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Journal articles on the topic 'Catalan poetry – Translations into Spanish'
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1
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.
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Conde Silvestre, Juan Camilo. "New Verse Translations of Old English Poetry into Spanish." Atlantis. Journal of the Spanish Association for Anglo-American Studies 42, no. 1 (June 28, 2020): 235–47. http://dx.doi.org/10.28914/atlantis-2020-42.1.12.
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Espunya, Anna. "Contrastive and translational issues in rendering the English progressive form into Spanish and Catalan: an informant-based study." Meta 46, no. 3 (October 2, 2002): 535–51. http://dx.doi.org/10.7202/002710ar.
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Abstract This is a study on the formal correspondences for the English progressive in translations from English to Spanish and Catalan, with a special focus on the choice between simple and progressive forms. Its methodological approach includes the participation of informants both as translators and as evaluators of published translations. The paper discusses both the language-internal and task-related factors that play a role in the choice of verb forms.
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Flores, Cristina. "William Blake Translated: The Creation of Blake's Literary Fame in Spain." Comparative Critical Studies 15, supplement (June 2018): 117–29. http://dx.doi.org/10.3366/ccs.2017.0228.
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André Lefevere highlights the central role of translations in the creation of literary fame, that is, in ‘the general reception and survival of works of literature among non-professional readers’. Through translations, the image of an author is shaped and projected in different national, historical and cultural contexts. The analysis of the selection of poems translated, and the introduction, notes and annotations that usually accompany those translations, can provide us with a preliminary overview of the presence of an author in a specific country of reception. This is especially true in the case of the reception of William Blake in Spain. The part played by translations, especially the earliest ones, is remarkable because some not only made Blake's work available to a Spanish readership but also provide readers with long introductions that constituted the first and, for a long time, sole critical approach to the British poet in Spanish. This article traces the progressive creation of Blake's literary canon and fame in Spain through the comprehensive analysis of the existing translations, both in Spanish and Catalan.
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Pérez, Mónica Domínguez. "The Selection of Children's Books Translated from Spanish to Galician, Basque and Catalan (1940–80)." International Research in Children's Literature 2, no. 2 (December 2009): 243–58. http://dx.doi.org/10.3366/e1755619809000726.
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This study deals with children's literature translated from Castilian Spanish into Galician, Basque and Catalan by a different publisher from that of the source text, between 1940 and 1980, and with the criteria used to choose books for translation during that period. It compares the different literatures within Spain and examines the intersystemic and intercultural relations that the translations reflect. Following the polysystems theory, literature is here conceived as a network of agents of different kinds: authors, publishers, readers, and literary models. Such a network, called a polysystem, is part of a larger social, economic, and cultural network. These extra-literary considerations play an important role in determining the selection of works to be translated. The article suggests that translations can be said to establish transcultural relations, and that they demonstrate different levels of power within a specific interliterary community. It concludes that, while translations may aim to change the pre-existent relationships, frequently they just reflect the status quo.
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Fernández, José Francisco. "Forked tongues: Galician, Basque and Catalan women's poetry in translations by Irish writers." Irish Studies Review 22, no. 1 (January 2, 2014): 125–27. http://dx.doi.org/10.1080/09670882.2013.872377.
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Polilova, Vera. "Spanish Romancero in Russian and the semantization of verse form." Studia Metrica et Poetica 5, no. 2 (January 28, 2019): 77–108. http://dx.doi.org/10.12697/smp.2018.5.2.04.
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In this paper, I analyze Russian translations and close imitations of Spanish Romancero poetry composed between 1789 and the 1930s, as well as Russian original poems of the same period marked by “Spanish” motifs. I discuss the Spanish romance as an international European genre, and show how this verse form’s distinctive features were transferred into Russian poetry and how the Russian version – or, rather, several Russian versions – of this form came into being. I pay special attention to the genesis of the stanza composed of a regular sequence of feminine (F) and masculine (m) clausulae FFFm. In Johann Gottfried Herder’s Der Cid, this clausula pattern was combined with unrhymed trochaic tetrameters, but, in early twentieth-century Russia, it emancipated from this metrical form, having retained the semantic leitmotifs of the Spanish romance, as well as its “Spanish” theme. I contextualize other translation equivalents of romance verse and compare them to the original Spanish verse form. I show (1) which forms poets used in translating romance verse and how those forms correlate (formally and functionally) with the original meter. Further, I discuss (2) when and how the trochaic tetrameters rhyming on even lines (XRXR) – originally used in translations of Spanish romances in German and English poetry – became the equivalent of romance verse in the Russian tradition. Finally, I demonstrate (3) how, in Konstantin Balmont’s translations of Spanish poetry, the FFFm clausula pattern lost its connection with trochee. After Balmont, other poets of the Silver Age of Russian literature started using it in original non-trochaic compositions to express “Spanish” semantics.
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Wesoła, Justyna. "Transfert de littérature étrangère et bilinguisme. Cas de la littérature polonaise dans les langues périphériques d’Espagne et de ses traductions préalables en castillan." Romanica Wratislaviensia 68 (July 19, 2021): 273–88. http://dx.doi.org/10.19195/0557-2665.68.18.
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The study tries to answer the question of how literary translation functions in bilingual conditions. By analysing the history of Polish literature in Spanish, Catalan, Galician and Basque, the author attempts to explain how the translation into a dominant language affects translations in dominated languages. The results of the study indicate that the dominant language is always a reference point for translations in peripheral languages, although it can be both an impulse and an obstacle to their creation depending on the model of conduct adopted by the language.
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Ireland, Colin. "Journal: Sirena." Frontiers: The Interdisciplinary Journal of Study Abroad 10, no. 1 (August 15, 2004): 277–78. http://dx.doi.org/10.36366/frontiers.v10i1.146.
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Sirena is a new journal of poetry and criticism published by the department of Spanish and Portuguese at Dickinson College. A major purpose of the journal is to publish all poetry and criticism in the original language. In the case of critical articles, Sirena publishes those articles in the original language only, so an article submitted in Spanish will appear online in Spanish. For poetry, all submissions are published in the original language first and then translated into either English (if the original language was Spanish, or translated into Spanish (if the original language was English). In the case of the original poem being in a language other than Spanish or English, that poem will be translated into both of those languages. In other words, all poetry appears in either bilingual or trilingual translations.
