Author Topic: Yvan Goll -> Ιβάν Γκολ  (Read 6086 times)

Tess

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Yvan Goll -> Ιβάν Γκολ
« on: 29 Oct, 2006, 22:33:02 »
Ο Iβάν Γκολ γεννήθηκε στο Σαιν-Ντιέ το 1981. Σπουδάζει νομικά στο Πανεπιστήμιο του Στρασβούργου. Από το 1914 έως το 1918 ζει εξόριστος στην Ελβετία, γνωρίζεται με τον Arp, τον Jouve, τον Joyce, τον Romains, τον Werfel, τον Zweig. Το 1919 εγκαθίσταται στο Παρίσι. Το 1921 παντρεύεται με την Claire Studer. Συνεργάζεται με τον G.W. Pabst και τον Kurt Weill. Συμμετέχει στις εκδηλώσεις των σουρρεαλιστών. Από το 1939 έως το 1947 ζει εξόριστος στις Η.Π.Α. Το 1947 επιστρέφει στο Παρίσι. Πεθαίνει το 1951. Έγραψε ποιήματα, δοκίμια, θεατρικά έργα και μυθιστορήματα, στη γαλλική, τη γερμανική και την αγγλική. Γνωστότερα έργα του: "Requiem pour les morts de L' Europe" (1916), "Der neue Orpheus" (1918), "Methusalem oder der ewige Burger" (θεατρ., 1922), "Le Microbe d' Or" (1927), "Die Eurokokke" (1927), "Der Mitropaer" (1928), "Agnus Dei" (1929), "Lucifer Vieillissant" (1934), "La chancon de Jean sans terre" (1936-1939), "Traumkraut" (ποιήματα, 1951).
.:BiblioNet : Goll, Ivan
Kathimerini.gr | Ιβάν Γκολ: Ποίηση στην κόψη του ξυραφιού
Της Τιτίκας Δημητρούλια


Yvan Goll, born Isaac Lange (Saint-Dié-des-Vosges, 29 March 1891 - Neuilly-sur-Seine, 27 February 1950), was a French-German poet who was perfectly bilingual and wrote in both French and German. He had close ties to both to German expressionism and to French surrealism.
Born in the Vosges, he became a naturalized German citizen when his mother joined relatives in Metz, then part of in German Lorraine. He escaped to Switzerland to avoid conscription at the outbreak of World War I and became friends with the dadaists of Zurich's Cabaret Voltaire, in particular Hans Arp. He wrote many war poems, the most famous being "Requiem for the Dead of Europe," as well as several plays, including The Immortal One (1918).
In 1917 he met Claira Aischmann and in 1919 they settled in Paris, marrying in 1921. In Paris he worked as a translator into German (Blaise Cendrars and Ulysses, among others) and into French, adapting Georg Kaiser's Fire at the Opera (Der Brand im Opernhaus, 1919) for Théâtre de l’Œuvre. He formed many friendships with artists and his collection The New Orpheus was illustrated by Georg Grosz, Robert Delaunay and Fernand Léger. Marc Chagall illustrated a collection of love poems by both Golls, and Pablo Picasso illustrated Yvan's Élégie d'Ihpetonga suivi des masques de cendre (1949; "Elegy of Ihpetonga and Masks of Ashes").
In 1927, he wrote the libretto for a surrealist opera, Royal Palace, set to music by composer Kurt Weill. He also wrote the scenario for Der Neue Orpheus, a cantata set by Weill, and the opera Mélusine, set by Marcel Mihalovici in 1920 and again, this time in German, by Aribert Reimann in 1971.
From 1939-1947 the Golls were exiles in New York, where friends included Richard Wright, Stefan Zweig, Henry Miller, Kenneth Patchen, Piet Mondrian, and William Carlos Williams who translated some of Yvan's poems. Between 1943 and 1946, Goll edited the French-American poetry magazine Hémispheres.  In 1945, the year he was diagnosed with leukemia, he wrote Atom Elegy and other death-haunted poems collected in the English language volume Fruit From Saturn (1946). Love Poems, written with his wife Claire, appeared in 1947. Goll died in 1950 in Paris, and was buried at Père Lachaise cemetery opposite the grave of Frederic Chopin.
In the 1950s, his widow accused his friend, the poet Paul Celan of having plagiarised her husband's work.
Goll once described his situation as "By fate a Jew, by an accident born in France, on paper a German."


