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English to Basque - Standard rate: 0.07 EUR per word English to Spanish - Standard rate: 0.06 EUR per word Spanish to Basque - Standard rate: 0.07 EUR per word
English to Basque: Chantal Akerman General field: Art/Literary Detailed field: Art, Arts & Crafts, Painting
Source text - English You must always write when you want to make a film, although you know nothing of the film you want to make. Yet, you already know everything about it, but you don’t realize this. Fortunately, I would say. Only when it is confronted with the act of making, will it reveal itself, groping along, spluttering, in a state of blind and limping hesitation, sometimes in a flash of self-evidence. And slowly, you realize it is always the same thing that is revealed, a little like the primal scene, and the primal scene for me, although I fight against it and end up in a rage I have to face the facts, it is far behind or always in front
Whether from long ago or still to come, old images that are barely concealed by other more luminous ones, radiant even: old images of evacuation, of walking in the snow with packages towards an unknown place, of faces and bodies placed one next to the other, of faces flickering between a robust life and the possibility of a death that would come to strike them without their having asked for anything.
And it’s always like that.
Yesterday, today, and tomorrow, there were, there will be, there are right at this very moment, people that history (without a capital H) comes to strike. |people who are there, packed together, waiting to be killed, hit, or starved; people who walk without knowing where they’re going, in a groups or alone.
There’s nothing to be done; it’s obsessive and it obsesses me.
Despite the cello, despite cinema.
Once the film finished, I said to myself, so, that’s what it was. That again.
That, again. Thus by taking the journey to the places and spaces of a history she had vicariously, somehow, lived in Belgium through the unspoken memories of her parents from these places, that her films had symptomatically registered as one of their many tenors, threads, tracks, pressures in so many disguised and disguising forms, Chantal Akerman came to meet, there, and in the film she made of going there, what she names her obsession. What might that be? I suggest it is an indication of what is now acknowledged as a particular mode by which traumatic pasts inhabit and line the beings of those who ‘inherit’ its unnarated affects: intergenerational transmission of trauma. First explored in the work of psychoanalyst, Judith Kestenberg in the 1970s, the phenomenon that she called ‘transposition’, is a process, forced onto analytical understanding by history itself, by which the normal, unspoken transmissions between parents and children that create
1- Transcript of voice over from Chantal Akerman, D’Est - Le 25ième écran, version anglaise. Provided courtesy of Marion Goodman Gallery and the artist .The choice of 25 is thought to be connected with film’s effect of life by running images through the projector at 24 frames per second. This, 25th frame, is beyond the cinematic image and its temporality.
cultural continuity are supercharged by the transmission of massive trauma. It is as if a child’s psychological present is in part inhabited by unnarrated aspects of her parents’ traumatised pasts. The children sometimes have memories of things they never experienced, or they are haunted with a sense of terror or anxiety unrelated to their own experience, even having hallucinatory images from another time and place. This is not to burden such children with psychological pathologies, for the process of recognizing this possibility of transmitted trauma also leads to new ways of thinking about art as a means of working through the haunting past, not just through belated retrospect, but through the compassion of the second generation for a past that needs to be processed in the present. Marianne Hirsch has discussed the artistic engagement with the experience of being a child of survivors in her work on what she has theorized as Post-memory. From a deeper psychoanalytical engagement with the question of trauma and aesthetics, Bracha Ettinger plots out a theory of going beyond witnessing the past, to sharing in and transforming the trauma by means ‘wit(h)nessing’ (this means mixing witness (testigo) and the idea of being with (contigo)) and defines art as the possibility of a being, for certain people in certain encounters, a ‘transport-station of trauma’.
The place of art for me is the transport-station of trauma: a transpor-station that more than a place is rather a space, that allows for certain occasions of occurrence and of encounter, which will become the realization of what I call borderlinking and borderspacing in a matrixial trans-subjective space by way of experiencing with an object or process of creation. The transport is expected in this station and it is possible, but the transport-station does not promise that the passage of remnants of trauma will actually take place in it; it only supplies the space for the occasion. The passage is expected but uncertain, the transpost does not happen in each encounter and for every gazing subject.
Following on from her exploration of contemporary art installation as a means of showing films in other forms, in 2004 Chantal Akerman made a new installation titled Marcher a côté de ses lacet dans une Frigidaire vide. It involves a
2- ‘Transposition’ is discussed in Louise Kaplan in’Images of Absence: Voices of Silence’ in Lost Children: Separation and Loss Between Children and Parents (London: Harper Collins, 1995), pp. 223-4; Judith Kestenberg, ‘Ways of Children’s Involvement in their Parents’ Holocaust Past…” in Generations of the Holocaust edited Martin Bergman and Milton Jucovy (New York: Columbia University Press, 1982)
3- Helen Epstein, Children of the Holocaust (New York; Bantam Books, 1980); Dina Wardi, Memorial Candles:Children of the Holocaust (London and New York: Routledge, 1992).
4- Mindy Weisel, ed. Daughters of Absence: Transforming a Legacy of Loss (Herndon VA.: Capitol Books, 2000).
5- Marianne Hirsch, Family Frames: Photography, Narrative and Post-Memory (Cambridge MA.: Harvard University Press, 2002).
6- Bracha Ettinger, ‘Art as a Transport Station of Trauma’ in ArtWorking 1985-1999 (Gent: Ludion, 2000), p. 91.
