Dutch language

How to pronounce sociality in Dutch?

Full Transcript

my paper is called from the fraying
edges and that
is a phrase that is borrowed from
gayatri spivak so i want to first
just introduce where um i've taken
inspiration from her work
and then i'm going to talk through um
three case studies
um artist christian nyan petter poet
mong mi kim
and artist and filmmaker wu zhang
so in the field of translation
sensitivity is paid to authorship
intent and where authenticity lies
yet as biv asserts in her seminal essay
can the sabbath alton speak as i'm sure
many of you know
these questions crumble into
insignificance we do if we do not first
address the inequalities of who has the
opportunity to speak
and who has the privilege to be heard
whilst it may be superficially seen as
favorable to translate
texts into the linga franca and
therefore be accessible to the largest
readership spivak asserts that wholesale
translation into english is far from
democratic
it's a nice link to what philip was just
saying
it is rather the easiest way to be
democratic
and is instead the betrayal of the
democratic ideal into the law of the
strongest
um but maybe we can discuss that
afterwards
um so quoting from spivak
the literature of a woman in palestine
begins to resemble in the feel of its
prose something
by a man in taiwan in the well-trodden
circuits of art fairs and biennales
as many of us in this room will be
familiar with
we're very aware of a lingard franca
that also exists aesthetically
works born from vastly different
contexts take on a superfin
superficial mimicry so what i want to
explore in this paper is how we might
open up these cultural platforms
allowing a space that avoids didactic
translation of experience
and instead offers the possibility to
recognize our lack of knowledge
our lack of understanding but yet do so
with sensitivity
empathy and an openness to learning anew
writing on the vital role of translation
in pursuing the larger feminist agenda
of achieving women's solidarity
spivak compels us to take responsibility
to first learn the mother tongue of
others rather than assuming solidarity
as
a priori given oh where's my
where am i pointing this
um
so quoting from spivak again i am
uncomfortable with no
notions of the feminist solidarity which
are celebrated
when everybody involved is similarly
produced there are countless languages
in which women all over the world have
grown
up and been female or feminist and yet
the languages we keep learning by rote
the powerful european ones
sometimes the powerful asian ones and
least often the chief
african ones for a translator between
two or three languages this is a
difficult enough task
to be embedded in not only the language
and its inherited meanings but also to
have a deep awareness and sensitivity of
the context from which the text is
written
working as a cultural producer within a
culturally and linguistically diverse
metropolis such as london where i work
is unfortunately an unrealistic task to
learn all the languages from which
someone might speak
furthermore writing in the 1980s the
subaltern voice at spivak
refers to differs somewhat from our now
globalized cultural stage
both endlessly digitally connected and
one of frenzied movement of people
across the globe
now as you might have noticed i am
a white curator from london um and i'm
not in any way
going to attempt to speak on behalf of
any other position i have no right
and it's certainly not my place however
as a curator at a public institution i
do feel
profoundly responsible um
with a profound responsibility of
working towards listening better
and holding a space that both reflects
and speaks to the diverse demographic of
the london and international public i
serve
as we face reconfigured global society
with widespread ecological migration on
unprecedented scale the task of creating
a cultural space
able to hold disparate and opposing
perspectives will become ever more
urgent while societies presenting as
multicultural may superficially operate
within an authoritative
linga franca kinship and commonality
often remains
artificial and precarious as radio
adrian rich so eloquently puts it this
is the oppressor's language
yes i need it to talk to you the
efficiency of colonial
linguistic violence over light overlaid
by contemporary capitalist
globalization is continually bubbling
under the surface
redressing spivak's earlier writings may
perhaps offer us a strategy
for spivak translating is the most
intimate act of reading and this
intimacy lies in tracing the other in
the self
but she also speaks the materiality of
language as both a material that can
construct and a material that can give
way stressing the limits of language to
translate meaning
spivak proposes that rhetoric exists
beside language
around language and in the silences
between and around words
to give an example she cites two
translations of the same short
story by maha swetie devi
one approved by the author in which the
title is translated as the breast giver
and another called the wet nurse
the first is uncanny and uncomfortable
and it offers up the breast as an organ
of labor power as commodity the second
neutralizes
and nullifies what had been a very
