 Member since Jun '08
Working languages: Spanish to English
German to English
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|  Aisha Prigann
Creative & Professional
Barcelona, Cataluña, Spain Local time: 16:21 CET (GMT+1)
Native in: German  , English | |
Freelancer,  Verified member | | Translation, Interpreting, Editing/proofreading, Subtitling | | Specializes in: | | Wine / Oenology / Viticulture | Photography/Imaging (& Graphic Arts) | | Art, Arts & Crafts, Painting | History | | Cinema, Film, TV, Drama | Tourism & Travel | | Architecture | Internet, e-Commerce |
| Also works in: | | Poetry & Literature | Social Science, Sociology, Ethics, etc. | | Cooking / Culinary | Cosmetics, Beauty | | Environment & Ecology | General / Conversation / Greetings / Letters | | Textiles / Clothing / Fashion | Furniture / Household Appliances | | Marketing / Market Research | Media / Multimedia | | Music | Printing & Publishing | | Slang |
More Less | Spanish to English - Rates: 0.07 - 0.10 EUR per word / 25 - 27 EUR per hour
German to English - Rates: 0.07 - 0.10 EUR per word / 25 - 27 EUR per hour
| | PRO-level points: 12, Questions answered: 14, Questions asked: 15 | | Wire transfer, Check | Sample translations submitted: 4 Spanish to English: Excerpt, Interview with Andrea Branzi
General field: Art/Literary
Detailed field: Photography/Imaging (& Graphic Arts) | Source text - Spanish
Elisabetta Pasini....no he preparado un esquema concreto para la entrevista. Creo que sería más útil y más interesante una conversación abierta. Lo que me interesa estudiar, en cualquier caso, no es tanto, o no sólo, la llamada “personalidad carismática”, sino cómo, a través de un proyecto personal que consigue agitar las aguas de un determinado contexto, uno puede convertirse en un punto de referencia. El aspecto interesante del carisma, y también el que más me interesa explorar en tu campo de actividad, podría ser precisamente la posibilidad de que un proyecto individual sea capaz de catalizar la atención y las energías de los demás.
Andrea Branzi. Voy a improvisar una respuesta. En primer lugar yo creo que el carisma es lo opuesto a la autoridad. Es decir, que la autoridad deriva de una función, de un conocimiento especializado, del poseer información, mientras que el carisma, probablemente, se construye de otra manera, hay que reavivarlo constantemente, y quizás tenga que sustentarse, más que en habilidades concretas, en la capacidad de trazar nuevos marcos de valor distintos a los ya consolidados. En el campo de la arquitectura, he de decir que he conocido a muchas personas con carisma, entre ellas a Aldo Rossi . El suyo era un carisma intelectual, pero también poseía una de las características típicas de quienes adquieren carisma en el plano intelectual y que consiste en repetir siempre el mismo proyecto. Sin embargo, esta repetición no debe entenderse de manera negativa, sino más bien en el sentido de unas pautas reconocibles en el tiempo, que finalmente alimentan, por así decirlo, la credibilidad de una persona, su “posesión” de todo lo que le rodea. El carisma, pues, no es tanto la capacidad de ser creativo, de improvisar - que quizás también -, sino, sobre todo, la capacidad de mantenerse firme, de saber volver siempre a una imagen determinada… como Mick Jagger, que hace siempre el mismo personaje y sin embargo no cansa nunca; al contrario, todos esperamos de él ese personaje, nos gusta reconocerlo. Yo creo que éste es un elemento muy importante. Y es también la habilidad natural de saber encontrar, aunque pasen las situaciones, las tendencias y las épocas, un hilo conductor que va cambiando pero sigue y se repite, como si cosiera un tejido, apuntando hacia una dirección determinada. Esto crea un gran carisma. ¿Quiénes eran los grandes personajes carismáticos? ¿Los santos?....
EP. Desde luego hay una matriz religiosa en el carisma; la etimología de esta palabra viene del griego kharis, que significa gracia….
AB, Ya, porque también en la religión se da la repetición, es decir, la permanencia de una huella, la capacidad de no dispersarla ….
EP. La gracia, además, es también un don que se recibe y que no sólo debe alimentarse, sino también aplicarse para que sea reconocido como tal….
AB. Por ello creo que carisma es lo contrario de autoridad, que es algo que se puede adquirir como también perder….
EP. Porque el liderazgo, que se sustenta en la autoridad, es también una función organizadora y el líder puede ser una figura institucional, ya que en una organización existe una jerarquía bien definida, con unos jefes, unos líderes …
AB. … que tienen poder pero no necesariamente carisma. El carisma lo pueden tener personas que saben crear a su alrededor unos halos, unas aureolas espirituales. Porque repetirse no significa repetir siempre lo mismo, sino repetir algo bajo muchas formas distintas, en épocas distintas y en condiciones distintas; pero siempre existe esa capacidad de orientar los acontecimientos hacia una dirección determinada. Es esto, creo, lo que genera un gran carisma, una gran credibilidad.
