\u00a0 <\/span>To say that Joan Ferrat\u00e9 is one of the greatest plagiarists of contemporary Catalan poetry is no exaggeration. If he can be judged summarily, and labeled a stinking scoundrel and a pedophile for having had a consensual and reciprocal relationship with a sixteen-year-old boy (Daniel) in the early 1970s, that is no longer the case. Out in the open, without hiding from it, in a systematic, programmatic and reasoned way, Joan Ferrat\u00e9 made the appropriative transmutation of other people’s works the touchstone of his poetic writing. As V\u00edctor Obiols highlighted in his study of Joan Ferrat\u00e9’s poetic work,1 intertextuality is its dominant feature. Even in the most confessional and explicitly biographical poems, such as those in the Book of Daniel, references and contributions from W.H. Auden, Jaufr\u00e9 Rudel and Cavafy are all over the place.<\/p>\nThe \u201cvampire operations\u201d of Joan Ferrat\u00e9 (this is how he defined his poetic translations in an interview) appear published with his signature, not that of the translated poet. And even when Ausi\u00e0s March has edited it \u2014coma amunt, comma avall\u2014 the name of the author of the book is that of Joan Ferrat\u00e9. For him, in any form of appropriation, what counts is the trace of his rewriting. Speaking of translation, in the preface to Du Fu\u2019s Fifty Poems he crudely exposes the paradox through which his literary gesture moves: \u201cit is in the form of rewriting that is translation that the finished work completely outside of any possible intervention or collaboration of oneself can become, to a certain extent, one\u2019s own work.\u201d2<\/p>\n
In fact, in the case of Joan Ferrat\u00e9 it does not make much sense to separate the poetic, critical, theoretical, philological or translational action. Between one mode of writing and another there is in his case something more than communicating vessels. They are one and the same thing, which always revolves around the reading of poetry, the appropriation and rewriting of poetry.<\/p>\n
Thus, his theoretical efforts around the operation of reading were aimed at describing the way in which the imaginative materials and verbal games of the poem are objectified in consciousness as we read it and make it our own, as we appropriate it. Unlike so many other literary theorists, Joan Ferrat\u00e9 was always able to apply his theoretical reflections to the analytical process of reading specific poems in depth, and of speaking and writing about them with a solar clarity. Joan Ferrat\u00e9 considered that there is no better reading method (including close reading) than that of classical philologists, faced with a passage from Horace or Virgil. Also when he read and translated Du Fu he did so like the classical philologist who tries to revive a dead language, with the help of a dictionary and critical and conscious conversation with other versions and interpretations. We will see this below.<\/p>\n
With Joan Ferrat\u00e9 we find the almost unique case of a critic who has not been moved by the desire to cherry-pick, but by a persistent and profound reading passion, by an eagerness to understand and help understand those writers who have left their mark on him (Ausi\u00e0s March, T.S. Eliot, Josep Carner, Carles Riba\u2026). It is also the almost unique case of a critic who, instead of confusing the field with the usual propagation of schemes, jargon, autophagic rhizomatic excrescences, stereotypes, and ideological or personal servitudes, has contributed decisively to the irreducible and accurate appreciation of some of the best authors who have written in Catalan.<\/p>\n