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Paolieri, Daniela, Josep Demestre, Marc Guasch, Teresa Bajo, and Pilar Ferré. "The gender congruency effect in Catalan–Spanish bilinguals: Behavioral and electrophysiological evidence." Bilingualism: Language and Cognition 23, no. 5 (February 3, 2020): 1045–55. http://dx.doi.org/10.1017/s1366728920000073.
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AbstractThe present study examines whether processing a word in one language is affected by the grammatical gender of its translation equivalent in another language. To this end, a group of Catalan–Spanish bilinguals performed a translation–recognition task while event-related potentials (ERPs) were recorded. Participants were presented with Catalan and Spanish pairs of words and had to decide if they were translation equivalents. Correct translations included words that were gender congruent (estiuMAS/veranoMAS–summer) or gender incongruent (tardorFEM/otoñoMAS–autumn). The behavioral results showed that participants were faster and more accurate in the gender-congruent condition than in the incongruent condition. The ERP data showed a reduced N400 for the congruent condition. The facilitative effect of gender congruency observed in this study constitutes evidence of the obligatory access to grammatical gender information during bare noun processing and suggests that the bilinguals’ gender systems interact, even in highly proficient early bilinguals.
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Marin-Lacarta, Maialen. "Mediated and Marginalised: Translations of Modern and Contemporary Chinese Literature in Spain (1949-2010)." Meta 63, no. 2 (December 18, 2018): 306–21. http://dx.doi.org/10.7202/1055141ar.
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The history and reception of translations of modern and contemporary Chinese literature in Spain form the basis of the discussion in this article. Eighty-four translations of modern and contemporary Chinese literature were published in Spain – either in Spanish or in Catalan – between 1949 and 2010. Using this under-researched corpus as a starting-point, this article explores two interrelated premises: the marginalisation of modern and contemporary Chinese literature in Spain and the mediation of its Spanish reception by Anglophone and Francophone literary systems. To do so, the study investigates the history of translations, pays attention to the evolution of types of translation (direct and indirect), and uses concrete examples from paratexts (back covers and prefaces) and translation reviews. After a discussion of the predominance of indirect translations, three recurring motifs inferred from an analysis of the paratexts and reviews are presented: (a) a preference for documentary value, (b) an insistence on difference and (c) an emphasis on politics and trauma (censorship, dissidence and the Cultural Revolution). In addition, I demonstrate the connections between these recurring motifs in the Spanish reception of Chinese literature in relation to European orientalism and area studies. Ultimately, the recent history of translations of modern and contemporary Chinese literature in Spain helps us to reflect on the complexity and hierarchical nature of literary exchanges on a global scale.
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Lobejón Santos, Sergio. "Translations of English-language poetry in post-war Spain (1939-1983)." Translation Matters 2, no. 2 (2020): 113–30. http://dx.doi.org/10.21747/21844585/tm2_2a7.
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In the years immediately following the Spanish Civil War, the domestic poetry market underwent a lengthy and traumatic transformation stemming directly from the conflict and the Francoist regime’s implementation of systematic censorship. The death and exile of many of the preeminent poets from previous generations, along with the closure and relocation to Latin America of many publishing houses, left a considerable cultural void which would be partly filled with translated texts, most of them from authors writing in English. This article outlines some of the main results of a comprehensive study into the impact of censorship on the Spanish translations of English-language poetry between 1939 and 1983. Although the quantitative data point to a high authorisation rate for translated poetry, the regime used several mechanisms to curb the public’s exposure to ideas deemed harmful which profoundly impacted the translation and reception of those texts.
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Polilova, V. S. "Two Moorish Romances Translated by R. T. Gonorsky." Russkaya literatura 1 (2020): 75–79. http://dx.doi.org/10.31860/0131-6095-2020-1-75-79.
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The article argues that R. T. Gonorsky made his translations of two Spanish Moorish romances (1816) from the Spanish originals reproduced in the fi fth volume of I. I. Eschenburg’s anthology Beispielsammlung zur Theorie und Literatur der schönen Wissenschaften (1788-94). This fact confirms K. S. Korkonosenko’s hypothesis that Gonorsky’s translations were the earliest translations of Spanish poetry into Russian made directly from the originals. It is important that, in his anthology, Eschenburg used the texts found in the book of ballads and popular songs The Reliques of Ancient English (1765) edited by Bishop Thomas Percy. Following Percy’s edition, the Spanish romance «Río verde, río verde...» was published (e. g. in Eschenburg’s anthology, 1790) and translated (e. g. in J. G. Herder’s Volkslieder, 1778) without the six lines that Percy considered superfluous. Gonorsky also used this abbreviated version of the romance.
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Moţoc, Diana. "Acerca de la metodología en la historia de la traducción. Caso de estudio: las traducciones entre el catalán y el rumano." Translationes 7, no. 1 (June 1, 2015): 85–97. http://dx.doi.org/10.1515/tran-2016-0006.
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Abstract The present paper examines concisely the recent evolution of the history of translation studies, in order to explain a methodology of historical research in this specific area. More exactly, we focus on several key studies on the subject matter, among which are the Sabio Pinilla’s publications (2006). In this respect, we resume the application proposed by the Spanish author, formulated as a series of essential steps for any historical research, using data provided from our Ph.D. thesis in the history of translations between Catalan and Romanian.
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Pose-Fernández, Coralia. "The universalization of the poetry of George Seferis: the significance of English translations." Byzantine and Modern Greek Studies 41, no. 1 (March 16, 2017): 138–54. http://dx.doi.org/10.1017/byz.2016.33.
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The English socio-cultural context was crucial to the dissemination of the work of George Seferis in Europe. Early translations appeared in both French and English, but it was the English versions that propelled Seferis toward international recognition and the Nobel Prize, and gave rise to translations into more peripheral literatures such as Spanish. The wide social circle Seferis enjoyed in the English-speaking world was a key factor in his early success in the United Kingdom. Other determinants were British intellectuals’ empathy for the Greeks during the Colonels’ dictatorship and their liking for modern poetry similar to that of T. S. Eliot.
