TRANSFERRING U.S. LATINO POETS INTO THE SPANISH-SPEAKING WORLD

Translation is slippery art that compounds the problems of the inherent instability of language with the unruly process of duplicating it in another system. The sliding that occurs in the translation of multicultural poetry is even more pronounced since the distance from “the norm” becomes greater and greater. This is true firstly because poetry is a genre that strives for verbal concision and innovation in a playful defiance of norms that pique the reader’s imagination; and secondly because the multilingual poet often involves a second language —either in its original form or as a translation into the language of composition—to enhance sound and cultural imagery. Latino poetry generally glides along on the linguistic and cultural tension inherent in both its poeticity and its English/Spanish and Latino/Anglo dualities that challenge normative discourse. Therefore, the translation of this verse must also produce for the reader a similarly slippery tension, a task that Fabián Iriarte and I constantly grappled with in the editing of a recent bilingual anthology, Usos de la imaginación: poesía de l@s latin@s en EE.UU

TRANSFERRING U.S. LATINO POETS INTO THE SPANISHSPEAKING WORLD

Translation is slippery art that compounds the problems of the inherent instability of language with the unruly process of duplicating it in another system. The sliding that occurs in the translation of multicultural poetry is even more pronounced since the distance from “the norm” becomes greater and greater. This is true firstly because poetry is a genre that strives for verbal concision and innovation in a playful defiance of norms that pique the reader’s imagination; and secondly because the multilingual poet often involves a second language —either in its original form or as a translation into the language of composition—to enhance sound and cultural imagery. Latino poetry generally glides along on the linguistic and cultural tension inherent in both its poeticity and its English/Spanish and Latino/Anglo dualities that challenge normative discourse. Therefore, the translation of this verse must also produce for the reader a similarly slippery tension, a task that Fabián Iriarte and I constantly grappled with in the editing of a recent bilingual anthology, Usos de la imaginación: poesía de l@s latin@s en EE.UU

TRANSFERRING U.S. LATINO POETS INTO THE SPANISHSPEAKING WORLD

Translation is slippery art that compounds the problems of the inherent instability of language with the unruly process of duplicating it in another system. The sliding that occurs in the translation of multicultural poetry is even more pronounced since the distance from “the norm” becomes greater and greater. This is true firstly because poetry is a genre that strives for verbal concision and innovation in a playful defiance of norms that pique the reader’s imagination; and secondly because the multilingual poet often involves a second language —either in its original form or as a translation into the language of composition—to enhance sound and cultural imagery. Latino poetry generally glides along on the linguistic and cultural tension inherent in both its poeticity and its English/Spanish and Latino/Anglo dualities that challenge normative discourse. Therefore, the translation of this verse must also produce for the reader a similarly slippery tension, a task that Fabián Iriarte and I constantly grappled with in the editing of a recent bilingual anthology, Usos de la imaginación: poesía de l@s latin@s en EE.UU

La visión de las versiones : un estudio de diferencias/resistencias en Emily Dickinson

En un mundo donde las  imágenes satelitales aporrean  las mentes de la  gente en cada rincón de la tierra, si bien se crea la posibilidad de romper las  barreras de la  ignorancia cultural, la ausencia de una sólida contextualización de las inscripciones cultu-rales suele fomentar un caos interpretativo  Sin embargo, la comunicación transcultural representa un elemento fundamental en la posmodernidad y, debido a ello, la traducción torna un lugar imprescindible en la discusión de los estudios culturales, no mera-mente como práctica necesaria, sino como objeto de estudio en si

Traducción generativa y las Com/posiciones de Juan Gelman

Reseña de traducciones de tres libros de Juan Gelman

Poesía vs la cultura de la cancelación: la traducción de Cólera buey de Juan Gelman

¿Cómo se mantiene una postura ética ante una traducción? ¿Es necesario identificarse con el autor o con tal de empatizar con su poética es suficiente? ¿Cuáles son los cambios o licencias que se puede tomar para mantenerse “fiel” al original? Repensando las traducciones que he realizado de la obra del poeta argentino Juan Gelman a través de los últimos doce años, enfocando particularmente en Cólera buey, exploraré los dilemas y revelaciones que surgen de este proceso, visto una década más tarde