24-minute, dual screen projection that is part of a double-spaced installation. To approach the work the viewer must firstly past through a double spiral, Serra-like, structure of transparent muslin along which are streamed words too fast to read them. Spatially disoriented, you then enter a second space only after walking through this labyrinth of light and words. There, hanging in the middle of the room from the ceiling is another screen of muslin that bears a tiny drawing of a woman’s face and a page from a notebook written in pencil and in Polish. Beyond its transparency the viewer can watch a double screen projection on which we see Chantal Akerman sitting beside her mother Nelly exploring a–the– notebook. Painfully, and seemingly without fore-knowledge of what it is she is reading, Nelly Akermann deciphers the hand-written Polish which she speaks aloud and then translates into French.’I am a woman,’ is the opening sentence.’You are my only confidant.’ It is the diary of a very young one, feeling alone as a result, who promises to confide all to her diary. Struggling with a forgotten tongue and slowly working through its dates, to its signature Sidonie Ehrennberg, Akerman’s mother comes to realize that the diary is that of her own mother, written as a teenager, which is established by the fact Akerman mentions, her known date of death in Auschwitz 1942 in her mid-thirties. At length, Nelly Akerman falls silent and seems absorbed in reading words she does not translate. The long silence –nothing happens–is allowed by the film but it then captures, or rather creates the occasion for, the spontaneous gesture of maternal tenderness, as weeping slightly, the mother turns towards, caresses and then kisses the cheek of her daughter.
The viewer does not yet know what she has read. The gesture is sufficient to say what matters, and to do it. Not only is Nelly Akerman broken by emotion, but that gesture broke me as its wit(h)ness. As a feminist art historian interested in this affective dimension of the image and the ethical-poetic experience of the moment of viewing, I could not but be touched by such a gesture: it is a pathos formel in the sense proposed by art historian Aby Warburg, a gesture ladened with feeling, with suffering, that ‘says it all’ but that also transports the singular and private emotion of one person in her particular history into the space of encounter for others who may garner the remnants of trauma and be transformed by the encounter. The film is not a representation: what Akerman has called a ‘documentary cinema bordering on fiction’ performs this gesture by allowing this event to happen in a space, created by art, into which another will come, not just to witness a biographical moment, but to wit(h)ness an affective transport of trauma.
What has prompted this speechless touch is that Nelly Akerman has read the inscription she, herself a survivor of Auschwitz and death marches, who was barely alive in 1945, made in her mother’s incomplete diary when she received it, after the war, as the only trace of her mother murdered in 1942. She wrote:
This is the diary of my poor mother who disappeared so early at the age of 40. I will never forget her young girl’s life, I will always think of her as the best mother who ever lived. I’m sorry that I didn’t love her more and lover her better than I loved her. She was so good and so understanding that she will remain in my heart always, singular and unique, and no one can ever replace her for me. My dear little mother, protect me. Nelly
Nelly Akerman does not know how this signed diary came back to her. In her childhood Chantal Akerman found it and added her own gesture of compassion for her mother:
Dear Mama, You cannot imagine how I felt reading what you wrote in those few lines. I hope you feel protected and loved by all that you are happy. Chantal.
IN turn the younger daughter also adds her note. Thus the mother has read her own and two further inscriptions by each of her daughters in their compelling compassionate tenderness for their bereaved mother, she who is mourning for and caring for her own.
When I saw this work in Berlin, in the context of my research on Charlotte Salomon, an artist whose mother and grandmother committed suicide, and who was herself menaced and finally murdered by Nazism, and in the context of my long standing engagement with maternal loss and my research into trauma and cultural memory, I could not but feel a moment of intense and overwhelming recognition. It is this, but this, at last. For me, as for American critic Amy Taubin whom I then read in the catalogue essay, the whole of Akerman’s oeuvre fell into place and took on, retrospectively, its discovered shape:
This diary, with entries written by three generations of women, is the Rosetta Stone not just for this piece but for Akerman's entire body of work in film, installation, and performance. As the filmmaker explains in her conversation with her mother, she is compelled to speak because her grandmother and mother were silenced, first by the traditional Jewish culture in which they were raised, then by the Holocaust, which left one dead and the other "broken." It is this maternal bond--the primal connection--that gives her formally austere work its emotional power.
It was as if the whole body of work by Chantal Akerman, touching on many subjects in a long and now truly appreciated career as one of Europe’s leading experimental and independent filmmakers, had finally, by staging this informal yet profound moment of intergenerational and transgenerational ‘encounter’, found a means to confront the unspoken history not just of massive absence and terrible dying in the ennormity of the Shoah. She could create a form in which to hold and dare to touch directly the one death that is her mother’s and her own personal thread in this historical rupture and private loss, which is embodied in the fading script on the page of a young girl’s diary: ‘Treasure it, it’s all we have left’ says Nelly
7- Amy Taubin ‘Mother’s Day : Chantal Akerman’ (To Walk Next to one’s Shoelaces next to an Empty Fridge at Marion Goodman New York, 2005) Art Forum (October 2005).
Akerman. The spontaneous gesture, the maternal kiss, this seen pathos formel that physically carries into the space of viewing the affect of re-encountering the past by reading the traces of it in the diary, these do not heal a breach, repair a rupture, negate the loss. Rather it allows that impossible loss into a newly created, aesthetic space of mourning which is truly a shared experience of what Ettinger writes as com-passion, feeling/suffering with the other by the child for the parent in her bereaved child-ness. It generates a solace that is as painful as it is a source of relief for the hitherto unarticulated, but always carried burden, testified to by these inscriptions of daughters to mothers.