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Carrera, María José. "Samuel Beckett’s Translations of Latin American Poets for UNESCO." Samuel Beckett Today / Aujourd’hui 31, no. 1 (April 11, 2019): 53–65. http://dx.doi.org/10.1163/18757405-03101005.
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Abstract Samuel Beckett’s self-avowed slight acquaintance with the Spanish language did not prevent him from tackling the translation of a poem by the Chilean Gabriela Mistral, as well as a whole anthology of Mexican poetry. Little attention has been paid to this sideline in Beckett’s career. This paper contextualizes Beckett’s involvement in these two UNESCO projects and shows, with recourse to his translation manuscripts, the intensity of the author’s work despite his distaste for these commissions.
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Díaz-Pérez, Francisco Javier. "The translation of identity on the frontera. Sandra Cisneros in Mexican Spanish, Galician and Catalan." Babel. Revue internationale de la traduction / International Journal of Translation 60, no. 3 (December 31, 2014): 325–46. http://dx.doi.org/10.1075/babel.60.3.04dia.
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Apart from referring to a geographical or physical border, the notion of frontera has also become a metaphorical or psychological construct which represents any situation of contrast, such as belonging to two different national, cultural or linguistic communities. Latino writers in the United States live and write on the frontera. The coming together of two cultures forges a new hybrid identity which fights against essentialism and homogenization. This hybrid identity is reflected in these writers’ language, a border tongue constantly switching from English to Spanish. Sandra Cisneros is one of those Latina writers who resort to code-switching as an identity hallmark. By introducing Spanish words, phrases or syntactic constructions into her English texts, Cisneros tries to evoke the feeling of inhabiting two worlds which can be conflicting and complementary at the same time. Departing from the notion of frontera, several translations of Cisneros’s works are analysed, paying special attention to those aspects related to identity and language. Particularly, I focus on the Mexican Spanish, Galician and Catalan versions of The House on Mango Street, the translation of Woman Hollering Creek into Mexican Spanish, the Catalan versions of several short stories from Woman Hollering Creek and the Galician translation of Loose Woman. In all the analysed versions, the translators use strategies which reflect the border identity present in the source text, such as the resource to code-switching and typographical markers or the use of calques and other borrowings, dialectalisms, and non-standard vocabulary, pronunciation and grammar.
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Zarandona, Juan Miguel. "Achmat Dangor (1948-2020) and M.G. Vassanji (1950-): The Reception of Two Afrindian Voices in Spain." Revista Canaria de Estudios Ingleses, no. 82 (2021): 123–41. http://dx.doi.org/10.25145/j.recaesin.2021.82.09.
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Dangor (Johannesburg, 1948-2020) and Vassanji (Nairobi, b1950) are two contemporary Indian-African (“Afrindian”) diasporic writers who share a hybrid combination of Indianness and Africanness. Both writers have been translated into Spanish and, in the case of Vassanji, Catalan. The number of translations is rich enough to establish many description-based contrasts, and the proposal of future guidelines for translating Afrindian writers. The description takes into account the powerful autobiographical overtones typical of African writing, and describes how they have been made available to Spanish readers. A representative sample of exoticizing textual units from the original texts will be compared with their translation solutions in order to explore if exoticizing is the right method for this kind of postcolonial African Indian literature. The results indicate that exoticizing has been clearly favoured by the translators
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Montalt Resurrección, Vicent, Pilar Ezpeleta Piorno, and Miguel Teruel Pozas. "Gallivanting Round the Globe: Translating National Identities in Henry V." Revista Alicantina de Estudios Ingleses, no. 25 (November 15, 2012): 113. http://dx.doi.org/10.14198/raei.2012.25.09.
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In this article we shall be looking at the character of MacMorris in Henry V, and at his small but important role in the four captains’ scene. We shall explore some of the historical, cultural, political, dramaturgical and linguistic complexities of his portrayal of Irishness as a necessary preliminary study to its translation into other languages, both for the printed page and for the stage. Spanish and Catalan translations of the scene will be briefly analysed in what we hope will be the framework of a wider, multilingual preoccupation: how does national identity translate in a global context? How does —or can— MacMorris speak in other languages?
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Бахтіна, Анна. "La universalidad fonética de la poeísa de Taras Shevchenko en la traducción Espaňola: tempo, ritmo, métrica." Літератури світу: поетика, ментальність і духовність 11 (September 19, 2018): 18–27. http://dx.doi.org/10.31812/world_lit.v11i0.2027.
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The article deals with the phonetic system of the Ukrainian and Spanish languages on the example of Spanish translations of poetry “Kobzar” by Taras Shevchenko. This paper investigates the strategies of phonetic and phonemic recombinations of translation, that contribute to the Ukrainian identity reproduction in Spanish. The research states that the reflection of Ukrainian euphony, in particular the language of Taras Shevchenko, excites due to phonetic, grammatical, syntactic and semantic reconstruction of language units. It also determines that the ethnic paradigm encoded into the language worldview of Ukrainians is explicated in Spanish by preserving ethnic symbols in their phonetic and / or lexical and semantic interpretation. Moreover, it states that the reproduction of rhythm and melody in the poetry of T. Shevchenko is fragmentary in Spanish translation. It is possible due to the structural elasticity and the euphony of the Spanish language. The other reason is connected with synthetic origin of Ukrainian and analytical nature of Spanish. It should be mentioned that even though the special selection of the proper vocabulary, which is not similar to syllabic system of the original poems, allows creating close mimic sounding of rhythms in Shevchenko poetry. In fact, the impossible reproduction is observed at the level of letter combination, since the letters in each language of the world have their own emotional and semantic characteristics, dependent on mentality. During the analysis of the syllabic and tone system of original verse writing in Taras Shevchenko poetry and its Spanish translation, a phonetic universality of the writer’s works is discovered, which is characterized by a tonal manifestation.
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Balcells, José María. "Poesía Hispánica japonesista." Estudios Humanísticos. Filología, no. 18 (December 15, 1996): 93. http://dx.doi.org/10.18002/ehf.v0i18.4078.