deliberate and provocative phrasing
spivak asserts that that is where
rhetoric disrupts the logic of language
that we see the language textile give
way and fray at the edges
language is too often treated as literal
and disciplined instead we must move
towards an understanding of language as
a spreading out of meaning
so i'd like to propose delving into this
space of contingency speculation and
perhaps
unruliness these fraying edges of
language that spivak speaks of
as a space for cultural uh cultural
agency in the complex messiness of
contemporary experience
um this is a film by christian neinpeta
who i'd like to start
um as the first example of works to talk
through
um i'm sorry that we don't have enough
time to show his film today
um so through his long-term and ongoing
artistic philosophical inquiry
how to live together nein patter has
created multiple fictions models and
dialogues and commentaries
concerned with the difficulties of being
in common
through these various projects he
explores ways of living together after
unresolvable conflicts both in extreme
and profoundly
sensitive cases such as the round and
genocide in 1994.
i should have said he's from rwanda but
also in everyday contexts such as in
urban spheres where differences such as
race class and gender are frequently
instigate and frequently instigate
resentment and friction
as part of this research
name peter has been examining the
inherent multiple histories at play
within language
and the human relationship to these his
work has drawn attention to the
subtleties
and nuances that lie within words the
multiplicity of meanings within them
and the subjectivity of meaning that
flourishes once a word is freed from a
predetermined
fixed state so there's two particular
aspects of his work that i'd like to
discuss
um namely his way of working
collectively
in the process of translation and
secondly his commitment to the
de-sedimentation of language
employing what he terms hosting
structures he sets up discursive
environments with others in order to
work through his propositions and
inquiries collectively and from multiple
perspectives
his film work and exhibition at camden
arts center
both titled world words after the world
in 2007 was the accumulation of several
such collaboration collaborative
processes
which we can maybe talk about later um
convening a scriptorium of one of these
processes
hosted a working group to translate
historical francophone texts from
sub-saharan philosophers and writers
these collective discussions informed
the script for his film
which followed the frustrations of a
writer attempting to draft a novella
about the frictions within a group of
school children and their local village
at an elite private school in rwanda
however the writer is working in a time
when the use of existing words is
strictly prohibited by copyright
the parable can be seen as a meditation
on the inadequacies
and vulnerability of language both
within the everyday and within moments
of political intensity
but perhaps it can also be seen as a
warning of global hegemony and the
precarity of freedom and diversity of
speech
as global communications become
enveloped by multinational conglomerates
corporations
throughout the film neon pata questions
how a story can be articulated or our
needs or opinions communicated
when certain words are restricted or be
forbidden
and vitally what might be the personal
and collective implications of this
what remains when when words and sense
of meaning become invalid
disjunctures between the words that are
voiced of alexis
and other philosophers and those that
are captioned in the subside rules below
further question not only the realities
of systems of control over language
but also the meaning that gets lost
within words over time
geography and inherently within their
articulation
exasperated the protagonist um in the
film
attempts a dialogue with the notable
african philosophers who have informed
the script of the film
both um in the film and in other works
liam petter questions the role of
earlier an earlier generation of rwandan
african philosophers
and the missed opportunities to voice
concerns during a time when ethical
reflection was so necessary in doing so
knee and pata positions philosophical
engagement with language
as a means to reshape the present whilst
acknowledging the pressures of this
critical dialogue
whilst acknowledging the pressures that
this critical dialogue comes under
and the vulnerability of language to act
in times of extreme conflict
this project at camden art center was in
itself part of a longer trajectory of
knowing how to
investigations into the mobility and
context vesselity of language
he describes the work as a film in
progress
later iterations included updated
translations
both the film and wider translation
projects including the scriptoriums
published pamphlets and further film
projects
follow a continuous process of circular
feedback and de-sedimentation of
language
through active and collective discourse
shifts and developments and variations
occur
each time unlocking and unfolding layers
of meaning attached
to the words the text translations
emerge as an assemblage of collaborative