Translation - Basque Film bat egin nahi duzun bakoitzean idatzi egin behar duzu derrigorrez, nahiz eta egin nahi duzun filmari buruz ezer ez jakin. Dena dela, dagoeneko berari buruz dena dakizu, zu ez konturatu arren. Zorionez!, esango nuke nik. Ekoizpena egiten hastean bakarrik bistaratuko da, itsumustuka, borborka, duda itsu eta ahul gisa, batzutan une axiomatiko bezala. Eta pixkanaka, konturatzen zara agertzen dena beti dela gauza bera, oinarrizko eszena izango balitz bezala, eta niretzat oinarrizko eszena, nahiz eta kontra egiten saiatu eta haserre bizian bukatu egia onartu behar dut, atzean dago urrutiegi edo beti aurrean.
Iraganekoak, oso aspaldikoak, edo eta etorkizunekoak izan, irudi berri argitsuagoek apenas estaltzen dituzte irudi zaharrak: ebakuazioarenak, elurretan norabide jakinik gabe doazenenak, bata bestearen ondoan dauden aurpegi eta gorputzenak, bizitza oparo batetik ezer eskatu gabe etor daitekeen heriotza batera aldatzen diren aurpegienak hori guzti hori erakusten duten irudi zaharrak.
Eta beti da gauza bera.
Atzo, gaur, eta bihar, izan zen, da eta izango da, historiak (ez H maiuskularekin) astindutako jendea. Hor dagoen jendea, pilatuta, noiz akabatuko, noiz jipoituko edo noiz goseak hiltzen utziko dituzten zai; nora doazen jakin gabe bidea egiten ari den jendea, taldeka edo bakarka.
Ez dago ezer egiterik; obsesiboa da eta ni obsesionatzen nau.
Txelotik eta zinematik haratago.
Behin filma bukatuta dagoenean, nire buruari esaten diot, beraz, hau zen dena. Hau berriz ere .
Hau, berriz ere. Historiaren leku eta espazio horietara bidaia eginez, historia hori gurasoek Belgikako leku horiei buruz zituzten adierazi gabeko oroitzapenen bidez ezagutu duelarik, bere filmek beti landu izan dute hari modura, ildotzat, gai bezala presioa hainbat forma desgisatutan. Chantal Akermanek hor eta horra joateari buruz egin zuen filman aurkitu zuen berak obsesio izendatzen duena. Zer izan liteke? Nire ustetan eta gaur egun onartuta dagoen bezela, esan gabeko afektuen menpe bizi direnengan iragan traumatikoak duen eraginaren islada da: belaunaldiz belaunaldi traumaren hedakuntza. 70eko hamarkadan Judith Kestenberg psikoanalistaren lanean lehendabiziko aldiz ikertua, berak “transposizioa” izendatu zuena, prozesu bat da, historiak berak ulermen analitikora eramana, zeinaren arabera jarraipen kulturala sortzen duen, guraso eta seme-alaben
1- Chantal Akermanen narrazio baten transkripzioa, D’Est - Le 25ième écran, version anglaise. Marion Goodman Gallery-ri eta artistari esker lortua. 25.-aren aukeraketak filmaren bizitasun efektuarekin zerikusia dauka, fotogramak segunduko 24-ko maiztasunarekin projektatuz. 25. fotograma hau, zinema irudiaren eta bere iragankortasunaren gainetik dago.
arteko trasmisio normala, esan gabekoa, trauma itzelez gainkargatzen den. Horrela badirudi, haur baten gaur egungo psicología, gurasoen adierazi gabeko iraganeko traumez baldintzaturik dagoela, hein batean.batzutan haurrek, inoiz bizi izan ez dituzten gauzen inguko orotzaipenak dituzte,edo beraien esperientzaren ondorio ez diren ikarak eta egonezinak harrapatzen ditu,baita beste aro eta hainbat lekuri buruzko irudiak eta haluzinazioak ikusteraino ere. Hau ez da haur hoiek patología sikologikoz kargatzea.traumaren trasmisio horren aukera dagoela onartzeak, arteari buruz molde berrietan pentsatzea ere bada. Mamuz betetako iragana lantzeko modu berri bat. Ez bakarrik atzera begira berantiar baten bidez, baita orainean prozesatu behar den iraganaz bigarren belaunaldiaren gupidaren bitartez ere. Marianne Hirschek , bizirik iraun dutenen seme-alabek izandako esperientziaren eta artearen arteko lotura aztertzen du “Post-memory” bezela teorizatu duen lanean. Trauma eta estetikaren kontuan begirada psikoanalitiko sakonago bat erabiliz Bracha Ettingerrek iraganaren testigo izatea gainditu, konpartitzera pasatzea eta trauma eraldatu “wit(h)nessing”-aren bidez (horrek esan nahi du: witness (lekuko) eta “being with” (zurekin) ideia uztartzea) eta artea izatearen aukera bezela definitzen du, zenbait topaketatan hainbat personentzat “transport-station of trauma”.