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<span class="titulo">This article briefly describes the characteristics of the most typical poetry from the Classic Japanese Literature. It also gives data about the influence of this poetic modality on the Hispanic Literatures, particularly on the Spanish and Catalan ones. In the final part of this article ave try to explain some of the differences between the original Japanese model and the Japanese models produced by several authors from the two peninsular Hispanic Literatures mentioned above</span>
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Cambraia, César Nardelli. "Do catalão ao espanhol: a tradução espanhola da obra de Isaac de Nínive do cód. a.II.13 da Real Biblioteca do Mosteiro de São Lorenzo do Escorial / From Catalan to Spanish: the Spanish Translation of the Work of Isaac of Nineveh in codex a.II.13 of the Royal Library of the Monastery of San Lorenzo de El Escorial." Caligrama: Revista de Estudos Românicos 26, no. 1 (April 22, 2021): 7. http://dx.doi.org/10.17851/2238-3824.26.1.7-26.
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Resumo: No presente estudo, analisou-se a tradução espanhola de um excerto da obra de Isaac de Nínive presente no cód. a.II.13 da Real Biblioteca do Mosteiro de São Lorenzo do Escorial. A análise evidenciou que essa tradução teria sido feita a partir de uma tradução catalã compatível com a que está preservada no cód. 5-3-42 da Biblioteca Capitular Colombina de Sevilha. As evidências demonstraram que a tradução espanhola em questão não foi feita da tradução latina e também que o modelo para ela não teria sido especificamente cód. 5-3-42, sendo ainda possível que a tradução espanhola seja uma cópia. Considerando essa tradução, pode-se dizer que existem quatro traduções espanholas medievais diferentes da obra de Isaac de Nínive.Palavras-chave: crítica textual; Isaac de Nínive; tradução; língua espanhola; língua catalã.Abstract: In the present study, the Spanish translation of an excerpt from the work of Isaac de Nínive in cod. a.II.13 of the Royal Library of the Monastery of San Lorenzo de El Escorial. The analysis showed that this translation was made from a Catalan translation compatible with the one preserved in cod. 5-3-42 of the Colombian Capitular Library of Seville. The evidence has shown that the Spanish translation wasn’t made from the Latin translation and also that its model wasn’t specifically cod. 5-3-42, being it also possible that the Spanish translation is a copy. Considering this translation, one can say that there are four different medieval Spanish translations of the work of Isaac de Nineveh.Keywords: textual criticism; Isaac of Nineveh; translation; Spanish language; Catalan language.
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Song, Jiajing. "Dai Wangshu’s translations of contemporary Spanish poetry and its application to the teaching of Spanish as a foreign language." Doblele. Revista de lengua y literatura 4, no. 1 (December 18, 2018): 211. http://dx.doi.org/10.5565/rev/doblele.49.
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WALSH, ANDREW SAMUEL. "Who Translated Lorca into English First? An Analysis of the 1929 New York Translations and their Possible Authorship." Bulletin of Hispanic Studies: Volume 98, Issue 7 98, no. 7 (July 1, 2021): 661–77. http://dx.doi.org/10.3828/bhs.2021.39.
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This article analyses the disputed and currently unresolved issue of who was responsible for the first translations into English of the work of Federico García Lorca. These were versions of two of the Gypsy Ballads, which were published anonymously in August 1929 in the New York based Hispanic journal Alhambra, shortly after Lorca’s arrival in the city. The article first presents the background to these translations and the publication in which they appeared, and examines the respective biographical merits and circumstantial claims of the two candidates to be Lorca’s first translators into English, Philip Cummings and Ángel Flores. The article then analyses the textual characteristics of the translations, compares and contrasts them with the translational styles of both candidates in their other Spanish-English poetry translations, and offers some conclusions as to who was most likely to have been Lorca’s first translator into English.
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Repnina, T. V. "Integral nonprototypical conditional and imperative constructions in Catalan (in comparison with Spanish and French)." Vestnik of Samara University. History, pedagogics, philology 27, no. 1 (April 26, 2021): 142–50. http://dx.doi.org/10.18287/2542-0445-2021-27-1-142-150.
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This article examines one type of constructions that can express both conditional and imperative meanings. They represent complex sentences, the first part of which expresses a condition and urging and the second, the consequence with future reference. It is important to distinguish constructions of this type from prototypical imperative conditional constructions built as complex sentences, in which the condition is introduced by a subordinate clause with a conjuction meaning if and the conseqence verb is encoded for the imperative. The aim of this article is to identify, describe, and analyze the main types of integral nonprototypical conditional-and-imperative constructions, as well as the relevant conjunctions, tenses, and moods used in Catalan as compared to Spanish and French. While nonprototypical conditional / imperative constructions are actively studied in many languages, they have been apparently barely touched upon in Catalan. Our analysis revealed the following types of integral nonprototypical conditional / imperative constructions with: imperatives in the first clause; imperative verbs and verb periphrases in the first clause; a nominal phrase in the first clause; the conjunction or repeated in both clauses; present indicatives in the first clause and the conjunction and between two parts. The use of conjunctions meaning and (i (Cat.), y (Es.), et (Fr.)), or (o (Cat.), o (Es.), ou (Fr.)), as well asotherwise (si no (Cat.), si no (Es.), sinon (Fr.)) coincide. Only conjunctions meaning if are conditional in their basic meaning; conjunctions and, or, and otherwise are coordinating: and is copulative (it shows conditional meaning in the constructions addressed), or is delimiting, and otherwise adversative, with the latter two signaling negative condition in the targeted constructions. The research was conducted by the following methods: sampling, classification, description, contrastive and transformational analysis, and synthesis. The examples used were borrowed from texts by Catalan authors with their Spanish and French translations that were analyzed and classified. The whole sample of the conditional constructions analyzed is over 1000 examples for each of the three languages.
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Torralbo Caballero, Juan de Dios. "TEACHING LITERATURE THROUGH TRANSLATION. JOHN MILTON, DYLAN THOMAS AND T.S. ELIOT: PARALLELS WITH THE CORDOVAN SCHOOL OF MODERN POETRY." Journal of Teaching English for Specific and Academic Purposes 7, no. 1 (May 20, 2019): 053. http://dx.doi.org/10.22190/jtesap1901053t.