collective experience of the language
and become a form of sociality in itself
this process of de-segmentation has also
been informed by roland barthes
and the historical notion of idi
arrhythmia
which christian can explain a lot better
than me but i'll attempt it
which um with which to um consider
rhythm as an organization of social and
personal space
and time from this perspective neon
pasta proposes
rhythm as integral to shaping our
subject hood
our communities and our localities
based on this premise rhythm has a
capacity to regulate
neon pattern therefore turns us around
consider how rhythm can be employed
equally to disrupt evoking the temporal
nature of language
and written text each translated text
acts only as a stock gate
stock gap whilst a more infinitely honed
understanding between author translator
and reader is developed
this pause becomes an impartial
speculative space
language suspended in time during which
we might contemplate
action so next
i want to speak about a poet called
mangmy kim
so um moving from christian nine peta's
interest in rhythm and
his process of continual
de-sedimentation
um i wanted to make this connection to
um
among me kim um i've only
recently been introduced to her work so
um
i'm just getting to know it um but she
shares
a lot of similar concerns with both
christian nya and pata
and wu hutang who i'll speak about later
so having moved from korea to the us at
the age of nine
kim writes in english as her second
language embracing all the complexities
that this draws with it
that wants an insider and an outsider to
the language
and indeed the culture in which he's
situated
as with christian nyan petter's um film
words after the work
world kim is acutely aware of the
unattainability
of words and how often they fall short
how often they do not truly belong to
the author
exploring issues of dislocation
colonisation capitalism and immigration
the consequences of history and of
course the loss of her first language
kim's work seeks to reveal the ways in
which language actively perpetuates
inequality
probing the inherent authority of
language itself she throws into question
its role in establishing and maintaining
hegemony
power structures and systems of
oppression
often fluctuating between different
linguistic structures
registers or textual formats her words
are self-conscious
recognizing the experience of
displacement her continual shifts
play witness to the turmoil of
colonialism
and war the daily and lifelong strain on
families and communities
forced to move between languages
cultures and countries
as well as the incoherences of the
immigrant experience
from her deeply nuanced understanding of
this in-betweenness
kim carves out a poetic practice that
positions itself
in relation to the language that forms
it
using the words to look back in on
itself so i wanted to give this example
of her poem accumulation of land
as an as an example of that whilst the
first six
appearances might seem to be a mere
post-structuralist
abstraction as one spends time with her
work something much more fragile
and profound and personal comes to the
fore
in her writing there is no possibility
of skimming or sp speed reading
picking out terms and then back filling
with predictions based on the
formalities of semantic norms
and patterns of articulation each word
or phrase forces an active agency from
the reader
instead of providing comfortable
grammatical links and syntax
she works against these holding open the
space for multiple possibilities
challenging the language to lay bear its
relationality
for kim decisive statements the
smoothness
of conventional grammatical structure
and the ease of conjunction
show a laziness of writing she argues
that following these well-worn paths
stands against poetic expression
for kim poetics is the activity of
tending to the speculative
revealing the full sort of language's
stability her poems act as arrangements
of thoughts memories and senses
recognizing that language occurs under
continual construction she allows space
for reverberation between what the words
and phrases
this sense of malleability came into
definition for me when i listened to her
reading her work
and we've got a little audio clip of her
reading this poem
which i wanted to share
labor of house child belonging to
families implements
fellow feeling crude
accumulation of land cooking reserve
line of
the number belonging heirs
isolated belonging to
fellow feeling crude
accumulation of land belonging to
bearing child rearing and rear
household counting herds possessions
bearing rearing the number belonging
heirs isolated belonging to
fellow feeling crude
so as you can hear when she reads um her
poems
the words her spoken words do not
directly correspond to what's on the
page
um the text is only one possible
rendition of the poem
rather than being marked by time static
and historic in their moment of being
written
her poems are pliable and subject to
change
kim's poems act more as notations
to be brought to life in collaboration
with the now in the moment
of being read whether by kim herself
or by one of her readers the spaces
between her words are filled with this
liveness
with the context of here and now and the