Neretzat artearen lekua, traumaren “transport –estazioa” da:”transport-estazioa” leku bat baino, espazio bat da, topaketa eta enkontru momentuak ahalbidetzen dituena, eta hauek nik espazio matrixial trans-subjetibo batean “boderlinking” eta ”borderspacing” izendatzen ditudanak bihurtuko dira objetu batekin esperimentatzean edo sormen prozesuan. Transportea geltoki honetan espero da, eta posible da, baina transport-estazioak ez du ziurtatzen traumaren hondakinak han igaroko direnik; berak momento hori ahalbidetzeko espazioa besterik ez du eskeintzen. Igarotzea espero da baina ez da segurua, transportea ez da gertatzen topaketa guztietan ez eta adi begiratzen duten sujeto guztiekin ere.
Filmak beste era batzuetan erakusteko asmoarekin arte garaikideko instalazioak aztertu ondoren, 2004an Chantal Akerman-ek instalazio berri bat sortu zuen
2- ‘Transposizioa’ Louise Kaplan-en ’Images of Absence: Voices of Silence-en’ aztertzen da eta hau Lost Children: Separation and Loss Between Children and Parents-en (London: Harper Collins, 1995), pp. 223-4; Judith Kestenberg-en, ‘Ways of Children’s Involvement in their Parents’ Holocaust Past…” Martin Bergman and Milton Jucovy-ek argitaratutako Generations of the Holocaust – (New York: Columbia University Press, 1982)
3- Helen Epstein, Children of the Holocaust (New York; Bantam Books, 1980); Dina Wardi, Memorial Candles:Children of the Holocaust (London and New York: Routledge, 1992).
4- Mindy Weisel, ed. Daughters of Absence: Transforming a Legacy of Loss (Herndon VA.: Capitol Books, 2000).
5- Marianne Hirsch, Family Frames: Photography, Narrative and Post-Memory (Cambridge MA.: Harvard University Press, 2002).
6- Bracha Ettinger, ‘Art as a Transport Station of Trauma’ in ArtWorking 1985-1999 (Gent: Ludion, 2000), p. 91.
Marcher a côté de ses lacet dans une Frigidaire vide izenburupean. Bi gunetan banatutako instalazioak 24 minutuko proiekzio bikoitza eskeintzen du. Lan honetara gerturatzeko ikuslea lehendabizi, zerra itxurako, espiral bikoitz batetik pasatu behar da. Muselina gardenez egindako egitura da, zeinetan hitzak isurtzen diren abiadura handiegian irakurri ahal izateko. Orduan, espazialki nahastuta, bakarrik argi eta hitzen laberinto hori zeharkatu ondoren, bigarren gunera sartzen zara. Gunearen erdian sabaitik zintzilik beste muselina pantaila bat dago, bertan emakume baten aurpegiaren marrazki txiki bat eta kuardeno baten orrialde bat, arkatzarekin eta polonieraz idatzia dagoena, agertzen dira. Gardentasunaren bitartez ikusleak proiekzio bikoitza ikus dezake, eta bertan Chantal Akerman ikusten dugu bere ama Nelly-ren ondoan eserita kuaderno-bat-a aztertzen. Minez, eta dirudienez irakurtzen ari denari buruz ezer ez jakin gabe, Nelly Akermann-ek polonieraz eskuz idatzitakoa deszifratzen du, gero bozgoran esan eta ondoren frantzesera itzultzen du. “Emakume bat naiz” hori da lehendabiziko esaldia. “Zu zara nire lagun min bakarra”. Egunerokoa oso gaztea den pertsona batena da, ondorioz bakarrik sentitzen dena, bere egunerokoari konfidantza guztia eskeintzea agintzen duena. Ahaztutako hizkuntza batekin borrokan, eta astiro datak eta bere sinadura aztertzen, Sidonie Ehrennberg, Akerman-en ama konturatzen da egunerokoa bere amarena dela, nerabezaroan idatzitakoa, Akerman-ek aipatutako datu batek sendotzen du ustea, dagoeneko berak ezagutzen duen heriotzaren data 1942-an Auschwitz-en 35 urte inguru zituenean. Denbora luzean, Nelly Akerman isilik gelditzen da eta itzultzen ez dituen hitzak irakurtzen txunditurik gelditzen da. Filmak isilune luze hori ahalbidetzen du-ez da ezer gertatzen- baina orduan filmak amaren berezko samurtasuna jasotzen du, edo oraindik gehiago ager dadin abagunea sortzen du, ama bere alabarengana biratzen denean, emeki negar egiten, bere alabaren masaila igurtziz eta musu ematen.
Ikusleak oraindik ez daki zer irakurri duen. Keinua nahikoa da garrantzia zerk duen jakiteko, eta egiteko. Emozioak ez du bakarrik Nelly Akerman txikitzen, ni ere apurtu ninduen wit(h)ness (Lekuko-Zurekin) gisa. Irudiaren dimentsio afektiboen eta ikuskatzeko unearen esperientzia etiko-poetikoan interesa duen artearen historialari feminista izanik, ezinezkoa zen honelako keinu batek ni ez hunkitzea: Aby Warburg arte historialariaren arabera pathos formel bat da, sentimentuz, sufrimentuz, kargatutako keinua, “dena argi uzten duena” baina baita ere pertsona baten historia partikularraren emozio singular eta pribatuak topaketaren espaziora transportatzen dituenak, besteek traumaren arrastoak jaso ditzaten eta agian topaketaren ondorioz eraldatuak izan. Filma ez da irudikapen bat: Akerman-ek “fikzioaren mugan dagoen zinema dokumentala” deitutakoak keinu hau egiten du gertakari hori arteak sortutako espazio batean gertatzea ahalbidetuz, beste norbait hartuko duen espazioa, ez bakarrik momentu biografiko baten lekuko izateko, baita traumaren transportazio efektiboaren wit(h)ness (Lekuko-Zurekin) izateko ere.