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Literature is usually taught using primary sources written in the language of the literature being taught. This pedagogical proposal is based on translations of literature, advanced as a didactic element enhancing literature lessons. More specifically, this work focuses on English literature translated into Spanish and published in the Cordovan journal Cántico, in order to explore how the translations of international works can be valuable elements in the teaching of Literature. To achieve these objectives some of the translations of the English works appearing in Cántico are studied: two fragments of John Milton, a poem by Dylan Thomas, and another poem by T.S. Eliot. The final conclusion drawn is that the interpretation of the original poems, their poets, and their context, as well as a presentation of the context in which these poems were translated, are pedagogical undertakings that enhance the teaching of foreign literature, and literature in general.
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Azuaje-Alamo, Manuel. "“(In)comparable Poetries and Transpacific Networks of Translation”." Journal of World Literature 4, no. 4 (December 6, 2019): 581–604. http://dx.doi.org/10.1163/24056480-00404007.
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Abstract In 1957, writing in Spanish, the Mexican poet Octavio Paz (1914–1998) published the first complete translation into a Western language of the famous travel diary Oku no Hosomichi (The Narrow Road to the Deep North, 1702) by Matsuo Bashō (1644–1694). A thoroughly revised second edition followed in 1970, which included freer translations of Bashō’s haikus. In this definite edition, Paz attempted to synthesize the poetic effect of Bashō’s work for a Latin American readership. By using a textual and archival-based approach, this article analyses Paz’s two Spanish versions against the Japanese original text and its intertextualizations of classical Chinese poetry and contextualizes the background behind the publication of these epoch-making translations. It highlights the textual refractions and translation issues that occur when East Asian literature circulates in the Global South and the transpacific literary networks that made these literary exchanges possible.
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Tavárez, David. "Nahua Intellectuals, Franciscan Scholars, and the Devotio Moderna in Colonial Mexico." Americas 70, no. 02 (October 2013): 203–35. http://dx.doi.org/10.1017/s0003161500003229.
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In 1570, the Franciscan friar Jerónimo de Mendieta bestowed a rare gift on Juan de Ovando, then president of the Council of Indies. Mendieta placed in Ovando's hands a small manuscript volume in superb Gothic script with illuminated initials and color illustrations, one of several important manuscripts he had brought to Spain for various prominent recipients. Were it not for its contents, one could have thought it a meticulous version of a breviary or a book of hours, but its contents were unprecedented. This tome contained a scholarly Nahuatl translation of the most popular devotional work in Western Europe in the previous century. It was Thomas à Kempis's Imitation of Christ, which caught Iberian Christians under its spell between the 1460s and the early sixteenth century by means of multiple Latin editions and translations into Portuguese, Catalan, and Spanish, including a version in aljamiado (Spanish in Arabic characters). Indeed, a decisive turning point in the Iberian reception of this work had taken place three decades earlier, through the 1536 publication of Juan de Ávila's influential Spanish-language adaptation.
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Tavárez, David. "Nahua Intellectuals, Franciscan Scholars, and theDevotio Modernain Colonial Mexico." Americas 70, no. 2 (October 2013): 203–35. http://dx.doi.org/10.1353/tam.2013.0106.
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In 1570, the Franciscan friar Jerónimo de Mendieta bestowed a rare gift on Juan de Ovando, then president of the Council of Indies. Mendieta placed in Ovando's hands a small manuscript volume in superb Gothic script with illuminated initials and color illustrations, one of several important manuscripts he had brought to Spain for various prominent recipients. Were it not for its contents, one could have thought it a meticulous version of a breviary or a book of hours, but its contents were unprecedented. This tome contained a scholarly Nahuatl translation of the most popular devotional work in Western Europe in the previous century. It was Thomas à Kempis's Imitation of Christ, which caught Iberian Christians under its spell between the 1460s and the early sixteenth century by means of multiple Latin editions and translations into Portuguese, Catalan, and Spanish, including a version in aljamiado (Spanish in Arabic characters). Indeed, a decisive turning point in the Iberian reception of this work had taken place three decades earlier, through the 1536 publication of Juan de Ávila's influential Spanish-language adaptation.
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Mata Buil, Ana. "Poet-translators as double link in the global literary system." Beyond transfiction 11, no. 3 (November 7, 2016): 398–415. http://dx.doi.org/10.1075/tis.11.3.05mat.
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Based on the diachronic and international study of American Modernism and its translation into Spanish, this article aims to analyze the complementary role of poet-translators as a double link in the global literary system. On the one hand, when translating other authors, poet-translators introduce them to a new audience. On the other hand, their translations complement their own poetic creations. While translating poetry, poet-translators assimilate the original poet’s style and images, which will later filter in their own poetic works. But, at the same time, these literary agents — consciously or unconsciously — introduce their own style marks into their translations. In order to illustrate the analysis, those people whose role as poet-translators stands out have been chosen among all the translators of Modernist poets into Spanish. Added to this discussion is commentary on some examples of Modernist poets who were also translators, including Yvor Winters, Marianne Moore, Langston Hughes, Hilda Doolittle, and Ezra Pound.
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Somacarrera, Pilar. "“How Can You Use Two Languages and Mean What You Say in Both?”1: On Translating Margaret Atwood’s Poetry into Spanish." TTR : traduction, terminologie, rédaction 18, no. 1 (December 18, 2006): 157–81. http://dx.doi.org/10.7202/014371ar.
