Academic literature on the topic 'Catalan poetry – Translations into Spanish'
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Journal articles on the topic "Catalan poetry – Translations into Spanish"
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Rodríguez Mesa, Francisco José. "Los paratextos a las traducciones del Cancionero de Petrarca publicadas en España (1983-2016) como espacio para la reflexión acerca de los retos de la traducción intertemporal." Revista de Filología de la Universidad de La Laguna, no. 43 (2021): 233–55. http://dx.doi.org/10.25145/j.refiull.2021.43.12.
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Paratexts constitute a privileged space from which the translator reflects on the main qualities of the text he or she is presenting. Taking as a basis this approach, this study analyses the theoretical considerations present in the paratexts of the four complete translations of Petrarch’s Canzoniere published in Spain between 1983 and 2016: the two Spanish translations by Ángel Crespo and Jacobo Cortines, the Galician translation by Darío Xohán Cabana and the Catalan one by Miquel Desclot. In these works, the nature of the translated poetic text will be investigated in order to trace the degree of appropriation and paternity of the translators over the final result, based on their actions with regard to three aspects related to intertemporal translation: rhyme and the linguistic and content difficulties present in the source text
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TORRALBO CABALLERO, Juan de Dios. "EL COMPLEJO ECLECTICISMO DE LAS TRADUCCIONES EN LA REVISTA CÁNTICO COMO FISURAS IDEOLÓGICAS EN LA ÉPOCA DE FRANCO." Signa: Revista de la Asociación Española de Semiótica 29 (April 8, 2020): 807. http://dx.doi.org/10.5944/signa.vol29.2020.24144.
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Resumen: Este artículo estudia las traducciones de poesía en la revistaCántico a la luz de la era franquista. Se aborda la inclusión de poetascomunistas o socialistas como W. H. Auden, André Gide, Louis Aragony Salvatore Quasimodo analizando también la presencia de escritorespróximos al fascismo como Giuseppe Ungaretti. Destaca la existencia depoesía religiosa junto a la colaboración de escritores próximos al régimende Franco como Joaquín de Entrambasaguas, lo cual se interpreta nosolamente como predilección estética sino también como mecanismos paraevitar la censura. La inclusión de poesía catalana y gallega es otro aspectoque permite corroborar la apertura que esta revista aporta al panoramaliterario español. Abstract: This paper studies the translations of poetry in the journalCántico with reference to the Francoist age. It addresses the inclusionof Communist and Socialist poets like W.H. Auden, André Gide, LouisAragon, and Salvatore Quasimodo also analysing, conversely, the presenceof writers sympathetic to fascism, such as Giuseppe Ungaretti. It pointsout the presence of religious poetry, along with contributions by writers cosy with the Franco regime, like Joaquín Entrambasaguas, these being interpreted not only as aesthetic predilections, but also maneuvers to avoid censorship. The inclusion of poetry in Catalan and Galician is another aspect evidencing how the journal proved able to foster openness on the Spanish literary scene, despite the censorship to which it was exposed.
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Gavagnin, Gabriella. "Da poeta a poeta, da traduttore a traduttore: il carteggio tra Umberto Saba e Tomàs Garcés." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 5, no. 5 (June 12, 2015): 252. http://dx.doi.org/10.7203/scripta.5.6388.
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Riassunto: Il rapporto personale tra Umberto Saba e Tomàs Garcés cominciò agli inizi degli anni Trenta e si interruppe poco prima della guerra civile spagnola. Quest’articolo analizza ed edita per la prima volta tutte le lettere scritte da Saba al poeta catalano che sono state conservate presso l’archivio della famiglia Garcés. Parole chiave: poesia, traduzione, Umberto Saba, Tomàs Garcés Abstract: The personal relationship between Umberto Saba and Tomàs Garcés began in the early thirties and stopped just before the Spanish Civil War. This article analyses and edits for the first time all the letters written by Saba to the Catalan poet that have been preserved in the archives of family Garcés. Keyword: Poetry, Translation, Umberto Saba, Tomàs Garcés
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Rodriguez, Sofia Monzon. "Censoring poetics through translation: the filtered reception of Sylvia Plath in Franco’s Spain." Translation Matters 3, no. 1 (2021): 110–24. http://dx.doi.org/10.21747/21844585/tm3_1a7.
