Library of Rassegna iberistica

Series | Library of Rassegna iberistica
Edited book | The Translation of Spanish Classical Theater (19th-21st Centuries)
Chapter | La vida es sueño en forma analógica

La vida es sueño en forma analógica

Teoría, metodología y recepción de la traducción a contrapelo

Abstract

Since at least the 1990s, Translation Studies theorists have advocated greater respect for alterity in literary translation. With the advent of Naturalist theatre and, later, the predominance of free-verse poetry in the 20th century, renderings of both poetry and verse drama in the English-speaking world have favoured assimilation with target-culture values. “Organic form”, described by James S. Holmes as the methodology with which a translator renders a source text primarily for its meaning, has been the prevalent strategy for translating works such as Spanish Golden Age dramas for approximately a century now. A return to the methodology of “analogical form”, with which a translator seeks to render the source text using correlatives to its form and function in the source culture, would do much to recognise the Other by avoiding both de-historicisation and de-poeticisation through less domesticated target texts. Examples of these competing methodologies will be examined in a few American translations of Pedro Calderón de la Barca’s La vida es sueño.


Open access

Published Dec. 22, 2020 | Language: es

Keywords Golden Age Drama Studies • Analogical form • Translation theory • Theatre translation • Translation Studies

Copyright © 2020 Gregary J. Racz. This is an open-access work distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction is permitted, provided that the original author(s) and the copyright owner(s) are credited and that the original publication is cited, in accordance with accepted academic practice. The license allows for commercial use. No use, distribution or reproduction is permitted which does not comply with these terms.

Permalink http://doi.org/10.30687/978-88-6969-490-5/024


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