Academic literature on the topic 'Paratexts in translation'

This paper is a case study of the role of translation paratexts in creating or reinforcing the image of the Japanese Other. The aim of this paper is to analyze factors related to stereotyping in order to contribute to a better knowledge of the mechanisms of representation of Otherness. My hypothesis is that a significant number of paratexts include stereotypes and that paratext authorship (translator, publisher etc.) and the types of translation (direct, indirect, retranslation) are factors related to this. The corpus comprises books by Mishima and Kawabata for which there are two or more different translations published in Spain.

Abstract Translating Culture: Reading the Paratexts to Aimé Césaire's Cahier d'un retour au pays natal — This article is concerned not with the linguistic translation of a Caribbean text, but with its cultural translation. It presents the argument that the paratexts to the multiple editions of Aimé Césaire's Cahier d'un retour au pays natal fonction principally as instruments of cultural translation. It also describes how the transfigurations of the Cahier's paratext over time and across cultures serve as markers for the changing epistemes of "Caribbean culture" and "Francophone Caribbean Literature."

La noción de paratexto en los Estudios de Traducción ha estado presente en investigaciones y trabajos de índole práctico, pero también en reflexiones teóricas, que exploran cómo impacta en el proceso y en el producto de traducción la relación entre el texto y su entorno conformado por otros textos dentro o fuera de él o por aspectos materiales o inmateriales, es decir, tanto físicos como socioculturales que lo rodean. En Translation and Paratexts, Kathryn Batchelor propone un marco teórico a partir de una exploración terminológica que conjunta la reflexión crítica con revisiones metodológicas del concepto de paratexto en investigaciones previas.

Abstract This article aims to investigate the relationship between paratexts and the translation product with a case study of Lolita translations in China. Since Lolita has been one of the most frequently retranslated literary works in China over the past three decades, it can serve as a bellwether of the changes that have taken place in the translation field as well as those in the social, cultural and historical context. Therefore, a comparative study of the paratextual elements of Lolita translations acts as a reflection of the negotiations between the translation activity and the changing socio-political context. The analysis of paratexts locates translation as a social activity in which many agents are involved other than simply the translator and the source text. Through their organic integration with the translation products, the paratextual elements, functioning as genre indicators, work to promote the translation while potentially predicting its target readership. In the translation and retranslation of the same source text, a discussion of the paratexts may provide new insights into understanding the relationship between translations and retranslations as well as the evolution of the translation field in relation to Chinese society.

Genette (1987) describes a paratext as the threshold between a reader and a text, which presents the text to the readers, and influences how the text is received. Based on Genette’s definition, this study makes further exploration of paratext translation and proposes that paratexts in translated works are constituted of the paratext in the original text and the additional parts from the translator and other participants. Mainly based on the translation assessment model proposed by Katharina Reiss, this essay suggests a three-principle model for the paratext translation quality assessment in historical text. Then mainly taking footnotes in The Annals as a case study, the essay explores the fundamental factors that influence the paratext translation quality in the historical text, and suggests taking the principles of completeness, preciseness, and conciseness into consideration.

This article addresses the relationship between text and paratext in the publication history of Vladimir Nabokov’s novel Lolita. Such paratexts include Nabokov’s own afterword to the 1958 American edition and his postscript (published in 1967) to his own translation of Lolita into Russian, as well as various introductions and afterwords, both in English-language editions and in translations of Lolita into Russian and other languages. A particularly interesting type of paratext is constituted by annotations to the main text, and the analysis focuses on parallel examples published in annotated editions of Lolita in English, Russian, Polish, German, Ukrainian, and French. The analysis shows that the most detailed annotations concerning the totality of the English and Russian Lolita text and paratexts can be found in editions published in languages other than English and Russian, whereas most English or Russian editions seem to focus on the respective language version. There is still no complete, annotated edition of the bilingual text containing all the authorial paratexts.

As a world-famous writer and translator, Lin Yutang is recognized as a cultural ambassador who dedicated his entire life to cross-cultural communication between East and West. His translation works are of great significance in promoting cultural exchange between China and the West. Taking his English translation of the Chinese canon Dao De Jing as a case study, this article conducts a thorough analysis of paratexts in translation and discusses how paratexts help the translator interpret the source text and introduce Laozi’s thoughts for western audiences. More importantly, it explores the mediating functions of paratexts in facilitating target readers’ understanding and reception of the original text. The study demonstrates that paratexts in translation provide an effective platform for translators to interpret the source text and facilitate the target reader’s comprehension and perception of the source culture, thus highlighting the essential characteristic of translation as a cross-cultural communication activity.