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Inthis article I analyze Sylvia Plath’s reception in Spain during the Francoist dictatorship. Considering the feminist features that the author and her oeuvrepresent, I examine the conclusions drawn by the Censorship Board when the Spanish publishing houses requested to issue Plath’s works in translation. The censorship and import files stored at the General Archive of the Administrationin Madrid confirm thatseveral publishers repeatedly applied for permission to translate her only novel, The Bell Jar, into Spanish and Catalan from 1967 to 1982; a Spanish compilation of her poems in 1974; and to import her famous poetry collection, Ariel,in 1968. Nevertheless, the censors’ notes and verdicts reveal that her literary depth was neither admired nor understood by the ones who authorized, censored, or rejected the different editions of her work.
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Rodrigues, Louis J. "Rosalía de Castro's Galician poems." Babel. Revue internationale de la traduction / International Journal of Translation 50, no. 1 (September 22, 2004): 60–75. http://dx.doi.org/10.1075/babel.50.1.07rod.
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Abstract Two Galician poems (one from each of two collections: Cantares Gallegos and Follas novas) by Spain’s most renowned poetess are examined in this critical essay, which includes translations into English, Spanish and Catalan together with an analysis of both poems and a commentary on each with a discussion of such technicalities as metre, rhyme, imagery, lexis and syntax insofar as they aff ect the end-product in each case. The essay discusses the linguistic features of Galician as a preliminary to the appreciation of the poems, draws attention to Rosalia’s statements on her art and works, and concludes with a review of the pertinent aspects of poetry in translation — its theory and practice. Résumé Deux poèmes galiciens (tires de chacune des deux collections: Cantares Gallegos et Follas novas) de la poétesse la plus célèbre d’Espagne, sont étudiés dans cet essai critique qui comprend des traductions en anglais, en espagnol et en catalan, ainsi qu’une analyse des deux poèmes et un commentaire de chacun, avec une discussion sur certains points techniques comme la metre, le rythme, l’imagerie, le lexique et la syntaxe, dans la mesure ou ils affectent, dans chaque cas, le product fini. L’essai traite des caractéristiques linguistiques du galicien, avant de passer à l’évaluation des poèmes. Il attire l’attention sur les déclarations de Rosalia à propos de son art et de ses oeuvres et conclut en passant en revue les aspects pertinents de la poésie en traduction — sa théorie et sa pratique.
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Fallada Pouget, Carmina. "Are Menu Translations Getting Worse?" Target. International Journal of Translation Studies 12, no. 2 (December 31, 2000): 323–32. http://dx.doi.org/10.1075/target.12.2.08fal.
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Abstract Translations of restaurant menus from Catalan or Spanish into English are important for the Catalan restaurant industry and for tourism in general, since an improvement in the quality of the translations may lead to higher standards of service and better socio-cultural exchanges. A sample of 1013 menu items from the Tarragona area suggests there are differences in functionality between the menus translated in the 1970s/1980s and those translated in the 1990s. A possible reason for these differences is that all the menus from the 1970s/80s were translated by professional translators, and those from the 1990s, by non-professional translators. The study also suggests that books on menu translations published by the Catalan government in 1991 did not reach the restaurant owners and that official translation policy in this area has thus had little effect.
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Matamala, Anna. "Translations for dubbing as dynamic texts." Babel. Revue internationale de la traduction / International Journal of Translation 56, no. 2 (August 13, 2010): 101–18. http://dx.doi.org/10.1075/babel.56.2.01mat.
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This article aims to describe how written translations of audiovisual products change along the dubbing process until they reach the audience, focusing mainly on the synchronisation stage. The corpus is made up of the first reel of the Catalan and Spanish translations of three different films released in 2006 (Casino Royale, Good night, and good luck, and The Da Vinci Code). After a brief summary of the dubbing process and a short overview of the approaches to synchronisation found in the literature, the specific strategies found in a bottom-up analysis are highlighted, offering both a wide analysis of the general changes throughout the process and a closer analysis of the specific changes that occur in the synchronisation stage. A comparison of the strategies found in Catalan and Spanish is also included in order to assess whether different languages result in different strategies.