Gerraren ostean amaren osatu gabeko diarioa jaso zuenean, 1942-an erahildako amaren arrasto bakarra izaki Nelly Akerman-ek berak, berau ere Auschwitz-etik eta heriotzaren ibilaldietatik bizirik ateratakoa, 1945-ean ozta-ozta bizirik zegoena, idatzitako oharra irakurtzeak bultzatzen du tarte mutu hau. Zera idatzi zuen:
Hau nere ama gaixoaren diarioa da 40 urte besterik ez zituenean desagertua. Inoiz ez dut ahaztuko bere bizimodua, neska gazte batena bazalakoa, beti pentsatuko dut bera dela inoiz izan den amarik onena. Pena ematen dit maitatu nuena baino gehiago eta hobeto ez maitatu izanak. Beti eramango dut nire bihotzean, hain ona zen, hain ulerbera, singular eta berezia, inork ezingo du bera ordezkatu. Ama maitea, babestu nazazu. Nelly.
Nelly akermanek ez daki nola itzuli zen bere eskuetara. Haurtzaroan Chantal Akermanek aurkitu zuen eta amarentzat erruki keinu bat gehitu zion:
Ama maitea, ez dakizu nola sentitu naizen esaldi apur horietan idatzi zenuena irakurtzean. Espero dut zu babestua eta guztiek maitatua sentitzea (eta) pozik egotea. Chantal.
Beranduago, alaba gazteagoak ere bere oharra idatzi zuen. Honela, amak bere ohar propioak irakurri zituen eta beste bi, alegia alaba bakoitzak idatzitakoak nahigabetuta bizi den heuren amarenganako, bere odolekoengatik dolua egitearekin batera zaindu ere egiten dituen amarenganako, sentitzen duten bihozberatasun errukigarriaren seinale.
Lan hau Berlinen ikusi nuen, Charlotte Salomon artistari buruz nik eginiko lanaren testuinguruan, artistaren ama eta amama suizidatu egin ziren, eta Naziek artista bera mehatxatu eta hil egin zuten, gainera nik aspalditik amaren galerarekin dudan harremanaren eta trauma eta memori kulturalari buruz egindako lanen eraginez, errekonozimendu itzela besterik ezin izan nuen sentitu. Hau da, baina hau, azkenean. Niretzat eta Amy Taubin kritiko amerikarrarentzat, orduan irakurri nuena katalogoko saiakeran, Akerman-en lanari zentzua ematen dio eta honek, atzera begiratuz gero, bere forma aurkitzea dakar:
Diario hau, emakumeen hiru belaunaldik idatzitako oharrekin bere lana ulertzeko giltza da, ez bakarrik lan hontak baizik eta Akerman-en lan osoan, bai zineman, instaliazioetan eta performance-etan ere. Zine zuzendariak amarekin izandako elkarrisketan azaltzen duen bezala, berak hitzegiteko beharra sentitzen du bera amona eta ama ixilarazi zituztelako, lehendabizi judutar kultura tradizionalak, bertan hazi zirelako, eta ondoren Holokaustoak, bat erahil eta bestea “txikituta” utzi zuen Holokaustoa. Amarekiko lotura horrek-oinarrizko lotura-ematen dio bere lan xeheari bere indar emozionala.
Chantal Akerman-en lanak, hainbat gai ikutu izan ditu bere ibilbide luzean zehar, bere karrerak gaur egun Europako zinamagile experimental eta independiente garrantzitzuenetakoa izatearen aitorpena izatea ahalbidetu du, elkartze
7- Amy Taubin ‘Mother’s Day: Chantal Akerman’ (To Walk Next to one’s Shoelaces next to an Empty Fridge, Marion Goodman New York, 2005) Art Forum (October 2005).
“intergeneracional”-a eta “transgenerazional”-a elkartzen diren une informal baina sakon hau eszenifikatzean, irudiko luke azkenean esan gabeko historiari aurre egiteko modua aurkitu zuela, ez bakarrik Shoah-k (Holokaustoak) sortzen duen gabezia itzela eta heriotza lazgarriaren kasuan. Berak bere amaren heriotza eta haustura historiko eta galera pribatu honetan berak izandako papera agertzeko eta zuzenean lantzera ausartzeko forma bat sortu ahal izan zuen. Neska gazte baten diarioaren gidoian itzaltzen ari den orri batean biltzen dena: Nelly Akerman-ek esaten du “Aintzat hartu. Hau da gelditzen zaigun guztia”. Berezko keinua, amaren musua, ikusitako pathos formel-a, fisikoki diarioan iraganaren arrastoak irakurriz iragana bertopatzean sortzen den estimua ikusteko espaziora eramaten duena; hauek ez dute haustura sendatzen, apurketa konpontzen, galera ezeztatzen. Hobeto esanda, ezinezko galera hori sortu berri den dolurako espazio estetiko batera eramatea ahalbidetzen du, benetan konpartitutako esperientzia bat dena; Ettinger-ek “com-passion” (Errukia-Grina) deitzen duena, bestearekin sentitu/sufritu, haurtzaro nahigabetua izan zuen haurrarekin. Horrek kontsolamendua sortzen du, mingarria bezain aringarria dena orain arte artikulatu ez arren beti zama modura garraiatu izan dena, alabek amei idatzitako oharrak horren lekuko.