According to an inventory made by Albert Manent, during the 1950s Josep Carner had a maximum of four readers (Albert Manent himself, Joan Fuster and the brothers Gabriel and Joan Ferrat\u00e9) who were added to the remnant of veteran readers who were his contemporaries and who had a fixed image of him since the time of the Commonwealth. All four have been decisive in the fact that Josep Carner’s work now has a few more readers, but it has surely been Joan Ferrat\u00e9 who has contributed the most to dismantling the prejudices that clouded its understanding. We will see how Carner’s affection for Chinese poetry has a lot to do with Joan Ferrat\u00e9’s late dedication to the work of Du Fu. In the same way that Carles Riba’s affection for Cavafy partly explains why Joan Ferrat\u00e9 also took up the subject. From homage to challenge in single combat, knowing that he was a loser from the start. In the article \u201cEight Chinese Verses\u201d, which he published in 1989 and incorporated in 1991 into the volume Apunts en net, Joan Ferrat\u00e9 compares the versions of the same poem by Du Fu by Mari\u00e0 Manent (twice in very different ways) and Josep Carner. It is a poem that Joan Ferrat\u00e9 also later translated, poem 33 of his Du Fu: \u201cThe Good Rain of a Spring Night\u201d (Ferrat\u00e9, 1992, 82). This short essay, which recalls Eliot Weinberger\u2019s famous essay Nineteen Views on a Poem by Wang Wei, published in 1987, ends with a conclusive maxim: \u201cAnd it is well known that Carner always wins.\u201d3<\/p>\n
Joan Ferrat\u00e9 considered in the prologue to Du Fu\u2019s Fifty Poems that his versions of Cavafy, the archaic Greek poets and Du Fu formed \u201ca triad\u201d. In these three translations, the \u201cappropriative mania\u201d that has always marked his treatment of the poetry of others reaches its maximum. All three have in common that they were written in languages \u200b\u200bthat, for different reasons, were impossible for him to fully control, which he could only literally make his own through a careful process of meticulous translation. On the other hand, when faced with poets who interest him and who write in languages \u200b\u200bthat are accessible to him (such as Catalan, English, Spanish), the way to appropriate them was through critical analysis: \u201cin the mode of a wise and reflective discourse, perhaps intended, above all, to corroborate the validity of my in-depth reading.\u201d This is how he made Carner, Riba, March, and Eliot his own.<\/p>\n
Aix\u00ed, els seus esfor\u00e7os te\u00f2rics al voltant de Aix\u00ed, els seus esfor\u00e7os te\u00f2rics al voltant de l\u2019operaci\u00f3 de llegir es van adre\u00e7ar a descriure la manera en qu\u00e8 s\u2019objectiven en la consci\u00e8ncia els materials imaginatius i els jocs verbals del poema a mesura que el llegim i ens el fem nostre, a mesura que ens l\u2019apropiem. A difer\u00e8ncia de tants altres te\u00f2rics de la literatura, Joan Ferrat\u00e9 va ser sempre capa\u00e7 d\u2019aplicar les seves reflexions te\u00f2riques al proc\u00e9s anal\u00edtic de llegir a fons poemes concrets, i de parlar-ne i escriure\u2019n amb una claredat solar. Joan Ferrat\u00e9 considerava que no hi ha cap m\u00e8tode de lectura millor (incl\u00f2s el close reading<\/i>) que el dels fil\u00f2legs cl\u00e0ssics, enfrontats a un passatge d\u2019Horaci o de Virgili. Tamb\u00e9 quan va llegir i va traduir Du Fu ho va fer com el fil\u00f2leg cl\u00e0ssic que mira de reviure una llengua morta, a cop de diccionari i de conversa cr\u00edtica i conscient amb altres versions i interpretacions. Ho veurem m\u00e9s avall.<\/p>\n
Amb Joan Ferrat\u00e9 trobem el cas gaireb\u00e9 \u00fanic d\u2019un cr\u00edtic que no s\u2019ha mogut per les ganes de remenar les cireres, sin\u00f3 per una passi\u00f3 lectora persistent i aprofundida, per un afany d\u2019entendre i ajudar a entendre aquells escriptors que l\u2019han marcat (Ausi\u00e0s March, T.S. Eliot, Josep Carner, Carles Riba\u2026). Es tracta tamb\u00e9 del cas gaireb\u00e9 \u00fanic del cr\u00edtic que en comptes d\u2019embolicar la troca amb l\u2019habitual propagaci\u00f3 d\u2019esquemes, jargons, excresc\u00e8ncies rizom\u00e0tiques autof\u00e0giques, estereotips, i servituds ideol\u00f2giques o personals, ha contribu\u00eft decisivament a l\u2019apreciaci\u00f3 irreductible i ajustada d\u2019alguns dels millors autors que han escrit en catal\u00e0.<\/p>\n