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Palomo Berjaga, Vanessa. "Translations and original." Babel. Revue internationale de la traduction / International Journal of Translation 66, no. 6 (November 30, 2020): 973–98. http://dx.doi.org/10.1075/babel.00200.ber.
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Abstract In 1989 and 1990, Kitty van Leuven-Zwart published two articles on the similarities and dissimilarities between a translation and its original. My research is based on a classification model which derives primarily from Van Leuven-Zwart’s comparative method, although I also work with concepts from other authors. The major difference to Van Leuven-Zwart’s research is that the main aim of the model I propose is not to indicate the differences between a translation and the original, but to detect whether previous translations have had any influence upon the studied translation. The goal of this article is to demonstrate the effectiveness of the shift approach to find out the relationship between different translations. I explain and illustrate the classification model by comparing the Catalan translation of William Shakespeare’s Macbeth by Josep M. de Sagarra (1959) with previous French, Spanish and Catalan translations in order to ascertain whether these texts had any influence upon Sagarra’s translation.
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BOADA, ROGER, ROSA SÁNCHEZ-CASAS, JOSÉ M. GAVILÁN, JOSÉ E. GARCÍA-ALBEA, and NATASHA TOKOWICZ. "Effect of multiple translations and cognate status on translation recognition performance of balanced bilinguals." Bilingualism: Language and Cognition 16, no. 1 (June 15, 2012): 183–97. http://dx.doi.org/10.1017/s1366728912000223.
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When participants are asked to translate an ambiguous word, they are slower and less accurate than in the case of single-translation words (e.g., Láxen & Lavour, 2010; Tokowicz & Kroll, 2007). We report an experiment to further examine this multiple-translation effect by investigating the influence of variables shown to be relevant in bilingual processing. The experiment included cognates and non-cognates with one translation or with multiple translations. The latter were presented with their dominant or subordinate translations. Highly-proficient balanced bilinguals responded to a translation recognition task in the two language directions (Catalan–Spanish and Spanish–Catalan). The results showed a significant multiple-translation effect in both cognates and non-cognates. Moreover, this effect was obtained regardless of language dominance and translation direction. Participants were faster and more accurate when performing translation recognition for the dominant than for the subordinate translations. The findings are interpreted adopting the Distributed Representation Model (de Groot, 1992b).
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COSTA, ALBERT, DAMIR KOVACIC, JULIE FRANCK, and ALFONSO CARAMAZZA. "On the autonomy of the grammatical gender systems of the two languages of a bilingual." Bilingualism: Language and Cognition 6, no. 3 (December 2003): 181–200. http://dx.doi.org/10.1017/s1366728903001123.
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In five experiments highly-proficient bilinguals were asked to name two sets of pictures in their L2: a) pictures whose names in the L2 and their corresponding L1 translations have the same grammatical gender value, and b) pictures whose names in the L2 and their corresponding L1 translations have different gender values. In Experiments 1, 2, and 3 Croatian-Italian speakers were asked to name the pictures in Italian by means of NPs in various experimental contexts. In Experiment 4A, Spanish-Catalan and Catalan-Spanish bilinguals were asked to name the pictures in Spanish, and in Experiment 4B, Italian-French bilinguals did so in French. The results of these experiments revealed no differences between same- and different-gender pictures. Furthermore, the performance of Italian, Spanish, and French monolingual speakers parallels that of bilingual speakers. However, a robust frequency effect was observed across experiments. This pattern of results supports the notion that the gender value of the words in the non-response language does not affect processing in the response language, and suggests that the two gender systems of a bilingual are functionally autonomous.
Dissertations / Theses on the topic "Catalan poetry – Translations into Spanish"
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Kaiser, Ann. "The first translations of walt whitman’s leaves of grass into catalan, french and spanish: the special case of Cebrià Montoliu." Doctoral thesis, Universitat Autònoma de Barcelona, 2017. http://hdl.handle.net/10803/406010.
