Abstract

The work of the British poet Christopher Logue is characterized by variation, collaboration, and intermedia projects. His output includes poetry set to jazz, printed poster-poems, public poetry performances, film scripts, collaborations with artists, and translations from Portuguese, German and, most significantly, ancient Greek. War Music, an ‘account of Homer’s Iliad’ according to its subtitle, became Logue’s life’s work, eclipsing many of his earlier projects. But collisions of word, image, and sound—the intermedia formats that characterize his early work—endure in Logue’s Homeric translations in the form of radical typographic experiments and textual images, such as inch-high capital letters marking the arrival of the god Apollo, and graphic shapes formed by variation in line lengths. This article demonstrates that War Music is a key text in the intersection of translation and visual poetry, which can be best understood in dialogue with other forms such as concrete poetry and the text-inspired art of Cy Twombly.

摘要

英国诗人克里斯托弗·洛格的作品以变化、协作和跨媒体项目为特征。他的作品包括爵士乐诗歌、印刷的海报诗、公共诗歌表演、电影剧本、与艺术家的合作，以及葡萄牙语、德语和最重要的古希腊语的翻译。战争音乐,荷马伊利亚特的记述' 根据它的副标题，成为洛格一生的工作，使他早期的许多项目黯然失色。但是，文字、图像和声音的碰撞——他早期作品特有的媒介格式——在洛格的荷马史诗翻译中以激进的排版实验和文本图像的形式存在，例如一英寸高的大写字母标志着阿波罗神的到来，以及由线长变化形成的图形形状。本文表明，战争音乐是翻译和视觉诗歌交叉的关键文本，可以在与具体诗歌和 Cy Twombly 的文本启发艺术等其他形式的对话中得到最好的理解。