EP. ¿Ves, por lo tanto, el carisma como la capacidad de dirigir, de manipular de alguna manera a personas y situaciones, o como una acción, quizás, no consciente al principio, pero que requiere una gran capacidad de interpretar lo que ocurre en el entorno?
AB. No, eso es una consecuencia. En mi opinión el carisma nace de las personas muy indulgentes hacia los demás y muy severas hacia sí mismas. El objetivo de estas personas está dentro de ellas, porque no pretenden explicar a los demás cómo hay que vivir o actuar, sino que se esfuerzan por ser mejores, lo que es una cualidad muy escasa. Por ello es fundamental la diferencia entre tener autoridad y tener carisma, porque el carisma tiene un componente fundamental de búsqueda en uno mismo. De ahí que sea reiterativo; tiende a repetir la misma matriz porque trabaja en vertical, no expandiéndose horizontalmente, por lo que es un trabajo profundo en uno mismo, un esfuerzo por ser cada día mejor. Es lo que en general hacen los religiosos, aunque personalmente no he conocido nunca a religiosos carismáticos; pero sí son personas que se ponen constantemente a prueba, tan tolerantes hacia los demás como duros consigo mismos, lo que, en mi opinión, representa la verdadera base antropológica de la autoridad. El jefe no es quien posee más recursos, riquezas o relaciones; la autoridad tiene un fundamento espiritual y se construye sobre este tipo de reiteración hacia uno mismo, que produce gestos inesperados en un determinado contexto, pero que resultan inmediatamente reconocibles y tranquilizadores, y que hacen referencia a un aura, a un halo. Esto es lo que distingue a las personas carismáticas de las que no lo son.
EP. ¿Tiene, entonces, el carisma un componente tranquilizador?
AB. Sí, tiene un componente de reconocimiento capaz de brindar seguridad, pero no es ése el objetivo. Puede tener ese efecto, pero la causa es un largo trabajo sobre sí mismos; el cuestionarse a sí mismos, el saber mejorar. Y, después, el saber dar unas respuestas que los demás no se esperan porque, por lo general, las respuestas pertenecen al comercio tradicional. En cambio, de pronto nos llega una respuesta que posee una inesperada capacidad de convencernos. Los personajes carismáticos no poseen simplemente la capacidad de innovar; en el arte, por ejemplo, Picasso tenía carisma, parecía que las cosas que hacía eran siempre distintas, pero finalmente era siempre el mismo cuadro, aunque múltiple. El esfuerzo por hacer siempre cosas diferentes puede sí dar lugar a un proceso dinámico, pero genera mucha dispersión. Los tiempos del carisma son largos y sus respuestas son geniales porque se sitúan fuera del contexto, son esclarecedoras.
EP. Es un punto de vista muy interesante. Sin embargo, me pregunto cómo pueden convivir estos dos aspectos, la capacidad de ser reconocidos por un estilo, por un “sello” reconocible, y la capacidad de ser siempre distintos.
AB. Gracias a la capacidad de utilizar ese “sello” en muchas cosas distintas; es la continuidad en las variaciones la que, a la postre, permite al autor construir con todas ellas un corpus que le otorga un gran carisma. Por este motivo sostengo que es carismático quien repite siempre el mismo proyecto, no sólo por los códigos que utiliza, sino también por la calidad de la reflexión y por la continuidad que mantiene en su búsqueda y en las variantes que ésta genera; todo ello, al final, ocupa un espacio que otorga al autor una gran reconocibilidad, incluso a nivel simplemente intuitivo. También los políticos poseen esa cualidad carismática. Los grandes comunistas tenían un carisma poderoso porque tenían una idea y la defendían al precio que fuera. Lo mismo puede decirse de los grandas políticos católicos.
EP. En pocas palabras, se necesita una gran fe.
AB. Sí, aunque sea laica; se trata de personas que se lo juegan todo en ello. Probablemente, el carisma es también una estrategia, quizás inconsciente, a través de la cual uno está tan centrado en sí mismo para mejorar y para crecer en un ámbito muy concreto, que al final los problemas son de los demás. Son personajes que le dan la vuelta a la situación, que no se adaptan al “mercado” de los problemas corrientes, y precisamente por ello sus respuestas son a menudo geniales, porque desplazan el eje de la lógica tradicional; no se dejan involucrar en los problemas, ni atrapar por las dinámicas habituales, sino que mantienen un status ético y cultural propio; sobresalen de la masa y esto les otorga un gran carisma. Son personas que resuelven una situación dando un salto hacia adelante …. | Translation - English
Elisabetta Pasini:...I haven’t prepared a specific outline for the interview. I think an open conversation would be far more useful and interesting. In any case, what I’m interested in isn’t so much – or not just – the so-called “charismatic personality,” but rather how a personal idea that shakes up a given context can turn someone into a point of reference. The most interesting aspect of charisma, and the one that I want to explore within your professional field, is precisely the possibility of an individual idea being capable of catalysing the attention and energy of others.