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Abstract Contrary to what might be expected, a Canadian literature in Spanish translation already exists and, expectedly, Margaret Atwood is one of the most translated writers. All her novels except Life Before Man, as well as three of her collections of short stories and three of her poetry collections have been translated into Spanish. Her work has received excellent reviews in Spain which have also praised her translators. This essay focuses on my own experience translating Atwood’s poetry–her collection Power Politics (Juegos de poder, 2000)–into Spanish, in an approach which compares my own project of translation or “projet-de-traduction,” as formulated by Antoine Berman, with that of the other translations of her poetry into Spanish. Being a university teacher and a researcher in Canadian literature, and not a specialist in Translation Studies, my approach is necessarily pragmatic and not theoretical. Bearing in mind Barbara Folkart’s contention that poetry is a cognitive activity and the multiplicity of interpretations that the poems offer, in which the feminist one is prominent, I tried to produce a translation which was as close as possible to the original characteristics of Atwood’s poetry in its tone, lineation and imagistic dimension. The first steps were the stylistic analysis, which resulted in a rhetorical study of the poems, and then the review of the existing criticism about the poems. The main problems which arose during the translation were related to the political and feminist connotations of the poems. If the political context is crucial in Power Politics, the cultural background is vital in The Journals of Susanna Moodie, although it has been erased in its Spanish version (Los diarios de Susanna Moodie, 1991, by Lidia Taillefer and Álvaro García). This is not an unusual phenomenon, since translation consists in an often insurmountable paradox which is formulated in the lines by Margaret Atwood quoted in the title of this article: trying to formulate the same idea in two languages which function differently and have completely different cultural contexts.
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Francalanci, Leonardo. "The Triumphs’ Golden Age: a comparison between three European translations of Ilicino’s Commentary." Magnificat Cultura i Literatura Medievals 7 (December 8, 2020): 165. http://dx.doi.org/10.7203/mclm.7.17565.
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During the last part of the fifteenth and the first decades of the sixteenth centuries, the dissemination of Petrarch’s Trionfi – the so-called ‘second wave’ of Petrarchism – was characterized by the extraordinary editorial success, in Italy as well as in the rest of Western Europe, of Bernardo Ilicino’s Commento on the Trionfi. By promoting an erudite, encyclopedic, and moralizing reading of Petrarch’s poem, Ilicino’s commentary effectively became a lens through which generations of European readers approached the text. Nonetheless, the dissemination of the commentary proved not to be immune from the influence of sixteenth-century lyrical Petrarchism, which started developing almost at the same time but would not reach peak until few years later. A comparative study of the three known translations of Ilicino’s Commento in Catalan, French and Spanish – even more so, vis à vis the translation of the poem without the commentary – allows us to identify similarities among these translations, as well as important differences. Some of these differences reveal that while the commentary was still sought after by early sixteenth-century readers of Petrarch’s poem, the general approach towards the poem was already starting to shift in the direction of Petrarchism. The three European translations of Ilicino’s Commentary, when organized chronologically, help shed light on how much the reception of the Triumphs was influenced at the time by the parallel development of European Petrarchism, which promoted a more direct, literary approach towards the poem.
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Ortiz García, José A. "La poètica de la mort en la poesia catalana dels segles XVII i XVIII." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 10 (December 6, 2017): 171. http://dx.doi.org/10.7203/scripta.10.11080.
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Resum: L’objectiu d’aquest estudi és proposar una visió sobre el tòpic de la mort en la poesia catalana pels segles XVII i XVIII. El punt central és la projecció pública de les composicions poètiques, tot apropant-nos a la literatura des d’un punt de vista cultural per presentar certs aspectes d’un tema clau en l’art barroc: el final de la vida. La primera part del text introdueix dos dels escriptors del barroc català, Francesc Fontanella i Agustí Eura. La segona secció recerca l’ús de la poesia catalana en les exèquies reials al voltant de la figura del monarca hispànic Carles II. Un cop presentades públicament les poesies en 1701, les edicions impreses són les que ens permeten una lectura contemporània. Publicacions d’altres gèneres poètics són la darrera part de l’article. Els Desenganys de l’Apocalipsi és una coneguda obra barrejant poesia i imatges amb una vessant didàctica per explicar el purgatori, l’infern, la glòria i el paradís als fidels lectors. Paraules clau: mort, poesia, barroc, exèquies Abstract: The aim of this study is a global vision about the topic of death in Catalan poetry throughout the 17th and 18th centuries. Focusing on the public use of poetical compositions, we want to approach literature from a cultural point of view in order to present some aspects about a typical subject in baroque art: the end of life. The first part of the text introduces two main Catalan baroque writers, Francesc Fontanella and Agustí Eura. Moving to the second section, the paper researches the use of poetry in royal obsequies around the figure of the Spanish monarch Charles the Second. After the public presentation of the texts in 1701, the printed publication of them is how we can still read them. The printed copies for other kind of poetry creations is the last part of this article. Desenganys de l’Apocalipsi is a well-known text mixing poetry and images with a didactical purpose: to explain the Purgatory, the Hell, the Glory and the Heaven to faithful readers. Keywords: death, poetry, baroque, obsequies
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Pardo, Santiago Quiroz. "The poem as a whole: translating Chris Mccully’s Icarus and Houses." Alea: Estudos Neolatinos 20, no. 3 (December 2018): 337–56. http://dx.doi.org/10.1590/1517-106x/203337356.
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Abstract This article presents translations from English into Spanish for Icarus and Houses, two poems from Chris McCully’s Selected Poems (2011), along with a critical commentary. I discuss the controversial topic of poetic translation and some of the most relevant theoretical issues related to it, including the dichotomy of originality and equivalence, the usefulness of framing the endeavour within the principle of equivalence effect, the importance of treating the poem as an organic whole, and the benefit of considering different forms of intertextuality during the translation process. Using Robert Bly’s Eight stages of Translation (1982) as a methodological guideline, I discuss some of the decisions that led to the final Spanish version of the poems. I conclude that translation, even beyond poetry, should be framed as a creative act rather than a passive rendering of what has already been said.
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Gaviña-Costero, María. "Brian Friel in Spain: An Off-Centre Love Story." Estudios Irlandeses, no. 16 (March 17, 2021): 110–24. http://dx.doi.org/10.24162/ei2021-10074.