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Esta tesis examina la primera recepción de las Hojas de Hierba de Walt Whitman, en América del Norte, pero sobre todo en Europa y se centra en las primeras traducciones para esta poesía al francés, español y catalán, no sin una cierta discusión sobre sus repercusiones en Italia y Alemania también. La historia catalana y la traducción de Whitman por Cebrià Montoliu (Fulles d'Herba, Biblioteca Popular de l'Avenç, 1909), así como el estudio profundo del activista urbanista, social y político del Whitman y su obra (L’home i sa tasca,1913) se ponen en foco, al igual que los períodos históricos comparables de mediados del siglo XIX. EE.UU. y fines del siglo XIX hasta comienzos del siglo XX. Europeos por sus efectos transformadores en todos los aspectos de la sociedad, a medida que la era moderna pasó a existir.This thesis examines the first reception of Walt Whitman’s Leaves of Grass, in North American, but in particularly in Europe and focuses on the first translations for this poetry into French, Spanish and Catalan, not without some discussion on its repercussions in Italy and Germany as well. The Catalan story, and the translation of Whitman by Cebrià Montoliu (Fulles d’Herba, Biblioteca Popular de l’Avenç, 1909) as well as this urbanista, social and political activist’s in-depth study of the Whitman and his work (L’home is a tasca, 1913) are brought into focus, as are the comparable historical periods of mid-19th c. US and late 19thc.to early 20th c. European for their transformative effects on all aspects of society, as the modern era came into being.
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Muñoz, Tracy Manning. "Peripheral visions Spanish women's poetry of the 1980s and 1990s /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1149000160.
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Muñoz, Tracy Manning. "Peripheral Visions: Spanish Women's Poetry of the 1980s and 1990s." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1149000160.
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Kernan, Ryan James. "Lost and found in black translation Langston Hughes's translations of French- and Spanish-language poetry, his Hispanic and Francophone translators, and the fashioning of radical Black subjectivities /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1481658191&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Poyhonen, Alexander J. "Don Quijote lo Interminable: La Cuestión de los Textos Originales y las Emanaciones a Través de Formas Secundarias de Arte." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/cmc_theses/522.
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In chapter 1, I ponder the role of authorship and whether or not an original text can truly exist. Specifically, the claim that Borges has that a copy can be superior to an original. From this, brings me to chapter 2 with the movie Man of la Mancha. In this movie, I highlight some of the pros and cons of a copy. The windmill scene is a negative emanation of the Quixote, while the interaction between people and the presence of women is something the movie truly displays well. In the third chapter, I look at Lost in la Mancha because it demonstrates a failed attempt to translate the Quixote. In essence, anything that tries to represent this truly great text will fail; however, it's failure can paradoxically be thought of as a success because it's an homage to the Quixote. As far as the Ezra Pound material, I thought it extremely pertinent to look at his experience on a metro because he attempts to describe a vision that he had through poetry. He notes that it is very difficult to encapsulate his entire experience because the primary form of art (his vision) is being described through a secondary form (words). Thus, when you translate a form of art through a medium it loses some of its value. This is what happens with the Quixote; its primary form (words) is being displayed through a secondary form (film), and it inevitably loses something in the translation. The final chapter/conclusion is a more in-depth investigation of this investigation primary form of art (writing). This uses the character of Gines as a concrete example of a formal and stylistic quality that is unique to literature. Namely, the physical ranging of words on a page in both a spatial and literary sense. When you extract those lines from a novel you implicitly remove some of the dialectic between Cervantes' work and the genres he's invoking, just by taking it out of the form of literature. The surroundings of text establish the meaning of the novel. The conclusion is my final chance to argue why the Quixote is so special and untranslatable. I touch on the qualities that keep it forever live and present in us today. Through the Quixote's proclivity for renaming the real world (established societal beliefs/values, etc.) in his own vein, Cervantes allows for the Quixote to reappropriate the world around him, making it uniquely his. In so doing, Cervantes creates a character who is able, not only to write his own self-history, but to control the way that said self-history will be written by others. By blurring the lines between narrator and narration and history and fiction, Cervantes creates a work that is endlessly present, where words becoming living page, and actions occur as they are said.