Andrea Branzi: I’m going to improvise an answer. First of all, I believe that charisma is the opposite of authority. In other words, authority derives from a function, a specialised know-how, from possessing information, whereas charisma is probably rooted in something else. It has to be rekindled constantly, and instead of specific skills, it probably draws on the ability to create new sets of values that differ from pre-established ones. I must say that I've encountered a lot of charismatic people in the architectural field, including Aldo Rossi. His was an intellectual charisma, and he possessed one of the typical traits of someone whose charisma operates on an intellectual level, which consists in always repeating the same idea. However, this repetition shouldn’t be understood as something negative, but rather in the sense of certain recognisable patterns in time that, in the end, nourish – to put it one way – the credibility of a person, their “ownership” of everything that surrounds them. Thus, charisma isn’t really the ability to be creative, to improvise – although that is part of it -, but, more importantly, the ability to stand one’s ground, to know how to always return to a specific image... like Mick Jagger, who always plays the same character, but never becomes tiresome; quite the contrary, we all expect this character from him, we enjoy recognising him. I believe that this is a very important element. And it is also the innate ability of knowing how to find, despite the passing of time, trends and eras, a connective thread, which changes, but continues and repeats - as if weaving a fabric - and points in a particular direction. This gives birth to great charisma. Who were some of the great charismatic figures? The saints?
EP. Of course there is a religious connotation to charisma; the etymology of the word comes from the Greek kharis, which means grace….
AB. Yes, because in religion there is also repetition, meaning a mark's permanence, the inability to diffuse it...
EP. Furthermore, grace is also a gift that is received and that has to be nourished as well as applied in order for it to be recognised as such...
AB. This is why I think charisma is the opposite of authority, it is something that can be acquired, but also lost...
EP. Because leadership, which is based on authority, is also a function of organisation, and the leader can be an institutional figure since an organisation has a well-defined hierarchy, with bosses and leaders...
AB. … who have power, but not necessarily charisma. Charisma can be found in people who know how to create a halo, a spiritual aura, around them. Because repetition doesn’t mean always repeating the same thing, but repeating something in many different forms, in different times and under different conditions; but this ability to point events in a particular direction is always present. It is this, I believe, which generates great charisma, great credibility.
EP. Do you thus see charisma as the ability to direct or in some way manipulate people and situations? Or as an action that perhaps isn’t completely conscious at first, but that requires the keen ability to interpret what happens around you?
AB. No, that is a result. In my opinion, charisma is borne from people who are very indulgent towards others and very strict with themselves. These people carry their goal within themselves, because they don’t want to tell others how to live or behave, but instead they make an effort to be better, which is a very rare quality. That is why it is essential to differentiate between having authority and having charisma, because a fundamental component of charisma is the search within oneself. This is what makes it reiterative; it tends to repeat the same mould, because it works vertically rather than expanding horizontally, which makes it a deeply internal process within oneself, a daily effort to be better. Generally this is something the religious do, although I’ve never personally met a charismatic religious person; but they are people who constantly test themselves, who are as tolerant towards others as they are tough on themselves. This is – in my opinion – the true anthropological foundation of authority. The boss isn’t the person with the most resources, wealth or connections. Authority has a spiritual foundation, which is based upon this kind of reiteration towards oneself, producing unexpected expressions within a determined context. But these expressions are immediately recognisable and reassuring; they are a reference to an aura, a halo. This is what distinguishes charismatic people from uncharismatic ones.
EP. Then there is a reassuring element to charisma?
AB. Yes, it has an element of recognition that is capable of providing a sense of security, but that isn’t the goal. It can have that effect, but the reason for it is a long process of working on yourself, questioning yourself, knowing how to improve. And, later, knowing how to give answers that others do not expect, because generally the answers correspond to traditional business. Instead, we are suddenly given an answer endowed with the unexpected ability to convince us. Charismatic individuals don’t simply possess the ability to innovate; in art, for example, Picasso had charisma, it seemed like he was always making different things, but in the end they were always variations on the same painting, but multiplied. The effort to always do different things can result in a dynamic process, but it can also have a scattering effect. The time span of charisma is long and its answers are brilliant, because they lie beyond the given context, they are enlightening.
