| Popis: |
In Beckett’s works, misencounters are often the expression of an unbridgeable abyss between the world and the words, the body and the mind, presence and representation, as different examples such as the asynchronous timetable in Mercier et Camier or the always postponed meeting with Godot attest. They point out how “empêchement” should replace positive “correspondence” in Beckettian poetics as a whole, translation included. This paper concentrates on a reading of Watt, interested in looking for allegorical expressions of this permanent gap so significant in translation’s tasks and objectives. It explores particularly the Galls’ piano tuning episode – and the semantic crisis it causes – as a critical metaphor of the limits and possibilities of translation from a Beckettian perspective. De Souza Andrade interprets this episode as an example of the rupture between subject and object and believes that translation in Beckett should be considered as an opportunity for inventiveness. |
