RESUMENEste artículo investiga un concepto emergente de traducción literaria que trata de integrar los elementos discursivos y culturales. Tras prestar atención a la creatividad singular que el traductor ha de aplicar en su tarea, el trabajo revisa el concepto de unidad de traducción considerando algunos enfoques basados no sólo en la palabra, la oración o el texto, sino también en el discurso y la cultura. Siguiendo algunas definiciones comunes del texto literario, se especifican y se analizan diversas dificultades de la traducción literaria para inferir la posibilidad y los retos inherentes a esta nueva visión de la traducción.Palabras clave: estudios de Traducción, traducción literaria, ideología, cultura.The (Im)possibility of Translation of a Literary Text: nullum est iam dictum quod non dictum sit prius ABSTRACT This paper discusses an emerging concept of literary translation that aims to integrate discursive and cultural elements. After paying attention to the special creativity the translator needs to apply to his or her task, it revises the concept of translation units taking into account some approaches based not only on the word, the sentence and the text, but also on discourse and culture. Following some standard definitions of the literary text, several difficulties of literary translation are specified and analyzed in order to infer the possibility and the challenges involved in this new vision of translation.
This paper focuses on The Tenant of Wildfell Hall (1848) and analyses the Spanish translation by Waldo Leirós (1997, 2017) through a specific selection of quotations and fragments. It follows the evolution of the narrative thematically through the different sections of the novel in order to present the reader with an overview of the novel’s plot. The poem presented in the nineteenth chapter, “Farewell to thee”, is then examined alongside the translation offered by Leirós; this is followed by a new, alternative version proposed by the author. By way of conclusion, the translator’s faithfulness and dedication to Anne Brontë’s original text is demonstrated, while certain inaccuracies, omissions and oversights are acknowledged and analysed from the perspective of literary translation studies.
This article examines “The Sad Fortunes of the Reverend Amos Barton,” paying particular attention to the hardships endured by his wife and the toll they take on her. In many ways, Amelia Barton is the archetypal Victorian housewife and mother, and a synecdoche of female domesticity. When she dies at the age of thirty-five, her role is taken up by her eldest daughter. Patty is nine years old at the start of the narrative, appearing as a thirty-year-old woman in the conclusion. The central premise of this article is to demonstrate that the premature death of Amelia stands as an emphatic condemnation of the established gendered roles firmly embedded in Victorian society; it is a powerful challenge to the contemporary status quo with regard to the role of women, both within the family and in society in general. The study applies the ideas of contemporary figures—thinkers such as Ruskin, and poets such as Tennyson—regarding Victorian gendered roles (gentlemanliness, womanliness, female self-restraint). It also explores the concepts of pathos and sympátheia in relation to “The Sad Fortunes,” as well as examining the text in terms of the author’s own conception of the novel.
This paper will discuss the translations of poetry and some of the editions that Alexander Pope produced. For this, we will consider his monumental task over the translations of the work of Homer, analysing the unprecedented economic and literary implications. In addition, we shall examine Pope's imitations of Horace in order to highlight their content and underlying intentions, going on to present lastly his other work as an editor. This context will allow us to draw some conclusions from Pope's own uniqueness in the English literary and creative scene during the 18th century. Pope showed himself to be independent from the prevailing circles, being outside the radius of action of patrons and the court.
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