Este estudo propõe-se a discutir o potencial de recepção da obra de Clarice Lispector na Alemanha. Para tanto, fundamenta-se no ideário de tradução despontado nos anos de 1970, sobretudo na Teoria dos Polissistemas de Itamar Even-Zohar, nas normas de tradução de Gideon Toury e nos conceitos de reescrita e patronagem de André Lefevere. Combinada a estes princípios tradutológicos, a obra de Gérard Genette, Paratextos Editorias, auxilia na sistematização das funções e especificidades do corpus desta pesquisa, qual seja, os paratextos que apresentam e comentam as traduções alemãs dos livros de Lispector: textos das orelhas, resenhas literárias, artigos de jornal, dentre outros. Mediante a leitura descritiva e analítica destes elementos textuais, mapeia-se o papel e a influência de instâncias e agentes, tais como editoras e articulistas, na divulgação desta escritora no sistema literário alemão. Destarte, evidenciam-se novos matizes na recepção da literatura brasileira traduzida na Alemanha, na medida em que a imagem associada à obra de Lispector se desvencilha de determinados estereótipos relacionados ao Brasil e alinha-se à tradição da literatura ocidental.
This study aims to discuss the reception potential of Clarice Lispector\'s work in Germany. Therefore, it is based on the ideas of translation emerged in the 1970s, especially on the Polysystem Theory by Itamar Even-Zohar, the translation norms by Gideon Toury, and the concepts of rewriting and patronage by André Lefevere. In combination with these translational principles the work of Gérard Genette, Paratexts, supports the systemization of the functions and particularities of the corpus of this study, namely, the paratexts that present and comment the German translations of Lispectors books: blurbs, literary reviews, newspaper articles, among others. By means of describing and analyzing these textual elements this work aims at mapping out the role and the influence of instances and agents such as e.g. publishers and journalists on the dissemination of this writer in the German literary system. Thus, new tinges in the reception of Brazilian literature translated in Germany become evident, as the image associated with Lispector\'s work is uncoupled from certain stereotypes related to Brazil and aligned with the tradition of Western literature.

PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
No Brasil oitocentista, além do desenvolvimento de uma literatura preocupada em pensar os elementos nacionais, é possível identificar a tradução dos clássicos com objetivo de instruir a sociedade letrada. Manuel Odorico Mendes foi significativo para esse movimento, optando pela tradução e emulação de Virgílio e Homero a fim de utilizá-los como ferramenta para um projeto político-pedagógico de formação. O maranhense foi o primeiro tradutor integral dos poetas latino e grego no Brasil e desenvolveu pequenos ensaios com considerações teóricas e historiográficas, ainda que não de forma sistemática, sobre a língua portuguesa, a tradução e os antigos. Suas notas são um ato de linguagem que, em conjunto com o material traduzido, podem ser entendidas como um manual de instrução para os letrados do novo cenário do Brasil do século XIX.
In nineteenth-century Brazil, in addition to the development of a literature concerned with the national elements, it is possible to identify the translation of the classics in order to instruct the literate society. Manuel Odorico Mendes was significant for this movement, opting for the translation and emulation such as Virgil and Homer in order to use them as tools for a political-pedagogical project of formation. Odorico Mendes was the first integral translator of the Latin and Greek poets in Brazil and developed essays that accompanied his translations. His notes are an act of language that, together with the translated material, can be understood as an instruction manual for the literates of the new scenario of nineteenth century in Brazil.