Source: Yvan Goll - biography, career, poetry

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Poems published in Translatum:
« Last Edit: 30 Sep, 2018, 13:37:11 by spiros »


Frederique

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Depuis que tu me connais

Depuis que tu me connais
Je me connais enfin
Mon corps m'était plus étranger
Qu'un continent lointain
Je ne distinguais pas
L'Est du Sud
Mon épaule escarpée
Pointait comme un rocher
Soudain ta main savante
M'enseigna qui j'étais
Mon pied trouva sa course
Mon coeur son battement
Et maintenant je m'aime
Comme tu m'aimes


Από τότε που με γνώρισες

Από τότε που με γνώρισες
Γνώρισα κι εγώ τον εαυτό μου
Το σώμα μου το 'νιωθα πιο ξένο
Κι από μια ήπειρο μακρινή
Δεν εξεχώριζα
Ανατολή από Νότο
Ο ώμος μου απόγκρεμος
Ορθωνόταν σα βράχος
Ξάφνου το χέρι σου σοφό
Μου δίδαξε ποια είμαι
Το πόδι μου βρήκε το βήμα του
Η καρδιά μου το χτύπο της
Τώρα αγαπώ τον εαυτό μου
Όπως εσύ μ’ αγαπάς



Yvan Goll / από τα Μαλαισιακά τραγούδια
Recueil Chansons Malaises 1935 - Poèmes Yvan Goll
« Last Edit: 07 Feb, 2017, 22:17:05 by spiros »
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Frederique

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Yvan Goll and his Malayan Lovesongs
« Reply #2 on: 18 May, 2011, 09:04:28 »
Yvan Goll and his “Malayan Lovesongs”
Yvan Goll stands as both embodiment and victim of the ethnic and nationalist clashes of 20th-century Europe: Born in 1891 in Alsace-Lorraine, the historical German-French border region, he grew up in a French town under German administration, speaking French at home and German in school. All his life Goll would be torn between these two countries, cultures and languages, which also became the subject of his best known long poem Jean sans Terre (who was “zwischen zwei Heimaten ewig der Heimatlose” — “between two lands forever without a land”).
At the age of twenty-one, in 1912, Goll received a Ph.D. from Paris University and stepped onto the European literary stage with a well-received collection of poems entitled Panamakanal. From the start an Expressionist and pacifist in poetry, drama and prose fiction, Goll maintains in his prose a political-humanistic stance throughout his career. His poetry, however, has a strong underlying Romantic strain. Goll's “Malayan Lovesongs” best exemplify this blend of Orientalist love poetry with a dark presentiment of death.
Most books Goll wrote and published together with his wife Claire Goll; their dialogue of love poems is legendary. In the 20s and 30s Claire and Yvan Goll, swinging between Berlin and Paris, were a famed couple of the European avant garde. Their circle of friends and collaborators included painters such as Picasso, Chagall, Matisse, Léger, and writers such as Joyce, Breton, Malraux, and Thomas Mann. Today, however, Yvan and Claire Goll are almost forgotten.
As a Jew, Goll had to flee from Europe in 1940, reaching New York with the last refugee steamer after Nazi Germany had occupied Paris. Stripped of his languages and his readers, Goll wrote from his American exile, “I feel my tongue very frozen.” Just before he died at the American Hospital in Paris in 1950, Goll stated: “I leave with a French heart, German mind, Jewish blood, and an American passport.”
Yvan Goll wrote the Malaiische Liebeslieder/Chansons Malaises(“Malayan Love Songs”) between 1932 and 1934, in German. Forty of these poems he translated (or “reinvented”) into French; in 1934 they were published as Chansons Malaises. Chansons de Manyana, Jeune Fille Malaise (“Songs of Manyana, A Young Malayan Girl”). The German originals appeared in print only in 1967, after the manuscript had been rediscovered by the Austrian poet Paula Ludwig. Meanwhile, in 1942, an English translation had been published in the U.S.: Songs of A Malay Girl (Albuquerque: A. Swallow), translated by Clark Mills.
These examples from the “Malayan Lovesongs” are Goll's original German and (if existing) French versions, published as Malaiische Liebeslieder (Ebenhausen/Munich: Langewiesche-Brandt, 1967). The English translations are by Wendell Piez and Martin Maria Kohtes, 1999-2000.


