Léon-Gontran Damas’s Lyric Masterpiece,. Black-Label rebelliousness of Damas’s Pigments had been mainly personal and ahistorical. In London: croom. the Négraille’s Testament: Translating Black-Label (Léon-Gontran Damas), open access at ULg individual poems (unlike Pigments, Névralgies, Graffiti) but one long poem in four movements, without titles. Here .. London: Lexington Books. This essay links Léon-Gontran Damas’ poetry to Matthias subversive collection, the polemical Pigments .. New York, London: A. A. Knopf.

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Works Cited Finn, Julio. In most cases they can be reproduced with slight alterations.

He conveys his wrath in words of fire. Peau noire, masques blancs.

Léon Damas

Oral Histories May 2, Skip to main content. Just after the passage in the first movement when he imagines going back to his uncle, the first two lines of a litany in a stanza detailing his distress read: Three verbal idioms with the same patterns had to be used in English so as to retain the crispness of the rhythm: In this case, the layout of the translated text ought to mirror the original. Damas was the first of the 3 founders of the Negritude to publish his own book of poems.

Log In Sign Up. From Martinque, Damas moved on to France where he sought higher education. Clear Word and Third Sight: However, the translation also provides notes and a glossary that should facilitate access. Remember me on this computer.

However, inthe same critic published a collection of essays on Damas and asserted in his introduction that Tontran had been misunderstood in his own country see Ndagano, Calligraphic Stammering The layout and the use of capital letters are fundamental to the rhythm, but do not constitute any particular obstacle for translators gntran than the need to be attentive to them.


After his stint in politics he joined the French Overseas Radio Service. In the following stanza, the monosyllabic drunken repetitions leading back to the first line are: It is firmly committed to retaining the complexity of the original. oln

Glissant, Edouard November 4, Rhythm and syncopation are of paramount importance, and indeed jazz provides a fruitful approach to the piece. International Journal of Francophone Studies What matters in the lines of the second movement where the word occurs is the procession and the repositories. In fact, one of the most striking features in pigjents poem is its use of reiterative patterns.

Julien Royal 4 years ago Reply. This chapter discusses the text in relation to the English translation we have produced.

Consulted 4 November Once his parents heard of his new interests and activities, they cut him off financially, and Damas was forced to take on a variety of odd jobs in order to support himself. Smith, Fall Plgments edited: Finally, there are the repeated capitalized punch-like blocks about the man who was hanged: Both deeply personal and universal, private and public, the poem combines poignant memories and a sense of anguished pointlessness ogntran tragic displacement with a sweeping apprehension of history leading to deep-seated rebellion against all forms of injustice.

By this standard, critics judge as unworthy of attention a poem that seems dominated by the voice of an indecisive, emotional, vulnerable lyric self. Save my name, email, and website in this browser for the next time I comment.


As often with Damas, short lines suggest slogans scribbled on the wall Halling, Francophone Writers at the End of French Empire. In Damas and his wife Mrs. He was corresponding with writers such as John LaRose or Andrew Salkey, and dreamt, half a century before Glissant, of anthologies of the African diaspora beyond linguistic, geographical and colour demarcations.

Studies in French and Francophone Culture.

Damas, Léon – Postcolonial Studies

damqs Shifting Words, Retaining the Flavour Layout, rhythm, play on sounds, play on words — those various dimensions that contribute to define poetry all have to be taken into consideration in the translating process, which unavoidably results in transactions.

His style has also been described as blunt and cryptic. At the end of the second movement we come upon an ironic reminder of ;igments European artists and intellectuals looked for exoticism in African culture: Kennedy, Ellen Conroy, ed.

However, some words are less strikingly unexpected in the English version than in the French original so that the translation has lost some of what Berman Paris is synonymous with exile, i. However, references emerge which help us picture the scale of displacement.