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Sayols, Lara Jesús. "Translating as transculturating: a study of Dai Wangshu's translation of Lorca's poetry from an integrated sociological-cultural perspective." HKBU Institutional Repository, 2015. https://repository.hkbu.edu.hk/etd_oa/281.
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Dai Wangshu 戴望舒 (1905-1950) was a prolific translator, working on both French and Hispanic literature. However, his translation work has often been considered relevant only to the extent that it helped him to develop a self-fashioned modernist style in his own poetic writing. Moreover, no systematic study has been conducted on his interest in Hispanic literature, particularly on his translation of Federico García Lorca’s poetry, a project to which he dedicated over half of his professional career but left unfinished. In addition, investigations on Dai have been generally approached from a narrow theoretical perspective that has risked overlooking the social factors that affected his literary activities. This thesis, therefore, aims to reveal the extent and the way in which translating Lorca into Chinese contributed to the establishment and consolidation of Dai’s position as a social agent in the field of literary production in China. The methodology is constructed in an attempt to reconcile a sociological perspective on translation drawing on Pierre Bourdieu’s theory with a more interpretive understanding of literary writing based on the notion of transculturation inherited from Latin American cultural studies. Examining Dai’s translation of Lorca’s poetry from this integrated perspective allows foregrounding the heterogeneity and multiplicity of Dai’s literary dispositions, at both a macroscopic and a microscopic level, without ignoring the social factors involved in his translation practice. By embedding Lorca’s poetry in the field of literary production in China, Dai privileged a particular set of possibilities over the others, both literary and ideological at the same time. This kind of behaviour in Dai can be interpreted in terms of transculturation and observed in various textual domains, involving formal literary elements, discourses and worldviews. Furthermore, Dai’s project of translating Lorca’s poetry, which expanded over a three-decade period, allows establishing striking connections among literary journals and groups at various temporal and spatial locations, each of them associated with different and often competing views on translation, literature and politics. In sum, Dai’s translation project of Lorca played a pivotal role in establishing and consolidating Dai’s position in the literary scene to the extent that his status as a literary figure was more determined by his translation work than by his own poetic writing. Dai’s translation of Lorca involved not only transculturating a specific text-type, the romance, but also a particular view on the role of literature in society that, unexpectedly, positioned him as an author opportunistically committed to the Communist cause. This investigation contributes new evidence that helps to question some long-standing assumptions both in studies on Dai and in reflections on the role of translation in Chinese literature. In addition, it allows arguing for a study of such a role at large without the need to subsume translation to any other sort of practice.
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Grasset, Eloi. "Modernité et changement de langue. Le passage du castillan au catalan dans l’oeuvre de Pere Gimferrer. (Aspects critiques, théoriques et lexicométriques)." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040006.
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L’objet de cette thèse est l’étude du changement de langue qui se produit dans l’oeuvre poétique de Pere Gimferrer. Pour y parvenir, il faudra activer un itinéraire complexe - critique, théorique et méthodologique -.La problématique qu’on présente, essaie de résoudre une question centrale : traiter d’élucider si ce changement de langue – du castillan au catalan, et après, du catalan au castillan – implique nécessairement un changement de style, ou si, par contre, le style du poète reste stable même s’il change sa langue d’écriture. Si la recherche est orienté à trouver une possible réponse à cette question, on se propose comme point de départ l’analyse des conséquences qu’entraîne l’écriture dans plusieurs langues dans la modernité.Pour cette raison on développe théoriquement les notions de « frontière », « extraterritorialité » ou « langue étrangère » qui nous seront très utiles pour mener à bien notre analyse. Dans la dernière partie, par le biais de la lexicométrie, on présente une approche exhaustive aux particularités lexiques et syntagmatiques de l’oeuvre de Pere Gimferrer. Finalement, on propose une réponse à la problématique proposéeThis thesis sets out to study the language change that occurs in the poetry of Pere Gimferrer. To achieve this,we will activate a complex route - critical, theoretical and methodological -. This issue tries to resolve a centralquestion: to elucidate whether this change of language – from Spanish to Catalan, from Catalan to Spanishnecessarilyimplies a change of style, or if the style of the poet remains stable even if he changes his writinglanguage. Although the research is oriented to find a possible answer to this question, we propose as a startingpoint, the analysis of the consequences of writing in several languages in modernity. For this reason wedevelop the theoretical concepts of "border", "extraterritoriality", "foreign language" or “mother tongue” that willbe very useful to carry out our analysis. In the last part of the thesis, and through the lexicometry, we present acomprehensive approach to the specific lexical and phrase structure of Pere Gimferrer’s work, in Spanish and Catalan. Finally, we offer a reply to the problem proposed
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Ikoff, Ventsislav. "Mediación cultural entre Bulgaria y el mundo hispánico: la circulación de las traducciones literarias y sus mediadores (1882-2012)." Doctoral thesis, Universitat Pompeu Fabra, 2018. http://hdl.handle.net/10803/462204.