identity and emotions of the reader
each time they are read their renditions
completed by the present moment
when speaking about her poems she often
refers to the page
rather than the poem an indication that
spatiality of words are integral
material
to the formation of and formation and
meaning of the work
subjected to fracture disruption and
rearrangement the subsequent voids
resonance
and stillness created between the words
on the page are of central importance to
her poetry
recognizing the agency of silence as
both a generative and a constraining
force
silence is what's shared by the words
but also what separates them
this is an extract from her long-form
poem juror
um here her words are forcibly held
apart by brackets
as if forbidden any further bridging or
prevent them from spilling back into the
empty space
to infuse meeting meaning with the
previously penned words
the reader is confronted with the
missing expression forced to dwell in
the emptiness between the brackets
the blank spaces on the page are loaded
silences weighing heavily with that
which is not said or can't be
articulated
or revealing gaps in memory there are
openings through which the reader must
find their own way
here kim underlies the ease with which
meaning is summoned and colonizes the
space of language
she exposes the individual's attempt to
make sense of the world
capturing the ruptures that prevent it
ever being a coherent whole
or a clean narrative drawing attention
to the gaps in hegemonic ideologies
with the unavoidable unease of these
ruptures she refuses to allow a passive
reading for her poetry
silences acts as junctious handing over
agency to the reader to collaborate with
the writer
to evoke meaning the meaning of the
emptiness
underlying her practice however kim
recognizes that language as
language as the mechanism by which
society operates and its influence over
the structure of our civilizations
embedded in the violence of history
making
but there is also a deep sense of how
language can redress
recognition of the now in her work is
simultaneously also an expression of the
past
often alluding directly to history in
her poems
as they compliment contemplate the
progression of words and phrases
with disruption and improvisation
constantly at play
each poem reanimates and reconstitutes
history
despite them being poems embedded in the
devastating lack and
inadequacy of language her work is
directed towards
the future engaging and unpicking this
mechanism of control
to better place us for an ethical
relationship to language of the future
oh god i might have to go quite quick
through routing
um so
here i'd like to work turn to the work
of wood sang who
um his work addresses the intrinsic and
inescapable relationship
between language and history sang's film
julian
is the culmination of 10-year
fascination with the life of chinese
legendary feminist
revolution and poet ki jin who was born
in 1875
and her intimate relationship with her
friend the calligrapher wuji jin
tang became fascinating the less
personal life less visible personal life
behind this revered character
um having traced the manifold
representations of kijin's legacy within
chinese historical narratives which are
widely celebrated in popular culture
tang's film julian opens up a space for
alternative
possibilities emitted from official
story lines
for zhang krigen is a sort of trans
hero not only did she present in public
as
a very male persona dressed in men's
clothing and carrying a sword but also
more importantly perhaps
she created a way of being that didn't
exist at the time
forming an alternative reading of
keijin's biography tang
unfolds layers of intimacy between the
two women
it's a tender exploration of the queer
relationship between them immersed in a
world of
love loss and sacrifice while tsang's
portrayal of the relationship is
speculative this speculation
is necessary queer narratives have
rarely been written throughout history
they are either invisible or must be
read between the lines
tang therefore takes up the task of
uncoding
the official narrative of these two
women
the film's titled julian refers both to
a form of couplet poetry where words are
rhymed in tonal opposition to each other
and to a type of sword-fighting martial
art
this sense of dueling and duality
filters through the work the film
traverses between historic moments of
the present historic moments in the
present
hovering somewhere between fact and
fiction drifting across time and space
heroism and vulnerability seeming
seemingly opposing positions dissipate
into a plurality of experience
in another laying of dublin keijin is
played by
in the film by tang's real-life partner
and often collaborator boy child
with sang playing the role of wu xi jing
portraying both a real and acted
intimacy and love
but as tang has often said on the work
the true nature of their relationship
could never
really be known but for her the point is
not to claim or label it but instead
take inspiration
from their story
whilst this invisibility of queer
history acts as a point of departure
tang's driving force behind the work is
one which implicates all facets of
history
that of language language is a device to
