Academic journal article Walt Whitman Quarterly Review

Walt Whitman: A Current Bibliography

Academic journal article Walt Whitman Quarterly Review

Walt Whitman: A Current Bibliography

Article excerpt

Acamovic, Bojana. "Whitman's 'Barbaric Yawp' Sounded in Serbian." Roc- znik Komparatystyczny / Comparative Yearbook 4 (2013), 313-319. [ Exam- ines the "significant differences" in four Serbian translations of Whitman's "barbaric yawp" line from Section 52 of "Song of Myself"; translations considered include those by Ivo Andri c (1919), Tin Ujevi c (1969), Ivan V. Lalic (1985), and Dragan Puresic (2008); goes on to suggest how the "barbaric" nature of Whitman's poetry influenced the Yugoslav avant-garde movement known as Zenitism.]

Athenot, Éric. "To Yawp, Or Not To Yawp: French Translators and Whit- man's Distinctive Idiom." Rocznik Komparatystyczny / Comparative Yearbook 4 (2013), 287-297. [Examines eight French translations-"from the trail- blazing [Léon] Bazagette text (1909) to the latest [ Jacques] Darras volume (2002)"-of Whitman's "barbaric yawp" line from Section 52 of "Song of Myself"; concludes that "what all the versions of the line demonstrate is not only the vexed and antiquated notion of an illusory or even unwished-for 'faithfulness' to the original but the various routes that one language takes to accommodate realities-the yawp in particular-that do not exist in it."]

Athenot, Éric. Review of Laure Katsaros, Whitman, Baudelaire, and the Hybrid City. Walt Whitman Quarterly Review 31 (Summer 2013), 43-45.

Azov, Andrey. "'Barbaric Yawp' in Russian." Rocznik Komparatystyczny / Comparative Yearbook 4 (2013), 322-325. [Examines Kornei Chukovsky's multiple translations of Whitman's "barbaric yawp" line in Section 52 of "Song of Myself" and describes the oddities of Chukovsky's revisions; also examines the Russian translation of the line in the Russian subtitles for the film Dead Poets Society.]

Bernardini, Caterina. "Italian Yawps." Rocznik Komparatystyczny / Com- parative Yearbook 4 (2013), 299-303. [Examines six Italian translations of the "barbaric yawp" line from Section 52 of "Song of Myself," from Luigi Gamberale's 1923 translation through Alessandro Ceni's 2012 translation of the 1855 Leaves of Grass, arguing that "there is in fact no untranslatable yazvp: the expression is translated by using more common screams, cries, shrieks, shouts."]

Bharat, Meenakshi. "The Barbaric Soul: Lost in Translation: A Comment on the Hindi Translation." Rocznik Komparatystyczny / Comparative Yearbook 4 (2013), 339-343. [Suggests how "innate qualities" of Whitman's writ- ings are "Hindu in spirit"; goes on to examine Chandrabali Singh's 2011 Hindi translation of Leaves of Grass, focusing on the "barbaric yawp" line in Section 52 of "Song of Myself," and concludes that "this translation fails to achieve the grandness of the original spiritual enterprise."]

Blake, Leo D. "The Champion's Chair." Conversations (Fall/Winter 2013- 2014), 1-3. [Tells the story of "the former desk chair of the first great de- fender of Whitman's reputation and poetry-Whitman's close friend and champion, William Douglas O'Connor," a chair that is now at the Mickle Street House and a chair that is "perhaps one that O'Connor used in his contemplations of Whitman."]

Boorse, Michael J., ed. Conversations (Fall/Winter 2013-2014). [Newsletter of the Walt Whitman Association, Camden, NJ, with news of Whitman As- sociation events; this issue contains the winning entries in the Association's annual High School Poetry Contest, a chronology of Whitman's wartime experiences, and one article, listed separately in this bibliography.]

Bradford, Adam. "The Collaborative Creation of a Death-Defying Cryptext: Walt Whitman's Leaves of Grass." In Mary De Jong and Paula Bernat Ben- nett, eds., Sentimentalism in Nineteenth- Century America: Literary and Cul- tural Practices (Madison, NJ: Fairleigh Dickinson University Press, 2013), 300-319. [Describes "how Whitman's famous direct address-the radical 'you' that first marked his 1855 Leaves of Grass-grew out of the apostrophic styles of address that were commonly used in sentimental mourning po- ems," including Whitman's own early sentimental verse, and argues that it was "this radical use of the literary conventions of mourning [that] allowed Whitman to achieve an . …

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