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Esta tesis doctoral estudia la circulación de las traducciones literarias en formato libro entre Bulgaria y el mundo hispánico (España e Hispanoamérica) durante el periodo situado entre 1882 y 2012. La investigación se ocupa de tres aspectos de la traducción literaria: 1) los flujos de traducción; 2) el papel y las prácticas de los mediadores culturales —traductores y editores— que favorecieron el intercambio cultural; y 3) los factores culturales, políticos y económicos que determinaron dicho intercambio. Un corpus de traducciones en formato libro de literatura hispánica en lengua búlgara y de literatura búlgara en lengua española, elaborado ad hoc para llevar a cabo el estudio, constituye la base para el análisis cuantitativo de los flujos de traducción. Entrevistas con traductores y editores, así como publicaciones relevantes para el tema forman la base de un análisis cualitativo de los mediadores culturales y de las dimensiones culturales, políticas y económicas de la traducción literaria entre Bulgaria y el mundo hispánico. La tesis está articulada desde la perspectiva de Bulgaria como espacio que exporta e importa literatura de múltiples campos de producción literaria y está dividida en tres periodos claves para el campo cultural y editorial búlgaro, así como con respecto a las relaciones con la cultura hispánica: un primer periodo de contactos iniciales (1882-1947), un periodo de traducción politizada (1948-1989) y un periodo de relaciones post-totalitarias (1990-2012).Aquesta tesi doctoral analitza la circulació de traduccions literàries en format llibre entre Bulgària i el món hispànic (Espanya i Hispanoamèrica) durant el període situat entre 1882 i 2012. La investigació s’ocupa de tres aspectes de la traducció literària: 1) els fluxos de traducció; 2) el paper i les pràctiques dels mediadors culturals —traductors i editors— que van afavorir l’intercanvi cultural; i 3) els factors culturals, polítics i econòmics que van determinar aquest intercanvi. Un corpus de traduccions de literatura hispànica en llengua búlgara i de literatura búlgara en llengua espanyola, construït ad hoc per tal de portar a terme l’estudi, constitueix la base per a l’anàlisi quantitativa dels fluxos de traducció. Entrevistes amb traductors i editors, així com publicacions rellevants per al tema formen la base d’una anàlisi qualitativa dels mediadors culturals i de les dimensiones culturals, polítiques i econòmiques de la traducció literària entre Bulgària i el món hispànic. La tesi s’articula des del punt de vista de Bulgària com a espai de exportació i importació de literatures de múltiples camps de producció literària i es divideix en tres períodes claus per al camp cultural i editorial búlgar, així com pel que fa a les relacions amb la cultura hispànica: un primer període de contactes inicials (1882-1947), un període de traducció polititzada (1948-1989) i un període de relacions post-totalitàries (1990-2012).
