Sferoj 5: sciencfikciaj noveloj de virinoj (2)

Mi jam skizis la enhavon de Sferoj 5 (1987), speciala numero da tradukitaj sciencfikciaj noveloj de virinoj, antologio el la serio Sferoj, eldonita de Grupo Nifo. Mi ankaŭ notis, ke mi ne povis trovi anglalingvajn spurojn de tri aŭtoroj. Mi ĵus enretigis novelon de unu el ili:

"La koncerto" de Hana Pěchulová (tradukis el la ĉeĥa Adolf Staňura)

Familio entuziasme anticipas raran koncerton ludota de merloj, sed . . . .

Sferoj 5: sciencfikciaj noveloj de virinoj (1)

Sferoj 5 (1987) estas speciala numero da tradukitaj sciencfikciaj noveloj de virinoj, antologio el la serio Sferoj, eldonita de Grupo Nifo. Kompilis ĉi tiun volumon Miguel Gutiérrez Adúriz, Jen la enhavo:

Antaŭparolo
Maria kaj Joĉjo de Naomi Mitchison (tradukis el la angla William Auld)
La koncerto de Hana Pěchulová (tradukis el la ĉeĥa Adolf Staňura)
Bezonata sperta virgino de Johanna Sinisalo (tradukis el la finna Pekka Virtanen)
La operacio de Ingeborg Sulkowsky (tradukis el la germana Eckhard Bick)
La Drako-Damo de Elia Barceló (tradukis el la hispana Liven Dek)
Miriel de Zefia Beszczyńska (tradukis el la pola Wojciech Usakiewicz)
La spaco de vivo de M. Ĉudakova (tradukis el la rusa Vl. V. Ĉarin)
Kiam ŝanĝiĝis de Joanna Russ (tradukis el la angla Karl Pov)

Naomi Mitchison ĉ 1920

Mi ankoraŭ ne trovis ion ajn pri la jenaj aŭtoroj en la angla lingvo:

Hana Pěchulová (ĉeĥa)
Ingeborg Sulkowsky (germana)
Zofia Beszczyńska (pola)

Sed jes pri Marietta Chudakova [Ĉudakova]:

Stories by Soviet Women Authors Pre-1969: “The Useless Planet” (1967), Olga Larionova, “The Astronaut” (1960), Valentina Zhuravlyova, “Life Space” (1969), Marietta Chudakova by Joachim Boaz (2016.12.11)

Boaz laŭdas la originalan koncepton de "La spaco de vivo." (La angla traduko "Life Space" troveblas en la antologio World's Spring, kiun mi ne havas.) Kaj ĝi ja estas interesa. Iu homo estas limigata ne de tempo, sed de spaco. Li povas movi sin libere tra tempon, do ne mortos kun la antaŭeniĝo de la tempo, sed lia spaco ŝrumpiĝas kaj li mortos kiam lia spacamplekso nuliĝos,

Notu ankaŭ, ke Valentina Zhuravleva troveblas en la angla kaj en Esperanto,  kaj jen en la angla pere de Esperanto:

“Starluma Rapsodio” de Valentina Ĵuravleva, tradukis Aleksej I. Verŝinin

Johanna Sinisalo de Finnlando estas konata en la anglofona mondo. Ie iu mencias la ĝis tiam netradukitan novelon "Bezonata sperta virgino," Ankaŭ Elia Barceló de Hispanio iom aperis en la angla. La jena anglalingva artikolo pri sciencfikcio en Hispanio mencias la novelon "La Drako-Damo." Mi ankoraŭ trovis nek unu nek la alian novelon anglalingve.

La Antaŭparolo emfazas la gravecon de "La Drako-Damo." Jen alia aserto: trovi verkistinojn de sciencfikcio estis malfacila tasko (t.e. ĝis 1987).

