By Silvia L. Lopez, Jenaro Talens, Dario Villanueva

ISBN-10: 0816624739

ISBN-13: 9780816624737

Critical Practices in Post-Franco Spain used to be first released in 1994. Minnesota Archive variations makes use of electronic know-how to make long-unavailable books once more obtainable, and are released unaltered from the unique college of Minnesota Press editions.

This quantity bargains a pattern of Spanish serious paintings in literary thought and cultural reports. like several severe histories, Spain's is political: Philology ruled the severe scene through the Franco years, and after Franco, this hegemony has been contested by means of semiotics, poststructuralism, psychoanalysis, and feminisms. with out attempting to characterize the entire theoretical tasks shortly underway in Spanish feedback, this ebook opens a window at the massive box of recent severe practices in Spain and gives a basic photo of influential theoretical currents.

The essays gathered right here diversity broadly in subject and elegance, and so they mirror a brand new generation's preoccupation with serious difficulties that transcend the sector of literary stories. The authors specialize in new discourse in quite a few print and digital media, at the discursive development of the museum area, and on literary conception because it confronts problems with translation, subjectivity, writing, and narratology.

Silvia López is assistant professor of Spanish at Carlton Collegea doctoral candidate within the departments of cultural reports and comparative literature on the collage of Minnesota. Jenaro Talens is professor of Hispanic literature and comparative literature on the collage of Geneva. he's the writer of The Branded Eye: Buñuel's Un Chien Andalou, (Minnesota 1993). Darío Villanueva is professor of conception of literature on the college of Santiago de Compostela, Spain.

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By "language" I mean lengua (English, Spanish, German, and so on). By "language-system" I mean lenguaje, the semiotic concept of an articulated system of signs. 3. See the concept of "somatics of translation" in Douglas Robinson's highly challenging book The Translator's Turn, to which I did not have access until after this article was written. Works Cited Benjamin, Walter. " In Illuminations, trans. Hannah Arendt. New York: Schocken Books, 1969. 69-82. Carnero, Guillermo. El azar objetivo. Madrid: Trece de Nieve, 1975.

On the contrary, in contemporary twentieth-century literature we find the tendency to work 10 JENARO TALENS toward a translation that is not literal, erudite, or a paraphrase. It is a creative type of translation that emphasizes the production of new meaning, that is, of a new text. This kind of work— which we should call "re-creative writing" in order to remain close to the ambiguous concept of "creation" that seems to define the "original"—constitutes a second typology (C2), one that differs from Q not in its presuppositions but in the way used to solve the problems at work in translating.

Sembla que miri enlla pero 1'esguard es fora. Here is the corresponding translation by Garcia Calvo: Desde que te deje, mi ojo en mi alma esta, y lo que me gobierna para echar el paso en parte aun funciona, en parte ciego va; parece ver, pero de hecho no hace caso. We can see that the word choices are not equivalent. Garcia Calvo translates "mind" as alma (soul), not mente (mind), which is not a well-justified semantic displacement. Mente instead of alma would imply in Spanish verse an added syllable, once the sinalefa (metrical elision) used in the couple mi-alma is taken out.

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