English to Spanish: Employee Questionnaire General field: Other Detailed field: Human Resources
Source text - English Employee Questionnaire
Q1. Your Details
Q1.1 Are you……. Male Female
Q1.2. In what country were you born?
Q1.3 When did you come to the UK?
Q1.4 Please indicate your age range:
16-24
25-34
35-44
45-54
55-64
65-74
75
Q1.5 Did you come to the UK with anyone else?
No – please go to Q1.6
Yes – please complete the boxes below.
Partner/Spouse Children Older People/Parents Friends
Number of people
Q1.6 Do you have any children living with you?
No
Yes
If yes, how many and what are their ages?
Under 2 2-4 5-11 12-18
Number of children
Q1.7 Do you have any family that are planning to join you at some time in the future?
No
Yes – please complete all relevant boxes below
Partner/Spouse Children Older People/Parents Friends
Number of people
Q1.8 What were your reasons for coming to the UK? – please tick all that apply
Better pay
Better standard of living
To improve my English
Work experience
To join family members
Travelling (for educational purposes)
Other – please give details
Your Work
Q2 – What is your job?
Q2a – How many hours do you work each week?
Q3 – What type of work do you do?
Agriculture
Factory/Industrial
Building/Construction
Hotel/catering
Retail/warehousing
Domestic – cleaning/gardening
IT
Health/Care Sector
Other – please state
Q4 - What is the name of your employer? (This information will be treated in strict confidence)
Q4a – How far do you travel to get to work each day?
Under 5 miles
6 – 20 miles
20 - 40 miles
Over 40 miles per day
Q5 – How long have you been doing this job?
Q6 – Is this a permanent job
Yes
No, please indicate how long you expect to be in this job
Q7 – How did you find out about this job?
Replied to advertisement
Recruitment agency
Website/Internet
Recruited by my employer in my home country
Other – please state
Q8 – Did you find this job before arriving in the UK?
No – go straight to Q10
Yes – please answer question 9
Q9 – If you found your current job before moving to the UK did your new employer help with your travel arrangements? Please tick all answers that apply
No help offered by employer Practical help & advice offered by employer Travel expenses paid direct by me Travel expenses deducted later from my pay by employer All travel expenses paid by employer
Q10 – What job did you do before moving to the UK?
Q11 – Does your current job require any particular skills and do you have the right skills for the job? Please indicate which response best describes you and your job.
I have no particular skills but none are required in my current job
I have the appropriate skills required for the job, but I am not over qualified
I am over qualified for the job I am doing – please explain
Other – please explain
Q12 – What level of education/qualification do you have?
No educational qualifications
School education to 16
School/College education to 18
University level education
Vocational qualification – please state
Other – please state
Q13 – Has your employer provided any training for the job you do now?
No – go to Q14
Yes, please indicate what type of training you have received and then go to Q13a
Learning English
Skills required for the job
Q13a – How has your training been organized?
On the job training – learn the job as you do it
Training course held at my place of work
Evening class – training after work finishes
Employer pays for me to attend an off-site training course, during working hours
Q14 – Have you/would you consider paying for additional training yourself?
No – go to Q15
Yes, please indicate what type of training you would/already have undertaken – please tick all that apply
Learning English
Evening class - training after work finishes
Off-site training course, during working hours, with employer’s agreement
Full-time training course
Q15 – How much do you earn in your current job? – Please tick the relevant box
Below £5.35 per hour £5.35 - £6 per hour £6 - £7 per hour Above £7 per hour
Accommodation
Q16 – Has your employer organized or provided accommodation for you here in Gloucestershire? If yes, what has been provided, if no, who has organized your accommodation?
Yes (please indicate type of housing and then go to Q19
Accommodation within the premises
Room
Shared room
Apartment
Accommodation on the premises
Shared house
Caravan/mobile home
Accommodation off the premises
House
Room or House share with other Migrant Workers
Apartment
Caravan/mobile home
No
I organised my own accommodation – please go to Q 18
Recruitment Agency organized my accommodation – please answer Q 18
Q17– If your accommodation was not organised by your employer where do you live?
Share with other Migrant workers
Share with others (not Migrant workers)
Accommodation with job
Live in family home (with family)
Housing provided by Local Council or Housing Association
Rent accomodation from a private landlord
Don’t know
Q18 – Is the accommodation
Permanent
Temporary – if temporary, do you know where you will live once this tenancy has ended?
Q19 – How much do you pay for your accommodation? Please complete the relevant box
Per Night Per Week Per Month Deposit
Room
House/Apartment
Q20 – How do you pay for your accommodation?
Pay landlord direct
Deducted from my wages by employer
Other – please state
Information & Services
Q21 - Have you asked for information or support since arriving in the UK
No – Go to Q22
Yes
If yes, what were your main sources of information/support?
