Nicole Willock – Tsadra Conferences

Ornamentation Shared by Poetry and Song

Migmar Lama — Wed, 02 Jan 2019 08:06:06 +0000

With humor and levity, longtime collaborators Nicole Willock (Old Dominion) and Gedun Rabsal (Indiana) present chapter three of Daṇḍin’s Mirror of Poetics (Kāvyādarśa) through the lens of twentieth century Tibetan scholar Tseten Zhabdrung (the Snyan ngag spyi don). The focus is the concept of “world-play” (sgra rgyan) and the various examples given in this section of the text. Nicole outlines the third chapter and delves into the “richness of the phonemic value of poetry” with focus on beat, rhythm, and alliteration using examples from one section of the commentarial text focused on “phonemic reduplication” (zung ldan). Professor Rabsal looks at examples from Longchenpa and other authors and provides some analysis of the differences he sees between poetry (snan ngag) and song (mgur) in Tibetan literature.

Kavya in Tibet

Marcus Perman — Wed, 18 Apr 2018 06:00:05 +0000

Kavya in Tibet is a session following from a workshop on Tseten Zhabdrung’s commentary on poetics (Snyan ngag spyi don) that was hosted at the Latse Library with Gendun Rabsel, Nicole Willock, Andy Quintman, and Kurtis Schaeffer. The Tibetan system of poetics and ornate poetry is highly influential in the history of Tibetan writing and is based on the most important Indian manual of poetics, Daṇḍin’s Mirror of Poetics (Kāvyādarśa). This session introduced some of the fundamental theory and practice of this snyan ngag type of literature. The intellectual gravity of snyan ngag did not make itself felt until 1267 and 1270 when the Kāvyādarśa was translated fully into Tibetan. From that point onward we see hundreds of major and minor works on snyan ngag and its influence on writers throughout the Tibetan world can hardly be overstated. The organizers of this session give four main reasons for presenting a more extended public presentation of kavya and why that would be useful and enjoyable for people who engage in different kinds of work with Tibetan texts: 1) snyan ngag is one of Tibet’s major art forms and most other types of writing are heavily influenced and often include snyan ngag; 2) This classical form of literary art is still alive today, and snyan ngag is at the center of contemporary discussions and debates about the relationship between innovation and tradition in modern Tibetan literature; 3) it is notoriously difficult to learn, but useful for a deeper understanding and appreciation of Tibetan literature; 4) historically it is now possible to approach this challenging technical literature because of the work being done be a few scholars and translators these days.

Traduttore, Traditore: The Role of the Translator

Marcus Perman — Sun, 25 Mar 2018 03:13:11 +0000

“Traduttore, Traditore” is an Italian adage that means “translator, traitor.” In this panel on the roles of translators, translators of the Tibetan tradition mingle with scholars of Buddhism and discuss a range of topics from the possibility of the invisibility of the translator and the role of real-time interpreters to philosophical ideas about representation.