Des études sur la traduction des oeuvres nigérianes rédigées en anglais, de même que d’autres oeuvres africaines, ont conclu que les spécificités culturelles des oeuvres sont souvent conservées lorsqu’elles sont traduites en langues européennes, afin de préserver leurs éléments typiques. Cette thèse élargit ce champ d’analyse aux éléments qui se trouvent autour des oeuvres. Elle explore les paratextes (mises en page, titres, images de couverture, textes de présentation et préfaces) de romans nigérians rédigés en anglais et traduits en français de 1953 à 2013 pour découvrir comment les romans sont présentés au public français, en d’autres termes, comment le public cible est supposé recevoir les oeuvres. L’hypothèse de la thèse est que les perceptions du Nigéria ont influencé la présentation la commercialisation des oeuvres.Le concept des études descriptives de la traduction a été appliqué. Les différentes perceptions du Nigéria ont été définies. Par la suite, les paratextes des romans sources et des romans cibles ont été extraits et comparés pour découvrir des pratiques récurrentes dans les paratextes cibles et établir s’il y a eu des références aux images du Nigéria.Les résultats de l’étude révèlent que, tout comme la traduction d’oeuvres nigérianes (africaines) dans laquelle les spécificités culturelles sont souvent conservées dans le texte cible, les spécificités culturelles des oeuvres sont également conservées dans les paratextes des textes cibles et celles-ci indiquent que les romans sont présentés comme une documentation narrative de la culture et des valeurs nigérianes. Elles sont commercialisées en mettant en avant leur aspect exotique. En outre, les images du Nigéria ont non seulement influencé la présentation et la commercialisation des romans, mais ont également joué un rôle décisif lors du choix d’une oeuvre nigériane à traduire en français.Cette manière de présenter les oeuvres nigérianes au public français renforce les images négatives du Nigéria. Elle minimise les aspects esthétiques de ces romans et oblige le lecteur de s’engager avec les romans nigérians uniquement de ce point de vue
Research on the translation of Nigerian literary texts written in English, and even other African texts, has demonstrated that the cultural specificity of the texts is often retained when they are translated into European languages in order to preserve their local colour. This thesis adds to the scholarship by examining the elements that surround the texts. It explores the paratexts (layouts, titles, cover images, blurbs, synopses and prefaces) of Nigerian novels written in English and translated into French from 1953 to 2013 to determine how the novels are presented to the target audience, in other words, how the French audience is envisaged to receive the works. The hypothesis of the thesis is that the images of Nigeria influenced the presentation and promotion of the novels.The framework of descriptive translation studies was applied. Different perceptions of Nigeria were defined. Afterwards, the paratexts of the source and target novels were extracted and compared in order to find recurrent patterns in the target paratexts and to establish if there were references to Nigerian images in the paratexts.The findings of the research revealed that, like the translation of Nigerian (African) works in which the cultural specificity is preserved in the target texts, the cultural specificity of the works is also retained in the target-text paratexts, and it indicates that the novels are construed as narrative documentation of Nigerian culture and values. The works are marketed for their exoticism, which is emphasised in the paratexts. Furthermore, the images of Nigeria in France did not only shape the construal and marketing of the novels but also played a role in the selection of the works for translation.The presentation and promotion of these novels as documentation of Nigerian culture and values reinforce the negative images of Nigeria. It downplays the aesthetic qualities of the novels and can prevent a reader from engaging with Nigerian works from a different standpoint

This research looks into literary translations from Korean into English right after the Korean War (1951 to 1975), comparing them to the translations published in the later years of truce and development (1976 to 2000). The aim is to discern to what extent a historical situation of interest in another culture rises in parallel to the demand for literary translations from that culture. The comparison shows no direct correlation between one and the other, suggesting that the translation flows have a logic on its own. However, several relations are displayed. The more volumes in the flow and the longer the cultural exchange, the wider the availability of agents (translators, editors, publishers), and the more specialized they become. The presentation discourses also specialize, becoming more target-oriented. As the flow grew, Korean literature was presented in more specific terms; translation and translators lost visibility; and the commercial aim becomes more noticeable.
Este estudio investiga la traducción literaria coreano-inglés en Estados Unidos tras la Guerra de Corea (1951 a 1975) en comparación con la producción en los posteriores años de desarrollo (1976 a 2000). Su objetivo es dilucidar el alcance de la relación entre una situación histórica de interés en otra cultura y la demanda de traducciones literarias de esa cultura. La comparativa muestra la falta de una relación directa y sugiere que los flujos traductores tienen una lógica propia. Igualmente, muestra varias relaciones. A mayor número de volúmenes e intercambio cultural, mayor disponibilidad de agentes (traductores, agentes literarios, editores), y mayor la especialización de los mismos. Los discursos que representan el flujo también se especializan, orientándose a la cultura meta. Al aumentar el flujo, la literatura coreana se presenta en términos más específicos, la traducción y los traductores pierden visibilidad y se acentúa el fin comercial de las obras.
Aquest estudi investiga la traducció literària coreà-anglès a Estats Units al període posterior a la Guerra de Corea (1951 a 1975) en comparació a la producció en anys de bonança (1976 a 2000). Es tracta de comprovar si una situació històrica d’interès en una altra cultura té una correlació directa amb la demanda de traduccions literàries d’aquesta cultura. La comparació no mostra una relació directa i suggereix que els fluxos traductors tenen una lògica pròpia. A més, mostra altres correlacions. Quants més volums e intercanvis culturals, major disponibilitat d’agents (traductors, agents literaris, editors) i més especialitzats. Els discursos que presenten el flux també s’especialitzen, orientant-se cap a la cultura meta. A un flux més voluminós, la literatura coreana es presenta en termes més específics, la traducció i els traductors perden visibilitat i s’accentua la finalitat comercial de les obres.