EP. This a very interesting point of view. However, I ask myself how these two aspects can co-exist: the ability to be recognised for a style, a recognisable “stamp”, and the ability to always be different.
AB. Thanks to the ability to use this “stamp” for many different things; in the end, it is the continuity in the variations that allow the author to use these pieces in constructing a body of work that endows him or her with great charisma. This is why I maintain that a charismatic person is one who always repeats the same idea, not just in the codes he or she uses, but also in the reflective quality and the continuity that is maintained throughout his or her search and in the variations this generates. In the end, all of this fills up a space that gives the author great recognisability, even on a simply intuitive level. Politicians also have this charismatic quality. The great communists had a powerful charisma, because they had an idea and defended it at any price. The same can be said of the great Catholic politicians.
EP. In short, one needs great faith.
AB. Yes, even if it is secular. It’s about people who are willing to risk everything. Charisma is probably also a kind of strategy, even if it is unconscious, in which a person is so focused on personal improvement and growth in a very specific area that problems end up falling to other people. They are characters who think about a situation, who don’t adapt to the “market” of everyday problems, and precisely because of this their answers are often brilliant, because they shift the focal point of traditional logic. They don’t allow themselves to get caught up in mundane problems or trapped by mundane dynamics. They maintain their own ethical and cultural position. They stand out from the rest, and this gives them great charisma. These are people who resolve a situation by leaping ahead... | German to English: Interview: Oliver Vogt
General field: Art/Literary
Detailed field: Photography/Imaging (& Graphic Arts) | Source text - German
Sie sind Mit-Organisator des Berliner Designmai. Liegt der Erfolg und die Bedeutsamkeit eines Projektes oder Produktes in den Synergien eines Teams? Networking versus Universaltalent?
Ich bin nur einer der Initiatoren. Die Organisation leistete in der Vergangenheit ein Team von jungen und engagierten Kulturmanagern, Designern, Journalisten u.v.m.
Jedes Designprojekt wird durch eine Vielzahl von Professionen und kreativen Köpfen zum Erfolg gebracht. Wir knüpfen als Designer dieses Netz. Das ist auch Teil der Gestaltung. Es sollte vielleicht besser heissen: Networking plus Universaltalente. Das liegt doch in der Natur der Sache. Für ein qualifiziertes Networking muss ich auch die Sprache der anderen Welten beherrschen. Der Designmai ist deswegen so erfolgreich, weil er alle Ebenen der Profession der Gestalter anspricht, aber auch ein breites Publikum dazu einlädt, sich einmal schlau zu machen, wie die Dinge entstehen, wer hinter den Objekten steht und welche Ideen damit verknüpft sind. Das wird zunehmend wichtiger. Denn die Identifikation mit den eigenen Dingen macht diese auch nachhaltig. Und es sind ja nicht nur Dinge, die gestaltet werden, sondern auch Atmosphären, Begegnungen, Kontexte und Perspektiven. Darin liegt auch der Reiz meines Berufs.
Wie würden Sie das Wort Handwerk heute definieren?
Das Handwerk ist ein wichtiger Teil der Industrie von morgen. Auch dank neuer Technologien, die das Handwerk bereits heute in die Lage versetzen, kleine und große Serien mit der Idee einer Maßanfertigung zu verknüpfen.
Wo sollten sich Gestalter verstärkt engagieren?
Im Umweltschutz! Es passieren zu viele Irrtümer gleichzeitig und keiner kann das Ausmaß unseres Schaffens vorhersagen, geschweige denn steuern. Wir müssen lernen, mit den Ressourcen sehr klug, verantwortungsbewußt, effizient und zukunftsorientiert umzugehen. Wer Produkte für einen Wegwerf-Markt kreiert, macht sich mitschuldig an der Zerstörung der Erde.
Wissen, wo etwas herkommt, wie es entsteht, welche Arbeitsplätze und Arbeitskonditionen damit verbunden sind und einzuschätzen, welche Folgen mein Handeln hat. Das wird immer schwieriger. Aber Gestalter können über die Grenzen der Professionen schauen und analysieren, ob die jeweiligen Prozesse der eigenen Philosophie des Handelns entsprechen. Ich muss immer hinter die Fassade blicken können, um ein gutes Gefühl zu haben.
Vielleicht ist Transparenz das Zauberwort der nächsten Jahre. So wie es Bioprodukte derzeit geschafft haben, eine breite Masse anzusprechen. Denn wer will denn schon als Versuchskaninchen einer gewinnmaximierten Industrie für Gen-Mais und Gen-Soja herhalten? Das Thema corporate social responsibility wird wichtiger. Auch für die Bewertung von Aktien an der Börse.
Form follows function – wie würden Sie Ihren Leitgedanken
formulieren?
