To properly articulate translation, is to essentially define it as a genre of artistry.
‘Artistry’ implies subjectivity. It confirms uncertainty, the lack of objectivity and exact science in translation as a craft and process. But translation as a craft also evokes a desire to understand; to render the unfamiliar so it may become familiar, if one were to paraphrase Hayden White (1978). This relationship of translation certainly reads like a process of linkage; a transportation railway that delivers meaning from one isolated frame of context (could be as vast as a country, or as mundane as an imperial/metric system transfer) to another. However, as I will be discussing here, such a reading on the art of translation would utterly erase the accents of such processes which give the newly translated entity its unique existence. Nothing exists as merely a ‘substitute’ for another.
You know…I went into starting this post with snippets of ideas for the intro: something snappy, a humorously depressing comment on 2017, and end it with a cheesy flavour of hope. But instead…I ended up with this.
I think I’ve sampled more albums than I ever did in 2017: more varieties of artists both old favourites and new discoveries, an increasingly diverse set of classical repertoires, genres and origins. That comes with good news and bad news, and I think the good news is kinda obvious already. But the bad news: I’ve listened to less albums COMPLETELY than the past two years, since there’s always something I want to jump onto prematurely.
Nevertheless, I think it’s best I keep up this tradition of massive yearly reviews, where I get to highlight the world of background music, and to continue bastardising this idiotic concept that such music ‘shouldn’t be noticed’.
I never intended to write another post on Tsuki ga Kirei. My analysis of episodes 1-4 felt pretty definitive in regards to unpacking my very positive impressions of the show overall. At the time of publication, at least. For the most part, I felt I have no more to say about it.
Instead, the show decided to up its ante with each passing episode, all the while making me realise, just how much detail I’ve missed from the episodes I thought I’ve covered quite thoroughly. Sigh…*
Akane carries around a tiny mascot doll as a lucky charm. She instinctively rubs it when she gets nervous.
Kotarou is self-conscious about his writing. He gets into a boxing match with the lamp cord when he gets anxious.
It is a delicate task, trying to depict the awkwardness of the adolescence. How does one depict such a confusing part of life, when those who are currently experiencing it are too moody and self-absorbed to bother understanding it, and those who have already experienced it can no longer provide the organic, first hand accounts?