El Japó és un país situat a una gran distància geogràfica i cultural respecte Espanya i, sumant això a la categoria d’oriental, implica una gran proliferació d’esteretips en la imatge d’aquest país. L’ús dels paratextos en la recerca en traducció és relativament recent i no hi ha gaires treballs que tractin sobre les traduccions del japonès a Espanya. Els paratextos són sovint el primer contacte del lector amb un llibre i, per tant, poden influir en la imatge que es formarà el lector en llegir el text. La imatge de l’altre, però, ja es comença a formar en el moment en què s’escullen determinades obres per traduir. Aquest treball s’emmarca en els estudis descriptius de la traducció, però incorpora un enfocament multidisciplinar, entre la sociologia de la traducció, la història de la traducció i els estudis culturals. Alguns dels conceptes fonamentals amb què treballem són els paratextos, la representació de l’alteritat, la selecció de textos per traduir i la traducció indirecta. Les nostres hipòtesis principals són que una part important de la imatge de l’altre japonès que s’ofereix en la literatura traduïda a la cultura meta comença en el moment de la selecció d’obres per traduir i es reelabora en els paratextos que envolten la traducció, i que la imatge de l’altre japonès que s’ofereix en aquests paratextos no ha variat significativament en els últims 40 anys. Per tal d’analitzar els paratextos de les traduccions, hem creat una base de dades que ens ha permès oferir una àmplia panoràmica de les traduccions del japonès a Espanya. El cos del treball es divideix en dues parts: l’anàlisi principalment quantitativa del corpus i l’anàlisi del subcorpus, una selecció de traduccions de les quals n’analitzem els paratextos en profunditat. El corpus inclou els llibres traduïts del japonès, directa o indirectament, i publicats a Espanya des del 1900 fins al 2014. Al llarg del temps s’observa una gradual tendència a l’alça en el nombre de traduccions, especialment en els últims deu anys. Gairebé la meitat de les traduccions són de llibres no literaris i, malgrat que hi ha diversitat temàtica, la major part dels llibres pertanyen a categories que s’identifiquen amb la imatge predominant del Japó (arts marcials, budisme, empresa i dibuix). Així doncs, la selecció d’aquestes obres per traduir reflecteix i reforça una imatge concreta del Japó. En les cobertes s’observa un predomini d’imatges que evoquen la tradició i figures femenines. El subcorpus consta de tretze edicions derivades de quatre traduccions d’obres de Kawabata i Mishima, de les quals n’analitzem els paratextos, principalment la coberta, coberta posterior, prefacis i notes al peu, entre d’altres. Amb aquesta anàlisi hem constatat l’ús reiterat d’estereotips en la presentació de l’altre, en els paratextos tant de publicacions antigues com recents. Els resultats mostren que, si bé l’ús d’imatges tradicionals ha disminuiït en termes proporcionals, els mateixos estereotips de fa 40 anys es segueixen utilitzant de forma abundant en els paratextos de les traduccions. Aquesta tesi suposa dues aportacions principals: d’una banda, mostra la importància dels paratextos en la creació i reforç d’imatges culturals i com els estereotips prevalen en la presentació de l’altre japonès i, de l’altra, inclou una extensa base de dades que pot ser útil per tothom interessat en la literatura japonesa o la seva traducció.
Japan is a country placed at a great cultural and geographical distance from Spain and, being categorized as “oriental”, its image has been widely represented using stereotypes. Paratext study in translation research is relatively new and, furthermore, there are not many studies dealing with Japanese translation in Spain. Paratexts are often a reader's first contact with a book, and thus they may influence readers' interpretation when reading the text. The image of the Other starts being shaped even earlier, when certain books are chosen to be translated. The framework of this study is Translation Descriptive Studies, including a multidisciplinary approach between translation sociology, translation history and cultural studies. Among the fundamental concepts we deal with are paratexts, representation of Otherness, selection of books to be translated and indirect translation. Our main hypothesis is that an important part of the image of the Japanese Other offered in translated literature in the target culture begins when books are selected for translation and that this image is reshaped in the paratexts that surround translation. Moreover, we think that the image of the Japanese Other offered in the paratexts has not significantly changed in the last 40 years. In order to analyse translation paratexts, a database was created, which allowed us to study a wide view of the translations from Japanese in Spain. The main body of this study has two parts: the analysis of the corpus, mainly quantitative, and the analysis of the subcorpus, a selection of translations whose paratexts are analysed in depth. The corpus includes all books directly or indirectly translated from Japanese and published in Spain from 1900 to 2014. Throughout time, the number of translations has been steadily increasing, especially in the last ten years. Almost a half of the total are non-literary books and, despite diversity in subjects, most of the books are in categories that fit into the predominant image of Japan (martial arts, Buddhism, business and drawing). Therefore, the selection of these works to be translated reflects and reinforces a specific image of Japan. In book covers, images evoking tradition and feminine characters are prevalent. The subcorpus consists of thirteen editions deriving from four translations of works by Kawabata and Mishima, whose paratexts are analysed: mainly book cover, back cover, prefaces and footnotes, among others. Through this analysis, we have verified the reiterated use of stereotypes in the presentation of the Other in the paratexts of both new and old publications. The results show that, even while traditional image usage has proportionally decreased, the same stereotypes used 40 years ago are still being widely used in the paratexts of translations. This dissertation includes two main contributions: on the one hand, it demonstrates the importance of paratexts in the creation and reinforcement of cultural images and how stereotypes are prevailing in the presentation of the Japanese Other and, on the other hand, it provides an extensive database which may be useful for anyone interested in Japanese literature or in its translation.

