La parole poetique de Jean de Breyne dans la traduction croate
What is it about?
The poetry book C'est quand l'homme parle, written by Jean de Breyne, contemporary French poet, condenses in a singular way the sound, the orality and the sensations. The sound, closely linked to the orality, appears both at superficial level, in the choice of certain terms and their syntactic arrangement, and at deep level, underlying in what remains unsaid. The orality of the poetry of Jean de Breyne emerges in his subjectivity and the present, in frequent hesitations or self-corrections, in the ellipse, suspended speech, polyphony, in regular bifurcations of his thoughts, but especially in the breath, which determines the rythme of his poetic word. The sensations that the utterer "make present" in his verses are multiple: the eyesight is preponderant - which is understandable if we know that Jean de Breyne is also a photographer and an art critic - but the other senses are in no way excluded. Taking into account all these factors, I propose to analyze the Croatian translation of the mentioned poetry book (by Martina Kramer and myself in 2013), relying particularly on some considerations of Henri Meschonnic (1982, 1999), Antoine Berman (1985) and Jean-Luc Nancy (1994).