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spiros

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L'Ange
à Claire   

Une fois l'ange passe aussi
Tout près de toi
C'est un lundi matin pluvieux
Tu te sens plus vieux que le monde
Les souliers mal cirés
Et le cœur tout rouillé

Mais l'ange de ton destin passe
T'inondant de bonté
Et d'un sourire rose :
Retiens-le !
Retourne-toi !
Avant qu'il ne ressemble au vent !


Ο Άγγελος
Ιβάν Γκολ. Μετάφραση: Ε. Χ. Γονατάς.

Κάποτε ο άγγελος
περνάει κι από μπροστά σου
είναι μια Δευτέρα πρωί, βρέχει
κι αισθάνεσαι πιο γέρος απ' τον κόσμο
φοράς αγυάλιστα παπούτσια
κι είναι η καρδιά σου όλο σκουριά

Αλλά ο άγγελος του πεπρωμένου σου περνάει
σε πλημμυρίζει καλοσύνη
και με το ρόδινο χαμόγελό του.
Άρπαξέ τον!
Γύρισε πίσω!
Προτού να γίνει άνεμος.

« Last Edit: 07 Feb, 2017, 19:07:18 by spiros »

spiros

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Les portes


J’ai passé devant tant de portes
Dans le couloir des peurs perdues et des rêves séquestrés
J’ai entendu derrière les portes des arbres qu’on torturait
Et des rivières qu’on essayait de dompter

J’ai passé devant la porte dorée de la connaissance
Devant des portes qui brûlaient et qui ne s’ouvraient pas
Devant des portes lasses de s’être trop fermées
D’autres comme des miroirs où ne passaient que les anges

Mais il est une porte simple, sans verrou, ni loquet
Tout au fond du couloir tout à l’opposé du cadran
La porte qui conduit hors de toi
Personne ne la pousse jamais


Οι πόρτες
Ιβάν Γκολ. Μετάφραση: Ε. Χ. Γονατάς.

Πέρασα μπροστά από τόσες πόρτες
μέσα στο διάδρομο των χαμένων φόβων και των φυλακισμένων ονείρων
άκουσα πίσω απ' τις πόρτες δέντρα που τα βασάνιζαν
και ποταμούς που προσπαθούσαν να τους δαμάσουν

Πέρασα μπροστά απ' τη χρυσή πόρτα της γνώσης
μπροστά από πόρτες που έκαιγαν και δεν ανοίγαν
μπροστά από πόρτες που κουράστηκαν να μένουν πολύ καιρό κλειστές
κι από άλλες σαν καθρέφτες απ' όπου περνούσαν μόνο οι άγγελοι

Υπάρχει όμως μια πόρτα απλή, δίχως σύρτη ούτε μάνταλο
στο βάθος του διαδρόμου, απέναντι απ' το ρολόι
η πόρτα που οδηγεί πέρα από σένα–
κανένας δεν τη σπρώχνει ποτέ

« Last Edit: 07 Feb, 2017, 17:41:57 by spiros »