English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

Untranslatability is more associated with poetry than any other genre because of its formal features—rhyme, meter, paronomasia inter alia—whose functionality so often depends on idiosyncratic qualities of a given language. The difficulties suggested in Roman Jakobson’s categorical affirmation that “poetry by definition is untranslatable” (113) and in Robert Frost’s definition of poetry as “what gets lost in translation” are compounded further in the synthetic minimalism of Brazilian concrete poetry, as each poem aims to be a selfsufficient structure of linguistic relations, as opposed to a vehicle of mood, rhythmic emotivity, or meaning. Each instance of composition should be a unique, original event, a sui generis verbivocovisual ideogram that by its very nature would pose extreme if not insurmountable challenges to the prospect of satisfactory rendition in another language. Still, the Brazilian originators of poesia concreta indeed sought to see their work rendered in other tongues in order to enhance visibility for the movement and to increase circulation of their neo-vanguard output. Moreover, the poets of the São Paulo Noigandres group—Décio Pignatari, Augusto de Campos, and Haroldo de Campos—also distinguished themselves as translators of all manner of lyric, from troubadour texts, baroque sonnets, and romantic adventures to mellifluous symbolism, avant-garde experiments, and even Chinese ideograms, for which Ezra Pound was a model. To refer to their own practice of translation of select poetry of invention—with express acceptance of the statute of generic impossibility and the imperative of re-imagining aesthetic information—the Campos brothers coined such terms as

4 X 3 X 2 = QUADRANGULATING TRIANGULAR PAIRS: SIMULTANEOUS VERSIONS OF A VITAL CONCRETE POEM