Government Departments eg: Home Office
Department for Work & Pensions
Department for Environment, Food & Rural Affairs
Local authorities eg: District, Borough, City or County Council
Citizens Advice Bureau
NARIC (The National Recognition Information Centre for the United Kingdom), the organisation that converts overseas qualifications to UK standards
Trade Union
GlosREC (Gloucestershire Racial Equality Council)
The Law Centre
GARAS (Gloucestershire Action for Refugees and Asylum Seekers)
Police
Hospital
Doctor
Dentist
Internet
Jobcentre plus
Inland Revenue
Church
Community Group
Friends/Family
Was it easy/difficult it was to find the information that you needed
Very Easy Easy Not Easy Very Difficult
Is there anywhere else that has provided you with advice or support ?
Please state
Q22 – Have you had any problems with understanding the language or making your self understood since arriving in the UK?
No
Yes
If yes, please explain how you have overcome these language problems
Q23 How would you contact the emergency services eg: police, fire, ambulance?
…………………………………..
Q24 – Are there any other issues relating to working as a Migrant Worker in Gloucestershire that you wish to comment on which have not been addressed in previous questions?
No
Yes, please give details…………………………….
Q25 What plans do you have for the future? Please tick all that apply
Return home permanently within 1 year
Return home permanently within 5 years
Stay permanently in the UK
Bring my family to the UK
Q26 – Are you willing to take part in a discussion with other Migrant Workers to
talk about your experience of coming to the UK?
No
Yes – please provide your name and address in the space below so that we can contact you again
Thank you for taking the time to complete this survey. All information provided will be treated in strict confidence, with only aggregate statistics being published from the research.
Translation - Spanish Cuestionario del Trabajador
P1. Sus Datos
P1.1 Es usted……. Hombre Mujer
P1.2. ¿En que país nació?
P1.3 ¿Cuando vino al Reino Unido?
P1.4 Por favor indique su grupo de edad:
16-24
25-34
35-44
45-54
55-64
65-74
75
P1.5 ¿Vino usted al Reino Unido con alguien más?
No – por favor pase a la P1.6
Si – por favor rellene la siguiente tabla.
Pareja/Esposo/a Menores Personas Mayores/Padres Amigos
Número de personas
P1.6 ¿Vive algún menor con usted?
No
Si
Si ha contestado ‘Si’, ¿Cuántos? y ¿Cuales son sus edades?
Menos de 2 2-4 5-11 12-18
Número de Menores
P1.7 ¿Tiene familiares que planean reunirse con usted en algún momento en el futuro?
No
Si – por favor rellene abajo todas las casillas relevantes
Pareja/Esposo/a Menores Personas Mayores/Padres Amigos
Número de personas
P1.8 ¿Cuales fueron los motivos para que viniera al Reino Unido? – por favor marque todas las que correspondan
Mejor sueldo
Mejor nivel de vida
Para mejorar mi inglés
Experiencia de trabajo
Para reunirme con miembros de mi familia
Viajar (por motivos educativos)
Otros – por favor proporcione los detalles
Su trabajo
P2 – ¿Cual es su trabajo?
P2a – ¿Cuantas horas trabaja cada semana?
P3 – ¿Que tipo de trabajo realiza?
Agricultura
Fábrica/Industrial
Construcción
Hotel/Servicio de comidas
Comercio al por menor/Trabajo de almacén
Domestico – limpieza/jardinería
IT
Salud/Servicios Sociales
Otro – por favor indíquelo
P4 - ¿Cual es el nombre de la empresa para la que trabaja? (Esta información será tratada con estricta confidencialidad)
P4a – ¿Que distancia recorre cada día para ir a trabajar?
Menos de 5 millas
6 – 20 millas
20 - 40 millas
Más de 40 millas al día
P5 – ¿Cuanto tiempo lleva haciendo este trabajo?
P6 – ¿Es un trabajo permanente?
Si
No, por favor indique por cuanto tiempo espera mantener este trabajo
P7 – ¿Como supo de este trabajo?
Respuesta a un anuncio
Agencia de selección de personal
Sitio Web/Internet
Contratado por mi empresa en mi país de origen
Otro – por favor indíquelo
P8 – ¿Encontró este trabajo antes de llegar al Reino Unido?
No – pase directamente a la P10
Si – por favor conteste a la pregunta 9
P9 – Si encontró su trabajo actual antes de trasladarse al Reino Unido, ¿Recibió ayuda de su nueva empresa con los preparativos del viaje? Por favor indique todas las respuestas que correspondan
La empresa no ofreció ayuda La empresa ofreció ayuda practica y consejo Los gastos del viaje fueron directamente pagados por mi Los gastos del viaje fueron deducidos de mi salario posteriormente por la empresa Todos los gastos del viaje fueron pagados por la empresa
P10 – ¿Cual era su trabajo antes de trasladarse al Reino Unido?
P11 – ¿Requiere su trabajo actual alguna habilidad particular y tiene usted la habilidad adecuada al trabajo? Por favor indique la respuesta que mejor le describa a usted y su trabajo.
No tengo ninguna habilidad particular pero mi trabajo actual no lo requiere
Tengo las habilidades apropiadas para el trabajo, pero no tengo más títulos que los requeridos
Tengo mas títulos que los requeridos en el trabajo que realizo – por favor explíquese
Otro – por favor explíquese
P12 – ¿Que nivel de educación/titilación tiene usted?
Sin títulos educativos
Educación escolar hasta los 16
Educación escolar hasta los 18
Educación de nivel universitario
Titulo de formación profesional – por favor indíquelo
Otro – por favor indíquelo
P13 – ¿Le ha proporcionado la empresa para la que trabaja formación para el trabajo que realiza?