William Auld: “Striptease” ("Incitnudiĝo")

William Auld (1924-2006) was one of Esperanto's most important poets and literary advocates, the leading figure of his generation. I have always found his social-critical poems to be the most memorable. This poem appeared in his 1969 collection of poems Humoroj (Moods), in which he declared himself to be writing more personally (and less politically) than before, but even personal poems inevitably reflect on the state of society. This one is clearly a social commentary:

"Incitnudiĝo" de/by William Auld, with “Striptease,” English translation / angla traduko de/by Roy McDonald

Here Auld provides a harsh take on the patrons of strip clubs in his social environment. I never forgot it after reading it over 45 years ago.

The word "Incitnudiĝo" is a compound word coined by Auld, consisting of the morphemes incite + naked + becoming + noun, characterizing what "stripping" is and characteristic of the creative use of Esperanto's expressive capability via the free creation of compounds.

An English translation was published in Star in a Night Sky: An Anthology of Esperanto Literature, edited by Paul Gubbins (London: Francis Boutle Publishers, 2012), a huge compendium of English translations of Esperanto originals. Here it is.

Varbado per virinoj

Ĉi tiu kaj similaj varbiloj troveblas ĉe Ipernity en la galerio de Roland Schnell.

Jen klarigo: "Plia provo por varbado sen ekspluatado de belaj virinoj." Ha! Do ĉu sekso sukcesus reklami Esperanton?

Wittgenstein, Irigaray, & Esperanto

Joyce Davidson and Mick Smith, "Wittgenstein and Irigaray: Gender and Philosophy in a Language (Game) of Difference," Hypatia, Vol. 14, No. 2 (Spring, 1999), pp. 72-96.

This is yet another obnoxious example of the self-indulgent obscurantist drivel engendered by "feminist philosophy". The ultimate pretext for running through Wittgenstein's notions of language games and forms of life is to marshal abstract ammunition in yet another pointless salvo against the bogey-man of "essentialism" and to promote an undefined — and unaccountable — plurality. Wittgenstein's philosophy is more than conducive to irrationalism, and so it is natural that obscurantists fuse misguided philosophical fads in order to find new ways to say nothing.

With regards to Esperanto, the authors might have taken the trouble to check their facts about Esperanto's alleged coldness and relation to forms of life, which, on its worst days, could not be colder or deader than this sort of academic exercise. Of course, Esperanto would not come out unscathed, but not for the reasons Wittgenstein subjectively posits. Esperanto naively encodes the semantics of the languages from which it has been derived, and so, in the hot and sweaty manner in which one struggles with natural languages, ideology critique and thought reform have to be carried out in Esperanto in the same manner as in natural languages, and with the same accountability with respect to realities and not just to arbitrary constructs. What does it mean to read people on their own terms? It's just huffing and bluffing, a pose without a position.

But anyway, here's the passage in which Esperanto is mentioned:

Languages evolve constantly, and different language-games can and do develop in conjunction with different forms of life. We can, despite Cameron's objections, also envisage attempts to create wholesale new languages—for example, Esperanto— though the failure of these to gain widespread acceptance may well be because of their lack of intimate associations with particular forms of life. (In Culture and Value [1980, 84], Wittgenstein berates Esperanto for its coldness.) We can alter, or even invent language, and this is especially apparent where language is used poetically (as Irigaray can be seen to do). Despite his objections to Esperanto, Wittgenstein recognizes that linguistic invention can be liberating. Thus, in speaking of Shakespeare, Wittgenstein states, "I do not believe that Shakespeare can be set alongside any other poet. Was he perhaps a creator of language rather than a poet?" (1980a, 49). And perhaps without diminishing Shakespeare's stature or overemphasizing Irigaray's originality, one might transpose Wittgenstein's comments on Shakespeare: "It may be that the essential thing with Shakespeare is his ease and his authority and that you just have to accept him as he is if you are going to be able to admire him properly, in the way you accept nature, a piece of scenery for example, just as it is. If I am right about this, that would mean that the style of his whole work, I mean all of his works taken together, is the essential thing and what provides his justification. My failure to understand him could then be explained by my inability to read him easily?" (Wittgenstein 1980a, 49). One could also say that the style of Irigaray's works taken together might provide a justification for reading her, so far as is possible, within her own terms. (p. 88)