Segons un inventari que va fer Albert Manent, durant la d\u00e8cada dels anys cinquanta Josep Carner va arribar a tenir un m\u00e0xim de quatre lectors (el mateix Albert Manent, Joan Fuster i els germans Gabriel i Joan Ferrat\u00e9) que s\u2019afegien al romanent de lectors veterans que li eren coetanis i que en tenien una imatge fixada des de l\u2019\u00e8poca de la Mancomunitat. Tots quatre han estat decisius en el fet que l\u2019obra de Josep Carner tingui ara mateix uns quants lectors m\u00e9s, per\u00f2 segurament ha estat Joan Ferrat\u00e9 qui m\u00e9s ha contribu\u00eft a desmuntar els prejudicis que n\u2019emboiraven la comprensi\u00f3. Veurem com l\u2019afecci\u00f3 carneriana per la poesia xinesa t\u00e9 molt a veure amb la dedicaci\u00f3 tardana de Joan Ferrat\u00e9 a l\u2019obra de Du Fu. De la mateixa manera que l\u2019afecci\u00f3 de Carles Riba per Cavafis explica en part que tamb\u00e9 Joan Ferrat\u00e9 s\u2019hi pos\u00e9s. De l\u2019homenatge al desafiament en combat singular, sabent-se d\u2019entrada perdedor. En l\u2019article \u201cVuit versos xinesos\u201d, que va publicar l\u2019any 1989 i que va incorporar el 1991 al volum Apunts en net<\/i>, Joan Ferrat\u00e9 compara les versions d\u2019un mateix poema de Du Fu que van fer Mari\u00e0 Manent (dos cops de manera molt diferent) i Josep Carner. Es tracta d\u2019un poema que tamb\u00e9 m\u00e9s endavant va traduir Joan Ferrat\u00e9, el poema 33 del seu Du Fu: \u201cLa bona pluja d\u2019una nit de primavera\u201d (Ferrat\u00e9, 1992, 82). Aquest breu assaig, que recorda el fam\u00f3s assaig d\u2019Eliot Weinberger Dinou mirades\u00a0sobre un poema de Wang Wei<\/i>, publicat l\u2019any 1987, acaba amb una m\u00e0xima concloent: \u201cI \u00e9s que ja se sap, Carner sempre guanya.\u201d3<\/p>\n
Joan Ferrat\u00e9 considerava en el pr\u00f2leg de les Cinquanta poesies de Du Fu<\/i> que les seves versions de Cavafis, dels poetes grecs arcaics i de Du Fu feien \u201cuna tr\u00edada\u201d. En aquestes tres traduccions arriba fins al grau m\u00e0xim la \u201cd\u00e8ria apropiadora\u201d que ha marcat sempre el seu tracte amb la poesia dels altres. Totes tres tenen en com\u00fa que estaven escrites en lleng\u00fces que, per raons diferents, li era impossible de controlar del tot, que nom\u00e9s a trav\u00e9s d\u2019un proc\u00e9s atent de traducci\u00f3 minuciosa podia arribar a fer literalment seves. Per contra, davant dels poetes que li interessen i que escriuen en lleng\u00fces que li s\u00f3n accessibles (com ara el catal\u00e0, l\u2019angl\u00e8s el castell\u00e0), la manera d\u2019apropiar-se\u2019ls era a trav\u00e9s de l\u2019an\u00e0lisi cr\u00edtica: \u201cen el mode d\u2019un discurs savi i reflexiu, potser destinat, abans que res, a corroborar-me la validesa de la meva lectura a fons.\u201d Aix\u00ed es va fer seus Carner, Riba, March o Eliot<\/p>\n
l\u2019operaci\u00f3 de llegir es van adre\u00e7ar a descriure la manera en qu\u00e8 s\u2019objectiven en la consci\u00e8ncia els materials imaginatius i els jocs verbals del poema a mesura que el llegim i ens el fem nostre, a mesura que ens l\u2019apropiem. A difer\u00e8ncia de tants altres te\u00f2rics de la literatura, Joan Ferrat\u00e9 va ser sempre capa\u00e7 d\u2019aplicar les seves reflexions te\u00f2riques al proc\u00e9s anal\u00edtic de llegir a fons poemes concrets, i de parlar-ne i escriure\u2019n amb una claredat solar. Joan Ferrat\u00e9 considerava que no hi ha cap m\u00e8tode de lectura millor (incl\u00f2s el close reading<\/i>) que el dels fil\u00f2legs cl\u00e0ssics, enfrontats a un passatge d\u2019Horaci o de Virgili. Tamb\u00e9 quan va llegir i va traduir Du Fu ho va fer com el fil\u00f2leg cl\u00e0ssic que mira de reviure una llengua morta, a cop de diccionari i de conversa cr\u00edtica i conscient amb altres versions i interpretacions. Ho veurem m\u00e9s avall.<\/p>\n