ABSTRACT (IT) Questa tesi costituisce il primo studio sistematico delle traduzioni di Carmen Martín Gaite, e del ruolo cruciale che svolsero nella sua opera e nella sua vita. I principali obbiettivi di ricerca sono la definizione del significato della traduzione nella biografia intellettuale della scrittrice e, rovesciando la prospettiva, l’influenza del suo approccio letterario nella pratica traduttiva e nello sviluppo di una teoria implicita della traduzione. Carmen Martín Gaite selezionava le opere da tradurre a partire dai propri interessi letterari ed esistenziali, e stabiliva innumerevoli connessioni dialogiche, avanti e indietro nel tempo, tra i testi e gli autori tradotti e la propria scrittura, attraverso annotazioni nei Cuadernos de todo, prologhi, note di traduzione, recensioni, citazioni e le più diverse declinazioni intertestuali della sua produzione narrativa. Nel tradurre, la scrittrice faceva ricorso alle proprie capacità letterarie per mediare tra l’autore del testo, i lettori intesi come imprescindibili ‘interlocutori’, e il traduttore stesso, di cui sottolineava il ruolo interpretativo. Inoltre, Carmen Martín Gaite sosteneva la necessita di un maggior riconoscimento del traduttore, considerato un “demiurgo della parola” al pari dello scrittore, con il quale condivide l’impegno e le responsabilità etiche ed estetiche. L’approccio traduttivo di Carmen Martín Gaite interpella le teorie della traduzione contemporanee da un punto di vista narrativo e comunicativo, ed è caratterizzato dall’integrazione dei requisiti etici ed estetici, dettati da una pratica orientata al lettore, con la visibilità intenzionale del traduttore, ottenuta mediante l’uso creativo dei paratesti. La ricerca è iniziata con la raccolta di tutti i dati di pubblicazione delle traduzioni di Carmen Martín Gaite e dei rispettivi paratesti (in particolare, prologhi e note del traduttore). Una volta fissato l’ordine cronologico di pubblicazione, il lavoro di ricerca ha affrontato lo studio delle molteplici relazioni tra ogni traduzione e le opere della scrittrice. Il risultato di questi due aspetti dell’indagine è presentato nelle ventiquattro sezioni che descrivono le caratteristiche principali di ogni testo tradotto, i suoi collegamenti con le circostanze della vita e della riflessione letteraria di Carmen Martín Gaite, e la sua influenza a lungo termine sul lavoro e il pensiero della scrittrice. Dopo un capitolo iniziale le diverse sezioni sono raggruppate in capitoli che corrispondono a quattro diversi periodi individuati nel lavoro e nella vita dell’autrice. Il secondo capitolo si snoda negli anni del silenzio narrativo tra Ritmo lento e Retahílas. Il terzo copre la stagione creativa successiva alla pubblicazione di El cuarto de atrás. Il quarto, segnato dal lutto e dalla rigenerazione, si conclude con la pubblicazione di Caperucita en Manhattan. Il quinto, infine, comprende gli ultimi anni di Carmen Martín Gaite, interamente dedicati alla letteratura. L’ultimo capitolo della tesi, che corrisponde alla terza tappa della ricerca, svolge le questioni di maggior rilievo emerse in particolare dall’esame dalle sue traduzioni di tre opere di Natalia Ginzburg. La proposta di alcuni esempi della pratica traduttiva di Carmen Martín Gaite è posta in relazione dialogica con un breve testo sulla traduzione della stessa scrittrice, con i principali contributi teorici dei Translation Studies, e con le riflessioni sul tema di José Ortega y Gasset e Octavio Paz.