Leitgedanken führen dazu, daß sie zum Nachmachen verleiten. Das ist mir zu einfach. Sie sind die Simplifizierung des Denkens. Wir neigen dazu, die Welt zu vereinfachen, damit wir uns nicht ganz so verloren fühlen auf diesem Planeten. Aber: Die Welt ist komplex. Wir müssen lernen, daß
komplexe Fragestellungen sehr spezielle Antworten erfordern.
| Translation - English
You are one of the co-organisers of the Berlin event Designmai. Does the success and significance of a project or product lie in the synergy of a team? Networking versus all-around talent?
I’m just one of the initiators. On past occasions, the organisation contributed a team of young and engaged cultural managers, designers, journalists and others.
Every design project's success is brought about by a great number of professionals and creative minds. As designers we weave this web. This also forms part of design. A better way of expressing it might be networking plus all-around talents. After all, it's intrinsic to the process. In order to network effectively, I also have to speak the languages of the other worlds. Designmai is so successful not just because it addresses all professional design areas, but because it invites a broad audience to join in, learn a thing or two about how objects are created, who is behind them and what ideas they embody, which is something that is becoming increasingly important. Because by identifying with one's own things, they take on an enduring quality. And of course it isn’t just things that are designed, but also atmospheres, encounters, contexts and perspectives. That is what makes my line of work so appealing.
How would you define the term "craft" today?
Craft is an important element of tomorrow's industry. Also, new technologies already make it possible to combine small and large-scale series with the idea of mass production.
In what area should designers play a more active role?
In environmental protection! Too many mistakes are happening at the same time, and no one can predict the extent of our actions, let alone steer them. We have to learn to use resources intelligently, responsibly, efficiently and with a view to the future. Those making products for the disposable market are also guilty of contributing to the destruction of our planet.
Knowing where something comes from, how it is created, what kinds of job positions and working conditions are connected to it and calculating the consequences of my actions – all of this is becoming more and more difficult. But designers can look beyond the limits of their profession and analyse whether the processes in question are in keeping with their own philosophy. In order to feel good about something, I must always be able to look behind the scenes.
Perhaps transparency is the magic word of the coming years. Just like organic products have managed to appeal to the mass-market. After all, who wants to serve as the guinea pig for a purely profit-driven industry in genetically modified corn and soy? The subject of corporate social responsibility is becoming more important. Also in terms of the value assessment of stocks on the stock market.
"Form follows function" – how would you articulate your guiding idea?
Guiding ideas lead to the temptation to imitate. That’s too simple for me. They are the simplification of thought. We tend towards simplifying the world in order to not feel so completely lost on this planet. But – the world is complex. We have to learn that complex questions demand very special answers. | Spanish to English: Las órdenes militares y la guerra de Granada
General field: Social Sciences
Detailed field: History | Source text - Spanish
Las buenas relaciones castellano-nazaríes hicieron temer a Pedro IV de Aragón por la posibilidad de que la ofensiva granadina afectara a su territorio. Por eso, en abril de 1384, el monarca apremiaba a las órdenes del Hospital, Montesa y Santiago para que defendieran la frontera meridional del reino. Los temores del rey estaban fundados, ya que en los primeros meses de 1386 las incursiones granadinas sobre el reino de Valencia fueron ciertamente devastadoras, aunque finalmente se impuso la voluntad pacificadora por ambas partes. Estas campañas debieron repercutir sobre el reino murciano, que estaba situado entre el emirato y la frontera meridional aragonesa. En este contexto conviene situar el documento de junio de 1386, mediante el cual el papa Clemente VII, a petición de los santiaguistas, concedió indulgencia plenaria por tres años para todos aquellos que contribuyeran a mantener las fortalezas fronterizas de la orden, que mayoritariamente estaban situadas en el área murciana o en su prolongación jiennense. No hubo, sin embargo, mayores problemas fronterizos. Solo tras el fallecimiento de Muhammad V en 1391, una razia puntual afectó al señorío santiaguista de Caravaca, pero la cuestión no impidió que continuara la tónica general de relaciones pacíficas entre Castilla y Granada.
Sin embargo, en abril de 1394, en plena vigencia de las treguas recién renovadas, tuvo lugar la expedición del portugués Martín Yáñez de Barbudo, maestre de Alcántara, a la vega granadina. El maestre envió a dos de sus escuderos para que desafiaran en su nombre al emir granadino Muhammad VII, con el objetivo de que reconociera la autenticidad de la fe cristiana y la falsedad de la musulmana, ya que en caso contrario el alcantarino le retaba a un combate en los que utilizaría la mitad de hombres de los que el nazarí dispusiera. El mal trato dispensado a los escuderos por los granadinos propició que el maestre decidiera llevar a cabo su empresa.