Amb Joan Ferrat\u00e9 trobem el cas gaireb\u00e9 \u00fanic d\u2019un cr\u00edtic que no s\u2019ha mogut per les ganes de remenar les cireres, sin\u00f3 per una passi\u00f3 lectora persistent i aprofundida, per un afany d\u2019entendre i ajudar a entendre aquells escriptors que l\u2019han marcat (Ausi\u00e0s March, T.S. Eliot, Josep Carner, Carles Riba\u2026). Es tracta tamb\u00e9 del cas gaireb\u00e9 \u00fanic del cr\u00edtic que en comptes d\u2019embolicar la troca amb l\u2019habitual propagaci\u00f3 d\u2019esquemes, jargons, excresc\u00e8ncies rizom\u00e0tiques autof\u00e0giques, estereotips, i servituds ideol\u00f2giques o personals, ha contribu\u00eft decisivament a l\u2019apreciaci\u00f3 irreductible i ajustada d\u2019alguns dels millors autors que han escrit en catal\u00e0.<\/p>\n
Segons un inventari que va fer Albert Manent, durant la d\u00e8cada dels anys cinquanta Josep Carner va arribar a tenir un m\u00e0xim de quatre lectors (el mateix Albert Manent, Joan Fuster i els germans Gabriel i Joan Ferrat\u00e9) que s\u2019afegien al romanent de lectors veterans que li eren coetanis i que en tenien una imatge fixada des de l\u2019\u00e8poca de la Mancomunitat. Tots quatre han estat decisius en el fet que l\u2019obra de Josep Carner tingui ara mateix uns quants lectors m\u00e9s, per\u00f2 segurament ha estat Joan Ferrat\u00e9 qui m\u00e9s ha contribu\u00eft a desmuntar els prejudicis que n\u2019emboiraven la comprensi\u00f3. Veurem com l\u2019afecci\u00f3 carneriana per la poesia xinesa t\u00e9 molt a veure amb la dedicaci\u00f3 tardana de Joan Ferrat\u00e9 a l\u2019obra de Du Fu. De la mateixa manera que l\u2019afecci\u00f3 de Carles Riba per Cavafis explica en part que tamb\u00e9 Joan Ferrat\u00e9 s\u2019hi pos\u00e9s. De l\u2019homenatge al desafiament en combat singular, sabent-se d\u2019entrada perdedor. En l\u2019article \u201cVuit versos xinesos\u201d, que va publicar l\u2019any 1989 i que va incorporar el 1991 al volum Apunts en net<\/i>, Joan Ferrat\u00e9 compara les versions d\u2019un mateix poema de Du Fu que van fer Mari\u00e0 Manent (dos cops de manera molt diferent) i Josep Carner. Es tracta d\u2019un poema que tamb\u00e9 m\u00e9s endavant va traduir Joan Ferrat\u00e9, el poema 33 del seu Du Fu: \u201cLa bona pluja d\u2019una nit de primavera\u201d (Ferrat\u00e9, 1992, 82). Aquest breu assaig, que recorda el fam\u00f3s assaig d\u2019Eliot Weinberger Dinou mirades\u00a0sobre un poema de Wang Wei<\/i>, publicat l\u2019any 1987, acaba amb una m\u00e0xima concloent: \u201cI \u00e9s que ja se sap, Carner sempre guanya.\u201d3<\/p>\n
Joan Ferrat\u00e9 considerava en el pr\u00f2leg de les Cinquanta poesies de Du Fu<\/i> que les seves versions de Cavafis, dels poetes grecs arcaics i de Du Fu feien \u201cuna tr\u00edada\u201d. En aquestes tres Thus, his theoretical efforts around the operation of reading were aimed at describing the way in which the imaginative materials and verbal games of the poem are objectified in consciousness as we read it and make it our own, as we appropriate it. Unlike so many other literary theorists, Joan Ferrat\u00e9 was always able to apply his theoretical reflections to the analytical process of reading specific poems in depth, and of speaking and writing about them with a solar clarity. Joan Ferrat\u00e9 considered that there is no better reading method (including close reading) than that of classical philologists, faced with a passage from Horace or Virgil. Also when he read and translated Du Fu he did so like the classical philologist who tries to revive a dead language, with the help of a dictionary and critical and conscious conversation with other versions and interpretations. We will see this below.<\/p>\n
With Joan Ferrat\u00e9 we find the almost unique case of a critic who has not been moved by the desire to cherry-pick, but by a persistent and profound reading passion, by an eagerness to understand and help understand those writers who have left their mark on him (Ausi\u00e0s March, T.S. Eliot, Josep Carner, Carles Riba\u2026). It is also the almost unique case of a critic who, instead of confusing the field with the usual propagation of schemes, jargon, autophagic rhizomatic excrescences, stereotypes, and ideological or personal servitudes, has contributed decisively to the irreducible and accurate appreciation of some of the best authors who have written in Catalan.<\/p>\n