This doctoral thesis studies the circulation of literary book translations between Bulgaria and the Hispanic world (comprising Spain and the Spanish speaking countries in South America) from 1882 to 2012. Specifically, the research focuses on three aspects of literary translation: 1) translation flows, 2) the role and practices of cultural mediators—translators and publishers—who enabled the cultural exchange, and 3) the cultural, political, and economic factors which determined said exhange. An ad hoc corpus of book translations of Hispanic literature in Bulgarian language and of Bulgarian literature in Spanish is the basis for quantitative analysis of translation flows. Interviews with translators and publishers, as well as relevant literature and publications, inform qualitative analysis on the subject of cultural mediators and the cultural, political and economic dimensions of literary translation between Bulgaria and the Hispanic world. The study takes the perspective of Bulgaria as an exporter and importer of literature to and from multiple fields of literary production and is divided in three key periods for the Bulgarian cultural and publishing field and with respect to the relations with the Hispanic culture: initial contacts (1882-1947), politicized translation (1948-1989) and post-totalitarian relations (1990-2012).
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Grasset, Morell Eloi. "Modernitat i canvi de llengua. El pas del castellà al català a l'obra de Pere Gimferrer (aspectes crítics, teòrics i lexicomètrics)." Doctoral thesis, Universitat de Girona, 2011. http://hdl.handle.net/10803/31858.
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L’objecte d’aquesta tesi es l’estudi del canvi de llengua que es produeix en l’obra poètica de Pere Gimferrer. Per arribar-hi haurem d’activar un itinerari complex – crític, teòric i metodològic -. La problemàtica que presentem intenta resoldre una qüestió central: tractar d’elucidar si aquest canvi de llengua – del castellà al català, i més tard, del català al castellà – implica necessàriament un canvi d’estil, o si, en canvi, l’estil de poeta resta estable tot i haver canviat la llengua d’escriptura. Si la recerca està orientada a trobar una possible resposta a aquesta qüestió, nosaltres ens proposem com a punt de partida l’anàlisi de les conseqüències que comporta l’escriure en diferents llengües a la modernitat. Per aquesta raó, en la tesi es desenvolupen teòricament les nocions de “frontera”, “extraterritorialitat”, o “llengua estrangera” que ens seran útils per a portar a terme la nostra anàlisi. A la darrera part, a través de la lexicometria, presentem un apropament exhaustiu a les particularitats lèxiques i sintagmàtiques de l’obra de Pere Gimferrer. Finalment, proposem una resposta a la problemàtica proposada.This thesis sets out to study the language change that occurs in the poetry of Pere Gimferrer. To achieve this, we will activate a complex route - critical, theoretical and methodological -. This issue tries to resolve a central question: to elucidate whether this change of language – from Spanish to Catalan, from Catalan to Spanish- necessarily implies a change of style, or if the style of the poet remains stable even if he changes his writing language. Although the research is oriented to find a possible answer to this question, we propose as a starting point, the analysis of the consequences of writing in several languages in modernity. For this reason we develop the theoretical concepts of "border", "extraterritoriality", "foreign language" or “mother tongue” that will be very useful to carry out our analysis. In the last part of the thesis, and through the lexicometry, we present a comprehensive approach to the specific lexical and phrase structure of Pere Gimferrer’s work, in Spanish and Catalan. Finally, we offer a reply to the problem proposed.
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Lockett, Marcia Stephanie. "A comparative study of Roy Campbell's translation of the poetry of Federico Garcia Lorca." Thesis, 1994. http://hdl.handle.net/10500/17224.