ABSTRACT (EN) The thesis is the first in-depth study of the translations of Carmen Martín Gaite, and takes as its premise the pivotal role of translation in her life and literature. The main research objective is an investigation of the importance of translation in the writer’s intellectual biography, and, from another perspective, the impact of her literary approach on her practice, and implicit theory, of translation. Firstly, Carmen Martín Gaite determined which works to translate on the basis of her literary and existential concerns in a given moment. She established countless dialogical connections between the translated texts (and authors) and her own work, through entries in the Cuadernos de todo, prologues to the translated texts, translation notes, reviews, quotations, and frequent intertextual nuances in her own novels. Secondly, Carmen Martín Gaite drew on her literary skills to mediate between a text’s author, its readers, highly regarded as ‘interlocutors’, and its translator, whom she saw as playing an interpretative role. Her translation strategies combined the deliberate visibility of the translator, obtained through a creative use of paratexts, with the aesthetic and communication values of a target-oriented practice, and questioned contemporary translation theories from a narrative and communicative point of view. At the same time, she called for the recognition of the translator as a ‘demiurge of the word’, equal to the writer in terms of his or her commitment to ethical and aesthetic responsibilities. The research commenced with an assessment of the publication data of Gaite’s translations, and the collection of all related paratexts (in particular, prologues and translator’s notes). Having established the chronological order of publication, the research continued with an investigation of the relationship between each translation and Martín Gaite’s own works. The results of these two research phases are presented in twenty-four sections that describe the salient features and peculiarities of each translation text, the connections between that text and the circumstances of Martín Gaite’s life and literary reflections past and present, and its long-term influence on her work and thought. After the first preliminary chapter, the sections are grouped according to four distinct periods in the life and works of the author. The second chapter deals with the ‘narrative silence’ between Ritmo lento and Retahílas. The third covers the creative season from the publication of El cuarto de atrás to the death of Gaite’s daughter. The fourth, a time of mourning and regeneration, concludes with the publication of Caperucita en Manhattan. Finally, the fifth chapter encompass the last years of Carmen Martín Gaite’s life, entirely devoted to literature. The last chapter of the thesis, corresponding to the final part of the research, consists of a reflection on Martín Gaite’s translation of three original works by the Italian author Natalia Ginzburg. The different sections address some general questions in the translation practice of Carmen Martín Gaite and elucidate the findings with commentary and examples, comparing a short text on translation by the author herself with the leading contemporary contributions to Translation Studies, and with the reflections of Ortega y Gasset and Octavio Paz on translation.
ABSTRACT (ES) La tesis doctoral que aquí se presenta constituye el primer estudio sistemático sobre la labor traductora de Carmen Martín Gaite, y sobre el papel crucial de las traducciones en su vida y obra. Los principales objetivos de investigación son la definición del significado de la actividad de traducción en la biografía intelectual de la escritora y, desde una perspectiva opuesta, pero complementaria, la influencia de su planteamiento literario en su práctica traductora y en el desarrollo de una teoría implícita de la traducción. Carmen Martín Gaite seleccionaba entre los encargos de traducción las obras que estimulaban sus intereses literarios y existenciales en un determinado momento, y establecía innumerables conexiones dialógicas entre los textos, los autores traducidos y su propia