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Spanish theatres are not prolific in the staging of Irish playwrights. However, the Northern Irish writer Brian Friel (1929-2015) has been a curious exception, his plays having been performed in different cities in Spain since William Layton produced Amantes: vencedores y vencidos (Lovers: Winners and Losers) in 1972. The origin of Friel’s popularity in this country may be attributed to what many theatre directors and audiences considered to be a parallel political situation between post-colonial Ireland and the historical peripheral communities with a language other than Spanish: Catalonia, the Basque Country and Galicia; the fact is that the number of Catalan directors who have staged works by Friel exceeds that of any other territory in Spain. However, despite the political identification that can be behind the success of a play like Translations (1980), the staging of others with a subtler political overtone, such as Lovers (1967), Dancing at Lughnasa (1990), Molly Sweeney (1994), Faith Healer (1979) and Afterplay (2001), should prompt us to find the reason for this imbalance of representation elsewhere. By analysing the production of the plays, both through the study of their programmes and interviews with their protagonists, and by scrutinising their reception, I have attempted to discern some common factors to account for the selection of Friel’s dramatic texts.
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Lakhtionova, K. "TRANSLATION ERRORS IN TRANSLATIONS OF FICTION TEXT OR TRANSMITTING TRACKERS." PROBLEMS OF SEMANTICS, PRAGMATICS AND COGNITIVE LINGUISTICS, no. 33 (2018): 210–17. http://dx.doi.org/10.17721/2663-6530.2018.33.15.
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Everything has been changing all the time in our world. It concerns language and literature as well. New traditions are being formed, and old ones die. Literary activity (creativity) could not avoid such changes: flexible natural form (shape) came instead of classical writing, instead of classical writing, great and sentimental, inherent to French literature. Bokacho`s Style and perfectionism in language mean following the rules of language standard, starting from XIII century and finishing XVIII. Padre Grande was criticized too for glorification of Toskana literary language and humiliation of local dialects. Outstanding personality of Dzhuzeppe Parini appears in early period of defining his positions, ignoring linguistic polemics, avoiding different extremes and exaggerations. Parini demonstrates society in ironic style, old such as “batrachomyomachia” – ironic “Illiada”, Moskeida” – Orlando`s statements: epical forms reflect plebeian picture of the world. Irony – is a kind of obsolete society, which didn`t understand its decline. Obsolete does its best to pretend modern, the more proud is the style, the poorer it is. This is the essence of Parini`s conception incarnated in his literary work “Giorno”(Day) which is based on irony, deep and sad. There are no doubts, that after the research and discuss about Parini, after publications of the translation in Spanish, not only ceased, but gained great interest of literary researches. It is clear, that some mistakes in translations were done, but we are not judges. The most important is basic content which is presented in the introduction of A. Prieto. Analyzing translator`s mistakes from Italian language of original text into Spanish we have to focus on key phrase of Maris Isabel Honsales-Fernandes, that Spanish has not a lot in common with Italian. It is evident especially in translation of lexical units, where the translator did mistakes, that demonstrates not appropriate level of Italian language knowledge. We can call this phenomenon “amici falsi del traduttore”, ignorance of particular lexis and meaning that lexical unit can have in both languages. This ignorance led to misunderstanding even to ugliness and curvature of original text. The translator Marselo Arroyita-Chauresi, who is a poet himself, is much more to be desired. He has tried to follow the text of original in some cases. But he was not successful in his attempts. You can just imagine Spanish translation to be translated into language of original even being of 200 years old, which we could receive. Not a proper level of the Italian language and misunderstanding of some words, which in Spanish and Italian sound the same way. Translator`s work – hard labour which needs flawless knowledge of the language of original not to loose while translating artistic value or even to deface author`s concept. It just verifies common known truth: not to ignore even the slightest peculiarities of the text of original. The translator has to know lexis and a grammar perfectly, be able to use translator`s transformations in order to avoid such phenomena as failed translation and misrepresentation of the content of the text, especially if it is a poetry.
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Oceánide, O'Donoghue Bernard, Paddy Bushe, and Suso De Toro. "Literary Contributions by Paddy Bushe, Bernard O'Donoghue and Suso de Toro." Oceánide 13 (February 9, 2020): 127–31. http://dx.doi.org/10.37668/oceanide.v13i.49.
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Paddy Bushe was born in Dublin in 1948 and now lives in Waterville, Co. Kerry. He writes in Irish and in English. His collections include "Poems With Amergin" (1989), "Digging Towards The Light" (1994), "In Ainneoin na gCloch" (2001), "Hopkins on Skellig Michael" (2001) and "The Nitpicking of Cranes" (2004). "To Ring in Silence: New and Selected Poems" was published in 2008. He edited the anthology "Voices at the World’s Edge: Irish Poets on Skellig Michael" (Dedalus, 2010). His latest collections are "My Lord Buddha of Carraig Eanna" (2012), "On A Turning Wing" (2016) and "Móinéar an Chroí" (2017). He received the 2006 Oireachtas prize for poetry, the 2006 Michael Hartnett Poetry Award and the 2017 Irish Times Poetry Now Award. He is a member of Aosdána. In 2020, Dedalus Press publishes "Double Vision", a two-volume publication comprising Second Sight, the author’s own selection of his Irish language poems, accompanied by the author’s own translations, as well as "Peripheral Vision", his latest collection in English.
Bernard O’Donoghue’s was born in Cullen, County Cork in 1945, he has lived in Oxford since 1965. His first full-length collection, "The Weakness", emerged in 1991 with Chatto & Windus, following on from a trilogy of pamphlets. His second collection, "Gunpowder" (1995) won the Whitbread Poetry Award. More recently, he published the collection "Outliving" and a selection of his poetry by Faber in 2008, followed by "Farmers Cross" (2011), which was shortlisted for the T.S. Eliot Prize. In 2009 he was honoured by the Society of Authors with a Cholmondeley Award. Until recently, O’Donoghue taught and worked for Oxford University, specialising in medieval verse and contemporary Irish literature. His reputation as a scholar consolidated in 1995 with his critical work, "Seamus Heaney and the Language of Poetry", described as “excellent” by Ian Sansom in "The Guardian". More recently O’Donoghue edited the "Cambridge Companion to Seamus Heaney" and has produced a number of translations of medieval works, including "Gawain and the Green Knight" (2006) and, forthcoming from Faber, "Piers Plowman".