mold our sense of self and shape our
relationships to one another
and as a means to construct or
deconstruct truths
in making the film tangent engaged
members of the lgbtq
community who she met during her time in
hong kong
to worship sorry to workshop and voice
mistranslations
of ki and wu's writing in their mother
tongues
including cantonese malay english and
tagalog
working across multiple language the
viewers freed from a dependency on
language
to read the narrative instead attention
is drawn to what is left to percolate
between the lines of narration
body language gesture and the intimacy
of glances between the protagonists
as with the silences and dis junctures
of kim's poetry
julian is an is inconclusive and allows
for slippages and plurality of readings
in doing so tang finds ways to create a
language that communicates with others
across cultures histories and identities
allowing language to escape the
constraints of its context
julian offers a tentative and contingent
relationship to the past
that transcends the decisive and
divisive historicization of hegemonic
language
julian explores the methodologies that
queer people construct out of such
stories as kahijin and ruji jings
uncovering lineages of transgender or
gender fluent ancestry to free position
and untangle the binary gender
narratives
constructed and enforced by hegemonic
culture through the interrogation of
language julian acts to redeploy
previously undermined voices in history
translating
and nurturing kinship between eras tang
has seen
tang is keen that the work is not only
seen within the context of a queer
identity
but that the film emphasizes how
language defines what is and what's not
possible
how we are bound to it bound by it but
also how we can escape
through it or from it language is
malleable and fluid
used constructed and reconstructed to
suit the need of those who employ it
but language is also what binds
communities together in collective
identity and shapes our concept of the
world around us
kinship with figures in the past is
deployed as a way to find lineage take
inspiration
and to write a new language for
contemporary life beyond the ability to
simply reflect the world
here language is shown to shape new
personal experiences
constructing new narratives and renewing
language fit for purpose for future
generations
which in turn will become a tool to
transform the experience of tomorrow
the three examples of nymphatic kim and
sang that i've presented here each offer
up language as a notational process
by working through the de-sedimentation
of material and stripping bear the
accumulation of meaning
each examiner participating in the
hegemonic influence of language within
society
accepting and occupying the silence and
the fraying edges of language
each instigate a productive disjuncture
registering the chasms of interpretation
in presenting language as an entity that
is always shifting and always
provisional
they offer the hope of forging new paths
through the connecting power of language
through practices such as these can
languages between languages be nurtured
to sing the nuances
of contemporary experience one which
accepts where linguistic and ascetic
language reaches
limits of its of communicability
far from being a mode of universal
communication or a meta language it is
here that the hegemonic
dominance hegemonic dominance is
shattered
where transaction and translation
belongs to no single site
and where movement between languages
cultures and contexts
is a destination in itself
as we face a reconfigured global society
with widespread ecological migration on
an unprecedented scale
urgent cultural concern can no longer
singly focus on
outdated neoliberal modes of
cross-cultural homogenizing
dialogue of the so-called multicultural
instead we must establish a cultural
ecosystem that recognizes and allows
space to hold the geopolitical
and consequently cultural clashes and
miscommunications
implicating our immediate and social and
everyday social climate
to return once again to spivak if
she asserts translation is the most
intimate act of reading
far from these artists work being a
translatory defeat it is in
is exactly within these chasms of
translation in the fraying edges of
language
where meaning remains malleable and
unconfined that the empathetic agency of
the receiver is called into action
in the summer sorts of language and
meaning that so integrally affects our
everyday lives
constantly transferring from one to the
other vital porous and living
cultural linguistic translation is not a
task to be outsourced to
artists curators or critics it is a
human condition
woven into the fabric of all of our
messy blurred and unconcluded senses of
being
thank you
you

my paper is called from the fraying

Toggle Transcript

sociality::noun | Spocien Dictionary

sociality

noun

/,soʊʃi'ælɪti/

the tendency to associate with others and to form social groups

Type	Words
Type of	nature
Has types	sociability, sociableness
Derivation	social

mammals as a class are not strong on sociality.

How to pronounce sociality in Dutch?

sociality::noun | Spocien Dictionary

abandonment

Related words

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