Informados de la iniciativa por un emisario del maestre, Enrique III de Castilla y su consejo regio mostraron su oposición a la expedición, ya que podría significar la ruptura de las treguas recién firmadas con el emir, cuando todavía no había finalizado la etapa de la minoría de edad del monarca castellano. Una dificultad añadida para que la empresa llegara a buen término era la escasez numérica de las tropas que acompañaban al maestre, integradas por 300 lanzas y 1.000 peones no excesivamente preparados. Sin embargo, Martín Yáñez decidió continuar con la expedición, encabezada por una cruz elevada junto a su pendón, ya que para él era una cuestión de honra. En su caminar hacia la frontera se le unieron muchos peones procedentes de la ciudad de Córdoba y de su tierra. El maestre iba acompañado de un ermitaño, Juan del Sayo, que le había profetizado una victoria segura y que ningún cristiano moriría en la batalla. El alcantarino estaba confiado en su victoria y en la ayuda divina en la contienda, dado lo justo de su causa. El pueblo llano que se le había unido también estaba imbuido del mensaje transmitido por el ermitaño. En cambio los caballeros que le acompañaban intentaron sin éxito, como otros magnates castellanos, hacer desistir al maestre de su objetivo.
La expedición que cruzó la frontera para penetrar en tierra granadina estaba compuesta finalmente por las ya mencionadas 300 lanzas y 5.000 peones. Tras poner cerco a la torre fronteriza de Ejea, un ejército musulmán compuesto por 5.000 caballeros y 120.000 peones llegó al lugar para entablar la batalla. Los granadinos aislaron a la infantería cristiana de su caballería, masacrando por completo a esta última, ya que perecieron todos sus integrantes, incluido el propio maestre. Solo 1.500 peones castellanos pudieron huir en dirección a Alcalá la Real, mientras que otros 1.200 fueron capturados como prisioneros. El resto murieron. Del bando musulmán solo perecieron 500 peones.
Inmediatamente después de enterarse de la noticia, Enrique III comunicó sus excusas al emir granadino y le solicitó el mantenimiento de las treguas, argumentando que la aventura del alcantarino no contaba con su autorización. El propio maestre santiaguista Lorenzo Suárez de Figueroa estaba de acuerdo también con la prolongación de la paz. Muhammad VII aceptó la propuesta y con posterioridad las treguas se prolongarían hasta la muerte del monarca castellano en 1406. | Translation - English
The amicable relations between the Castilians and Nasrids were of great concern to Peter IV of Aragon, who feared that the Granadan offensive could affect his territory. Therefore, in April of 1384, the monarch put pressure on the Orders of the Hospital, Montesa, and St. James to defend the southern frontier of the kingdom. The king's fears were not unfounded since the Granadan incursions into Valencian territory during the first few months of 1386 were undeniably devastating. However, in the end, a mutual willingness for peace gained the upper hand. These campaigns also affected the Kingdom of Murcia, which was located between the emirate and the southern frontier of Aragon. In this context, it is worth mentioning a document issued by Pope Clement VII in June of 1386. In this document, issued upon the request of the Order of St. James, the pope conceded a full indulgence for three years to anyone who contributed to maintaining the order's frontier fortresses, which were mainly located in Murcia or along the frontier extending into Jaén. Frontier problems of a more serious nature, however, were not registered. Only after the death of Muhammad V in 1391 did occasional raids affect the St. James seigniory of Caravaca, but this issue did not impede the on-going and generally peaceful relations between Castile and Granada.
However, in April of 1394, with the recently renewed truces in full effect, the Portuguese master of Alcantara, Martín Yáñez de Barbudo, led an expedition into the Granadan plain. The master sent two of his squires to challenge the Granadan emir Muhammad VII in his name. The goal was to have the emir acknowledge the falseness of Islam and recognise Christianity as the true faith. Failure to do so would lead the master of Alcantara to challenge him in battle. The master stated that he would use only half as many men as those fighting on the Nasrid side. The squires were treated rudely at the Granadan court, resulting in the master's decision to carry out his endeavour.
When an emissary of the master informed Henry III of Castile of the expedition, the king and his royal council voiced their opposition. They did not want to risk a break in the freshly signed truce with the emir while the Castilian monarch's minority was still in effect. The fact that the number of troops accompanying the master was low – consisting of 300 lances and 1,000 rather unprepared foot soldiers – did not bode well for the venture's outcome. Nevertheless, Martín Yáñez decided to continue with his expedition, setting out with a raised cross alongside his banner, because to him it was a question of honour. During his march towards the frontier, he was joined by many foot soldiers from the city of Cordoba and its surrounding lands. The master was accompanied by a hermit, Juan del Sayo, who had prophesied a guaranteed victory and that no Christian would perish in battle. The master firmly believed in his victory and that he would be granted divine assistance in battle, given the just nature of his cause. The common people who had joined him also fully embraced the message conveyed by the hermit. Conversely, the knights in his company, just like other Castilian magnates, tried in vain to dissuade the master from his plan.