No – pase a la P14
Si, por favor indique que tipo de formación ha recibido y pase, entonces, a la P13a
Aprender ingles
Habilidades requeridas para el trabajo
P13a – ¿Como ha sido organizada su formación?
Formación en el trabajo – aprender el trabajo mientras lo realiza
Curso de formación llevado a cabo en el lugar de trabajo
Clases de tarde – formación después de finalizar el trabajo
La empresa paga para que asista a un curso de formación en otro lugar, durante las horas de trabajo
P14 – ¿Ha considerado/Consideraría el pagar por formación adicional usted mismo?
No – pase a la P15
Si, por favor indique que tipo de formación consideraría/ha considerado – por favor marque todas las que correspondan
Aprender inglés
Clases de tarde - formación después de finalizar el trabajo
Curso de formación en otro lugar, durante las horas de trabajo, de acuerdo con la empresa
Curso de formación a tiempo completo
P15 – ¿Cuanto cobra en su trabajo actual? – Por favor marque la casilla adecuada
Menos de £5.35 por hora £5.35 - £6 por hora £6 - £7 por hora Más de £7 por hora
Alojamiento
P16 – ¿Le ha organizado o proporcionado la empresa para la que trabaja alojamiento en Gloucestershire? Si es así, ¿Que le han proporcionado? Si no es así, ¿Quien ha organizado su alojamiento?
Si (por favor indique el tipo de vivienda y pase a la P19
Alojamiento dentro del local
Habitación
Habitación compartida
Apartamento
Alojamiento encima del local
Casa compartida
Caravana/Casa móvil
Alojamiento separado del local
Casa
Habitación o Casa compartida con otros trabajadores inmigrantes
Apartamento
Caravana/Casa móvil
No
Yo organice mi propio alojamiento – por favor pase a la P 18
La agencia de selección de personal organizo mi alojamiento – por favor responda a la P18
P17– Si su alojamiento no fue organizado por la empresa para la que trabaja ¿Dónde vive usted?
Comparto con otros trabajadores inmigrantes
Comparto con otros (no trabajadores inmigrantes)
Alojamiento con el trabajo
Vivo en una casa familiar (con una familia)
Vivienda proporcionada por el Consejo Local o Asociación de Vivienda
Alquilo el alojamiento a un propietario privado
No se
P18 – ¿Es el alojamiento…
Permanente
Temporal – si es temporal, ¿Sabe donde va a vivir una vez que este arrendamiento haya finalizado?
P19 – ¿Cuanto paga por su alojamiento? Por favor rellene la casilla adecuada
Por Noche Por Semana Por Mes Depósito
Habitación
Casa/Apartamento
P20 – ¿Como paga por su alojamiento?
Directamente al propietario
Es deducido de mi salario por la empresa para la que trabajo
Otro – por favor indíquelo
Información y Servicios
P21 - ¿Ha pedido información o ayuda desde que llego al Reino Unido?
No – Pase a la P22
Si
Si es así, ¿Cuales fueron sus principales fuentes de información/apoyo?
Departamentos del gobierno
p. ej.: Ministerio de Interior
Departamento de Trabajo y Pensiones
Departamento de Medioambiente, Alimentos y Asuntos Rurales
Autoridades locales p. ej.: Consejo de Distrito, Municipio, Ciudad o Condado
Oficina de Consejo al Ciudadano
NARIC, la organización que convalida los títulos académicos extranjeros a estándares del Reino Unido.
Sindicato
GlosREC (Consejo de Igualdad Racial de Gloucestershire)
El Centro Legal
GARAS (Servicio de Apoyo para Refugiados y Asilados Políticos de Gloucestershire)
Policía
Hospital
Doctor
Dentista
Internet
Jobcentre plus (Oficina de empleo)
Inland Revenue (Hacienda Pública Británica)
Iglesia
Grupo comunitario
Amigos/Familia
¿Cuan fácil/difícil le resultó encontrar la información que usted necesitaba?
Muy fácil Fácil No fácil Muy difícil
¿Existe algún otro lugar que le haya proporcionado consejo o ayuda?
Por favor indíquelo
P22 –¿ Ha tenido algún problema en entender el idioma o haciéndose entender desde que llego al Reino Unido?
No
Si
Si es así, por favor explique como ha superado estos problemas con el idioma
P23 ¿Como contactaría con los servicios de emergencia? P. ej.: policía, bomberos, ambulancia.
…………………………………..
P24 – ¿Hay algún otro asunto relacionado con el trabajar como trabajador inmigrante en Gloucestershire que desea mencionar y no ha sido ya cubierto por las preguntas anteriores?
No
Si, por favor explíquese…………………………….
P25 ¿Que planes tiene para el futuro? Por favor marque todas las que correspondan
Volver a casa permanentemente en menos de 1 año
Volver a casa permanentemente en menos de 5 años
Quedarme en el Reino Unido permanentemente
Traer a mi familia al Reino Unido
P26 – ¿Le gustaría tomar parte en un debate con otros trabajadores inmigrantes sobre su experiencia al llegar al Reino Unido?
No
Si – por favor proporcione su nombre y dirección en el espacio de abajo para que podamos contactar con usted otra vez
Gracias por dedicar este tiempo a rellenar este cuestionario. Toda la información proporcionada será tratada con estricta confidencialidad, publicando únicamente estadísticas agregadas de la investigación.
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Years of experience: 23. Registered at ProZ.com: Jan 2006.
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