obra, como testifican muchas entradas en los Cuadernos de todo, así como los prólogos, notas, reseñas y citas relativas a sus traducciones, además de las frecuentes reelaboraciones intertextuales presentes en su obra narrativa. En la labor traductora, la escritora se aprovechaba de su competencia literaria para mediar entre el autor del texto y los lectores, siempre muy valorados como imprescindibles “interlocutores”, reservando para el traductor un papel interpretativo. Asimismo, sostuvo la necesidad de un mayor reconocimiento para los traductores, que consideraba “demiurgos de la palabra”, tal como los escritores, con los cuales comparten el compromiso artístico y la responsabilidad hacia el lector. En su labor traductora, que se contrasta en la tesis con las teorías traductológicas contemporáneas, Carmen Martín Gaite integraba los requisitos éticos y estéticos dictados por una práctica orientada hacia el lector, con la visibilidad del traductor, obtenida intencionadamente mediante el uso creativo de los paratextos. En la primera etapa de la investigación se ha fijado el corpus completo y el orden cronológico de publicación de todas las traducciones, recogiendo también copia de todos los respectivos paratextos (en particular prólogos y notas de la traductora). Posteriormente, el trabajo se ha focalizado en la multitud de interrelaciones entre cada uno de los textos traducidos y la obra de la escritora. El resultado de estos dos aspectos de la investigación se presenta en los veinticuatro apartados que describen las características principales de cada texto, sus conexiones con las circunstancias de la vida y de la reflexión literaria de Carmen Martín Gaite, y su influencia a largo plazo en el trabajo y el pensamiento de la escritora. Los diferentes apartados están agrupados a lo largo de los capítulos que van del 2 al 5, que corresponden a los cuatro períodos individuados en el recorrido artístico y existencial de la escritora. El primero se desarrolla en los años de silencio narrativo entre Ritmo Lento y Retahílas. El segundo ocupa la fase creativa siguiente a la publicación de El cuarto de atrás. El tercero, marcado por el luto y la regeneración, concluye con la publicación de Caperucita en Manhattan, y el cuarto abarca los últimos años de vida de Carmen Martín Gaite, dedicados íntegramente a la literatura. El sexto capítulo de la tesis, que corresponde a la tercera y última etapa de la investigación, se centra en las cuestiones de mayor relieve traductológico surgidas, en particular, del análisis de las traducciones de tres obras de la autora italiana Natalia Ginzburg. En los diferentes apartados en los que está dividido, se ponen en relación dialógica algunos ejemplos de la práctica traductora de Carmen Martín Gaite con un breve texto de la misma autora sobre la traducción, con los principales planteamientos teóricos, y con las reflexiones sobre este tema de Octavio Paz y José Ortega y Gasset.

As something that surrounds, extends, and presents a text to the world, the phenomenon of paratext is gaining more and more attention within the discipline of Translation Studies. This edited volume, with contributions by five Nordic scholars, aims to build on that attention by presenting five case studies on paratexts in translations into Danish, Norwegian, and Swedish. A special focus lies on the paratextual mechanisms at play when works from different source cultures are translated into a Nordic target context. The translated works under scrutiny belong to genres such as literary novels, non-fiction works, and religious texts, and the paratexts surveyed include footnotes, covers, blurbs, introductions, and literary reviews. The scholars represented in the volume all work in Translation Studies, or at the intersection between Translation Studies and other disciplines.