In the end, the expedition crossing the frontier into Granadan territory consisted of the aforementioned 300 lances and 5,000 foot soldiers. After surrounding the frontier tower of Ejea, they were confronted by a Muslim army of 5,000 knights and 120,000 foot soldiers. The Granadan army separated the Christian infantry from the cavalry and completely massacred the latter. Every last member of the cavalry died, including the master himself. Only 1,500 Castilian foot soldiers managed to flee towards Alcalá la Real, while another 1,200 were taken prisoner. All of the others were killed. The Muslim side only lost 500 foot soldiers.
Upon hearing the news, Henry III immediately apologised to the emir of Granada and asked that the truce be maintained. He argued that the master of Alcantara's campaign had been undertaken without his permission. The master of St. James, Lorenzo Suárez de Figueroa, was also in favour of prolonging the peace. Muhammad VII accepted the proposal. The truce was later extended until the death of the Castilian monarch in 1406. | German to English: Hommage an Taneda Santoka
General field: Art/Literary
Detailed field: Art, Arts & Crafts, Painting | Source text - German
Hommage an Taneda Santoka
(free-style Haiku poet. Japan, 3.12.1882 bis 11.10.1940)
In dem geschlossenen Zyklus von Eva Choung - Fux kommen geballte und unterschiedliche kulturelle Kräfte zueinander. Diese differierenden Konnotationen finden eine sehr überzeugende, einheitliche und ruhige Visualisierung, welche die beiden getrennten Wurzeln vergessen lässt. Asien und Europa, Japan und Österreich verschmelzen miteinander, werden zu einer lesbaren Sprache, die aber keiner Verabredung folgt. Der Dialog ist offen, er ist ein künstlerischer, der das Kunstwollen zweier gleichberechtigter Partner spiegelt.
"Westerners like to conquer mountains;
Orientalists like to contemplate them,
As for me, I like to taste the mountains"
Taneda Santoka
In der Tat verschmelzen die Haltungen, die Geschmacksversuche in den 96 kleinformatigen graphischen Blättern miteinander. Die Stille der Haikus wird nicht durchbrochen, die leichte Sprachsetzung nicht gebrochen. Die Verortung eines Gedanken zum Bild bleibt die Option vieler Wahrheiten.
Die beruhigende Unruhe der Blätter folgt analog zu den kurzen Gedichten. Diese sind nicht im klassischen Haiku Stil verfasst. Die 17 Silben in drei Zeilen hat der Dichter aufgelöst, zu Gunsten einer freiheitlichen Ausdrucksweise.
Santoka gilt als der grosse Poet eines freien Stils. Dieser free-style haiku (shinkeiko) ergibt sich aus der Zartheit eines sonst rebellischen und oft tragischen Lebens zwischen versuchtem Selbstmord, Gefängnis, Polizei, Alkohol, Kloster und auch hoher Verehrung. Das Resultat dieser Vita ist ein vertieftes Eindringen in die Welt des ZEN. Der Ost-West-Dialog bestimmte die Gedankenwelt Santokas, der als Student Texte von Ivan Turgenev und Guy Maupassant übersetzte und veröffentlichte.
Die bildende Künstlerin hat biographische enge Bindungen nach Asien aufgebaut. Sie spricht die Sprachen, sie liest die Haikus in „romaji“. In sofern ist sie die ideale Übersetzerin in die Zonen des Bildlichen.
Für die Hommage an den Streuner Santoka verwendet die Künstlerin, die sonst nur handgeschöpftes Japan, bzw, Chinabütten verwendet, absichtlich ein europäisches Papier ( Arches - France). Die Drucktechnik ist vielfältig und kompliziert neu. Jedes der 96 Blätter ist 7 x in der Presse: " 2 mal um eine Grundstruktur zu erzielen, (einmal mit Schattenebene). Dann folgt der Druck mit Objekten auf das Papier, dazu 2 x der Transfer von Lilienblättern, 2 x der Transfer von Haarwurzeln, die zu römischen Ziffern gefügt sind, und zuletzt 1 weiterer Druck der Tonplatte mit Lichtführung. Ein verrückter Aufwand, um dem tiefen Urgrund der Beiläufigkeit die Reverenz zu erweisen“.
