian poet Mahmoud Darwish (1941-2008)
translated by Maryna Tchianova (2022)
*NB!
If any concerns regarding this particular or other translations of original works by Mahmoud Darwish may arise, the respective representatives of his legacy communities are free to contact me via social networks using English or French languages. My selection of poems to be translated does not involve and is not connected directly to my personal political choices, it is merely done for education, self-education, multiple literacies spreading goals and for raising the online art interest groups' aesthetic and academical awareness, as well as to promote diversity in academia and beyond it.
I do as much correct quoting as possible for my translation experiences to be utterly bright and to keep balance between the accuracy of form and the depth of cultural appropriation and glocalization of universal meanings, concepts, truths and terms.
Speaking about conceptual domains from the point of view of academic comparative linguistics, the authoress of this translations sees the multiplication of meanings which are likely to radiate or stem from the main keywords which are involved into the original version of the aforementioned poem and are transferred from one language into another.
In case of Mahmoud Darwish's general conceptual domain, the concept 'beauty' does not only overlap with the concept of knightly love towards a woman.
Numerous scholars might find indirect links between the concept 'beauty' which is verbalized explicitly and the concept 'homeland' which is implied as a 'sotto voce' subtopic and is noted to be significant by some Francophone or Italophone representatives of postmodern schools, methods and approaches of exegetic linguistic analysis.
The conceptual continuum involving lexemes 'fate', 'fatality', 'destiny' might have different connotations in Palestine, the US, France, Ukraine, The Russian Federation and Italy. For instance, in the aesthetic philosophy of M.Darwish 'destiny' is something potentially cognizable via deep subjective devotional experiences and fully informed voluntary choices, a modifiable process which is far from the image of the aforementioned notion that Mikhail Lermontov dwells on in his ''The Fatalist'' epic story. The German ''Sturm und Drang'' poetry which also relates to the following range of approximate synonyms might be semantically equidistant from both Russian and Palestinian Arab variations.
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