Full textAbstract:
Roy Campbell (1901-1957), who ranks among South Africa's leading poets, was also a
gifted and skilled translator. Shortly after the Second World War he was commissioned by
the Spanish scholar Rafael Martinez Nadal to supply the English translations for a planned
edition of the complete works of the Spanish poet and dramatist, Federico Garcia Lorca, to
be published by Faber and Faber, London. However, most of these translations remained
unpublished until 1985, when the poetry translations (but not the translations of the plays)
were included in Volume II of a four-volume edition entitled Campbell: Collected Works,
edited by Alexander, Chapman and Leveson, and published in South Africa. In 198617,
Eisenberg published a collection of letters from the archives of the Spanish poet and
publisher Guillermo de Torre in a Spanish journal, Ana/es de Literatura Espanola, Alicante,
which revealed that the politically-motivated intervention in 1946 of Arturo and Ilsa Barea,
Republican supporters who were living in exile in London, prevented the publication of
Campbell's Lorca translations. These poetry translations are studied here and compared with the work of other
translators of Lorca, ranging from Lloyd (1937) to Havard (1990), and including some
Afrikaans versions by Uys Krige (1987). For the analysis an eclectic framework is used that
incorporates ideas from work on the relevance theory of communication (Sperber and
Wilson 1986) as applied to translation theory by Gutt (1990, 1991) and Bell (1991), among
others, together with Eco's (1979, 1990) semiotic-interpretive approach. The analysis shows
that although Campbell's translating is constrained by its purpose of forming part of a Lorca
edition, his versions of Lorca' s poetry are nevertheless predominantly oriented towards the
target-language reader. In striving to communicate Lorca's poetry to an English audience,
Campbell demonstrates his skill and creativity at all levels of language.
Campbell's translations that were published during his lifetime earned him a place
among the best poetry translators of this century. The Lorca translations, posthumously
added to the corpus of his published work, enhance an already established reputation as a
fine translator of poetry.Classics & Modern European Languages
D. Lit. et Phil. (Spanish)
Books on the topic "Catalan poetry – Translations into Spanish"
1
Pere, Gimferrer. Espejo, espacio y apariciones: Poesía, 1970-1980. Madrid: Visor, 1988.
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Manent, Marià. Poesía catalana contemporánea: Selección, con versiones métricas en castellano. Madrid: Pre-Textos, 1999.
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Xarnegos: Chanegos [i.e. Charnegos] : antología bilingüe. Madrid: SIAL Ediciones, 2010.
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Tres días: Tres dies (Barcelona, 2005-2007). Valencia: Ediciones Contrabando, 2014.
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José, Ribera Florit, Jiménez Esther, and Ferrer i. Godoy Joan, eds. Poemes de Meixul·lam de Piera: (Girona S. XIII). Girona: Patronat Call de Girona, 2008.
Find full textBook chapters on the topic "Catalan poetry – Translations into Spanish"
1
Coletes-Blanco, Agustín. "Anglo-Spanish Transfers in Peninsular War Poetry (1808–1814): Translating and Zero-Translating." In Translations In Times of Disruption, 233–56. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-58334-5_10.
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Racz, Gregary J. "La vida es sueño en forma analógica Teoría, metodología y recepción de la traducción a contrapelo." In Biblioteca di Rassegna iberistica. Venice: Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-490-5/024.
Full textAbstract:
Since at least the 1990s, Translation Studies theorists have advocated greater respect for alterity in literary translation. With the advent of Naturalist theatre and, later, the predominance of free-verse poetry in the 20th century, renderings of both poetry and verse drama in the English-speaking world have favoured assimilation with target-culture values. “Organic form”, described by James S. Holmes as the methodology with which a translator renders a source text primarily for its meaning, has been the prevalent strategy for translating works such as Spanish Golden Age dramas for approximately a century now. A return to the methodology of “analogical form”, with which a translator seeks to render the source text using correlatives to its form and function in the source culture, would do much to recognise the Other by avoiding both de-historicisation and de-poeticisation through less domesticated target texts. Examples of these competing methodologies will be examined in a few American translations of Pedro Calderón de la Barca’s La vida es sueño.
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Moore, Helen. "Princely Reading or a Wanton Book?" In Amadis in English, 43–108. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198832423.003.0003.
Full textAbstract:
In sixteenth-century England Amadis was known to elite readers primarily through the French version published in the 1540s. A wider audience gained access at the end of the century, with the first English translations by Anthony Munday of book I (1590) and book II (1595), and the anonymous book V (1598). In this period Amadis was both applauded as the reading of ‘mighty potentates’ and condemned as a ‘wanton’ book, full of extreme fabulations. This dichotomy structures the chapter, which begins by examining Amadis as the favourite book of the Spanish and French courts, lauded as a repository of eloquence and a book of fine love. Amadis features widely in English poetry, fiction, and drama of this period, for example in the works of Sidney, Spenser, and Greene, as an exemplar of romance reading.