Xesús Miguel "Suso" de Toro Santos (1956-) is a Spanish writer. A modern and contemporary arts graduate, he has published more than twenty novels and plays in Galician. He is a television scriptwriter and regular contributor to the press and radio. Suso de Toro writes in Galician and sometimes translates his own work into Spanish. His works have been translated into several languages, and have been taught in European universities. There are plans to make three of his works into films: "A Sombra Cazadora" (1994), "Non Volvas" (1997), and "Calzados Lola" (2000).
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Sobrer, Josep Miquel. "LA GRAN ENCISERA: THREE ODES TO BARCELONA, AND A FILM." Catalan Review 18, no. 1-2 (January 1, 2004): 121–28. http://dx.doi.org/10.3828/catr.18.1-2.8.
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Three odes to Barcelona, written by Jacint Verdaguer, Joan Maragall, and “Pere Quart” [Joan Oliver] respectively, make clear the changing faces of the city. For Verdaguer, Barcelona is an expansive metropolis on its way to greatness. For Maragall, Barcelona, while rocked by conflict, remains the inescapable center and “great enchantress” of Catalan life. For Pere Quart, Barcelona is the locus of a sweeping revolution aimed at bringing about a new social order —a hope promptly shattered by the Spanish war of 1936-39. The three odes roughly correspond to three generations and offer a poetic history of the city. Skipping a generation and shifting from poetry to film, the article addresses Barcelona at the turn of the twentieth century as seen by Pedro Almodóvar in his 1998 Oscar-winning film, Todo sobre mi madre. In Almodóvar’s portrait, Barcelona is detached from its role as Catalan capital and becomes a globalized city for postmodern pilgrimages. As if to underscore this move, the celebrated technique known as trencadís employed by Gaudí and other modernists (and consisting of broken pieces of ceramic put together to form new ornamental compositions) serves as a symbolic backdrop to a number of characters who flock to the city to give new meaning to their fragmented selves.
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Ait HADDA, Thinhinane, and Meriem Fellag ARIOUAT. "THE PRAGMATIC DIMENSION OF METAPHOR TRANSLATION IN THE SPANISH POETRY OF THE 27TH GENERATION." RIMAK International Journal of Humanities and Social Sciences 03, no. 03 (March 1, 2021): 175–83. http://dx.doi.org/10.47832/2717-8293.3-3.15.
Full textAbstract:
Literary translation is one of the most difficult and complex types of translations, especially when it comes to translating poetry and the graphic images it carries, as these images are an expressive tool, as we find that the metaphor tops the verses of the Spanish 27-generation poets, the generation that emerged after the celebration of the three hundredth anniversary of the death of the poet Louis De Gongra, because of the conditions in which they lived and the censorship they were subjected to during the period of General Franco's regime, the metaphor was a means of expressing the lived reality, which links the tangible with the abstract, and calls the reader to the realization of thought as a result of implicit sayings difficult to understand. If the original text is difficult to understand, how The transfer to the other language, in which the matter will become more complicated to decode the content of each borrowing and reformulate it in the language transferred to it, and thus the translation of the metaphor is among the most important issues that occupy translation in its theoretical and practical parts. Through this intervention, we touched upon the study of the pragmatic dimension of translating a metaphor in the poetry of the 27th generation, focusing in that on studying the competencies of the translator when transmitting it, and we raised the following problem: What are the linguistic and translation tools that help to investigate the pragmatic dimension in decoding the content of the metaphor in the original text And to achieve the goal of the writer? Our aim of this research is to finally highlight these tools that help the translator in his work and convey this type of images with the same meaning and effect.
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Carbajosa Palmero, Natalia. "Entre la extrañeza y las equivalencias naturales: traducir la poesía experimental de Lorine Niedecker." TRANS. Revista de Traductología, no. 24 (December 22, 2020): 191–204. http://dx.doi.org/10.24310/trans.2020.v0i24.8028.
Full textAbstract:
This paper shows how my translations of objectivist American poet Lorine Niedecker for the bilingual volume Y el lugar era agua: Antología poética, published in 2018, have constantly sought for natural Spanish equivalences in sound and rhythm while trying, through different translating and rhetorical techniques, to keep the tone of strangeness that a more literal approach to the translation (after Walter Benjamin’s reflections on the translation of experimental poetry) would render. To this end, specific translation uses (punctuation sings such as the long dash and other visual display elements, paraphrasing and amplification, homophony, alliteration, and techniques for the reproduction of a sustained tone in the target text) will be explained with respect to the translation choices for some of the most successful poems of the author.
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Garre García, Mar. "The Poetics of Silence in the Translation of Samuel Beckett’s “Comment dire” / “What Is The Word” into Spanish." Babel – AFIAL : Aspectos de Filoloxía Inglesa e Alemá, no. 29 (December 23, 2020): 27–50. http://dx.doi.org/10.35869/afial.v0i29.3276.
Full textAbstract:
“L’écriture m’a conduit au silence,” admitted Samuel Beckett to Charles Juliet in Rencontres avec Samuel Beckett (21). ‘Comment dire,’ his last written poem, was first published in 1989 and summarises a lifetime exercise of self-expression beyond the limits of language and time. Indeed, it was originally written in French only a year before Beckett died, devoid of a great deal of his communicative abilities. Thus, this poem represents a sort of literary testament (Carriedo 50) resonant of both his literary career and personal life. In fact, its misleading austerity reveals a challenging area of work for the translator to draw on the original text to create his/her own poetic interpretation. In Spanish- speaking countries, Beckett’s poetry has not been given as much prominence as his other works. However, there is evidence of three translations of ‘Comment dire,’ which thereafter demonstrates a surprising interest in Beckett’s late poetic production: Laura Cerrato’s ‘Cómo decir’ (1990), Loreto Casado’s version within Quiebros y Poemas (1998), and Jenaro Talens’ own interpretation in Obra poética completa (2000). The main objective of this paper is to comment on the essential convergences and disparities found in these translations and therefore to identify mutual sources of interest in Beckett’s original poem. I will also observe the predominant strategies they have chosen in translating ‘Comment dire’ on the basis of two fundamental parameters: creative freedom and respect for Beckettian standards founded on the poetics of silence.