According to an inventory made by Albert Manent, during the 1950s Josep Carner had a maximum of four readers (Albert Manent himself, Joan Fuster and the brothers Gabriel and Joan Ferrat\u00e9) who were added to the remnant of veteran readers who were his contemporaries and who had a fixed image of him since the time of the Commonwealth. All four have been decisive in the fact that Josep Carner’s work now has a few more readers, but it has surely been Joan Ferrat\u00e9 who has contributed the most to dismantling the prejudices that clouded its understanding. We will see how Carner’s affection for Chinese poetry has a lot to do with Joan Ferrat\u00e9’s late dedication to the work of Du Fu. In the same way that Carles Riba’s affection for Cavafy partly explains why Joan Ferrat\u00e9 also took up the subject. From homage to challenge in single combat, knowing that he was a loser from the start. In the article \u201cEight Chinese Verses\u201d, which he published in 1989 and incorporated in 1991 into the volume Apunts en net, Joan Ferrat\u00e9 compares the versions of the same poem by Du Fu by Mari\u00e0 Manent (twice in very different ways) and Josep Carner. It is a poem that Joan Ferrat\u00e9 also later translated, poem 33 of his Du Fu: \u201cThe Good Rain of a Spring Night\u201d (Ferrat\u00e9, 1992, 82). This short essay, which recalls Eliot Weinberger\u2019s famous essay Nineteen Views on a Poem by Wang Wei, published in 1987, ends with a conclusive maxim: \u201cAnd it is well known that Carner always wins.\u201d3<\/p>\n
Joan Ferrat\u00e9 considered in the prologue to Du Fu\u2019s Fifty Poems that his versions of Cavafy, the archaic Greek poets and Du Fu formed \u201ca triad\u201d. In these three translations, the \u201cappropriative mania\u201d that has always marked his treatment of the poetry of others reaches its maximum. All three have in common that they were written in languages \u200b\u200bthat, for different reasons, were impossible for him to fully control, which he could only literally make his own through a careful process of meticulous translation. On the other hand, when faced with poets who interest him and who write in languages \u200b\u200bthat are accessible to him (such as Catalan, English, Spanish), the way to appropriate them was through critical analysis: \u201cin the mode of a wise and reflective discourse, perhaps intended, above all, to corroborate the validity of my in-depth reading.\u201d This is how he made Carner, Riba, March, and Eliot his own.<\/p>\n","protected":false},"excerpt":{"rendered":"
\u00bb Les llibretes xineses de Joan Ferrat\u00e9 Joan Ferrat\u00e9 almost always expressed himself through what others had written before him. Ambushed behind distant masks (Greek, Chinese or Babylonian) or following aliminal, derivative, refracted and indirect paths, he always tended to make the rare literary movement of moving away in order to become closer. As … <\/p>\n
Continue reading “Les llibretes xineses de Joan Ferrat\u00e9”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[9],"tags":[],"class_list":["post-2050","post","type-post","status-publish","format-standard","hentry","category-post"],"_links":{"self":[{"href":"https:\/\/alteritas.net\/alteritas\/wp-json\/wp\/v2\/posts\/2050","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/alteritas.net\/alteritas\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/alteritas.net\/alteritas\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/alteritas.net\/alteritas\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/alteritas.net\/alteritas\/wp-json\/wp\/v2\/comments?post=2050"}],"version-history":[{"count":1,"href":"https:\/\/alteritas.net\/alteritas\/wp-json\/wp\/v2\/posts\/2050\/revisions"}],"predecessor-version":[{"id":2051,"href":"https:\/\/alteritas.net\/alteritas\/wp-json\/wp\/v2\/posts\/2050\/revisions\/2051"}],"wp:attachment":[{"href":"https:\/\/alteritas.net\/alteritas\/wp-json\/wp\/v2\/media?parent=2050"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/alteritas.net\/alteritas\/wp-json\/wp\/v2\/categories?post=2050"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/alteritas.net\/alteritas\/wp-json\/wp\/v2\/tags?post=2050"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}