Die Leichtigkeit, die beflügelte Seele der Haikus durfte nicht gestört werden. Diese ist flüchtig, sie realisiert sich oft nur in der Erinnerung. Ihre Seele inkarniert Freiheit. Das Bild dagegen ist etwas reales, es ist haptisch, es kann angefasst, begriffen werden. Es ist dauerhaft. Seine Lesbarkeit ist komplizierter, weil diese Bilderschrift sich jeder Verordnung entzieht, entziehen muss, um die gleiche Wirkung wie ein Haiku zu haben. Die Blätter sind deshalb voller Poesie und Freiheit. Wie ein Haiku tragen sie Informationen über die Möglichkeiten unseres Lebens. Wenn es einen Wirklichkeitensinn gibt, so sagt es der österreichische Schriftsteller Robert Musil, so muss es auch einen Möglichkeitensinn geben.
"The days are short
Evening comes quickly
My backpack is so heavy"
Taneda Santoka
Selten haben sich die verschiedenen Welten so unvergleichlich miteinander verschmolzen. Selten haben sich Schrift und Bild so miteinander vermählt. Das europäische Auge flüchtet nicht in die asiatische Kalligraphie, sondern findet 96 autonome Antworten in verdichteten Bildern, die wie der Haiku Erinnerungen an innere Bilder, Erfahrungen, an Natur in sich tragen. In der bildenden Kunst von Eva Choung-Fux gewinnen sie eine unbändige Freiheit. Sie sind den Haikus entlehnt, doch diese werden nicht illustriert, sondern verbildlicht, ohne dass eine Erklärung enthalten ist. Beide Künstler sind Rebellen der Poesie.
Dieter Ronte
Bonn, July 2009 | Translation - English
“Homage to Taneda Santoka”
(Free-style haiku poet, Japan, 3.12.1882 to 11.10.1940)
Eva Choung-Fux's cogent series unites complex and diverse cultural forces. These varied connotations are expressed in a strong, highly consistent and serene visualisation, allowing one to forget the two, separate roots. Asia and Europe, Japan and Austria dissolve into one another and become a legible language, but one that doesn't follow a set pattern. It is an open dialogue, an artistic dialogue, that reflects the artistic intentions of two equal partners.
"Westerners like to conquer mountains;
Orientalists like to contemplate them,
As for me, I like to taste the mountains"
Taneda Santoka
Indeed, attitudes and approaches overlap and coalesce in the 96 small-format graphic prints. The serenity of the haikus is not breached, the graceful phrasing not broken. Turning a thought into an image enables the telling of many truths. The soothing restlessness of the prints is analogous to the short poems, which are not composed in the style of a traditional haiku. The poet broke with the structure of 17 syllables in three lines in favour of a free, expressive form.
Santoka is considered the great master of free-style haiku. His free style (shinkeiko) was born from the tenderness of an otherwise rebellious and often tragic life, marked by attempted suicide, prison, police, alcohol, monastic life as well as immense reverence. His life experiences led to a more profound exploration of the world of ZEN. The East-West dialogue defined Santoka's world of thought; as a student he had translated and published texts by Ivan Turgenev and Guy Maupassant.
The visual artist has forged close personal ties to Asia. She speaks the languages; she reads the haikus in “romaji”. In this respect, she is ideally suited to translate them into images. In her homage to the tramp Santoka, the artist, who usually prints on Japanese or Chinese handmade paper, purposefully selected a European stock (Arches – France). The printing technique is multifaceted and elaborately new. Each of the 96 papers went through the press 7 times: “twice in order to obtain a basic structure (once with a shadow layer), followed by a printing step using objects, two transfers of lily leaves, and two transfers of hair roots, arranged into Roman numerals. Finally, 1 additional tone-plate-iris-print with light distribution. A mad effort to pay respect to the poems' ingrained incidental nature!”
The weightlessness, the winged spirit of the haikus could not be disrupted. It is an ephemeral spirit, often only fully comprehended in our memory. The spirit of the haiku embodies freedom. The picture, on the other hand, is something real, it is haptic, it can be touched, grasped. It is enduring. Its reading is more complex, because the visual language eschews all regulation, and must do so in order to have the same impact as the haiku. Thus, the prints are full of poetry and freedom. Like a haiku, they convey information about the possibilities of life. If there is a sense of reality – the Austrian writer Robert Musil said – then there must also be a sense of possibility.
"The days are short
Evening comes quickly
My backpack is so heavy"
Taneda Santoka
Rarely have these different worlds come together in such an incomparable manner. Rarely have text and image been wed to each other in such a way. The European eye does not seek refuge in Asian calligraphy, but rather finds 96 independent responses in condensed pictures that, like a haiku, carry within them memories of interior images, experiences, and nature. In the visual art of Eva Choung-Fux, they gain an irrepressible freedom. They are inspired by the haikus, but do not illustrate them; rather, they are their visual counterpart, without containing an explanation. Both artists are poetic rebels.
Dieter Ronte
Bonn, July 2009
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