Recent ucsbspanport_tsj items

"Rabbit Hunt"

Fri, 14 Nov 2014 00:00:00 +0000

"Rabbit Hunt"

"Salto Mortale"

Fri, 14 Nov 2014 00:00:00 +0000

"Salto Mortale"

"At the Fountain"

Fri, 14 Nov 2014 00:00:00 +0000

"At the Fountain"

Selection from On the Nature of Things

Fri, 14 Nov 2014 00:00:00 +0000

Selection from On the Nature of Things

"Capturing in Passing"

Fri, 14 Nov 2014 00:00:00 +0000

"Capturing in Passing"

"Corporal Cutthroat"

Fri, 14 Nov 2014 00:00:00 +0000

"Corporal Cutthroat"

"Haciendo el Pacto fuera de Chihuahua"

Fri, 14 Nov 2014 00:00:00 +0000

"Haciendo el Pacto fuera de Chihuahua"

Selected Poems

Fri, 14 Nov 2014 00:00:00 +0000

Selected Poems

Fri, 14 Nov 2014 00:00:00 +0000

Selected Poems

"Gold of Ages"

Fri, 14 Nov 2014 00:00:00 +0000

"Gold of Ages"

"Tramp"

Fri, 14 Nov 2014 00:00:00 +0000

"Tramp"

"Peeping Tom"

Fri, 14 Nov 2014 00:00:00 +0000

"Peeping Tom"

Selected Poems

Fri, 14 Nov 2014 00:00:00 +0000

Selected Poems

"An Old Tibetan Rug"

Fri, 14 Nov 2014 00:00:00 +0000

"An Old Tibetan Rug"

Selected Poems

Fri, 14 Nov 2014 00:00:00 +0000

Selected Poems

"I Loved You"

Fri, 14 Nov 2014 00:00:00 +0000

"I Loved You"

Contributors

Fri, 14 Nov 2014 00:00:00 +0000

Contributors

"Three Square Stories"

Fri, 14 Nov 2014 00:00:00 +0000

"Three Square Stories"

Foreword - VOLUME 2

Fri, 14 Nov 2014 00:00:00 +0000

Foreword - VOLUME 2

"Falling"

Fri, 14 Nov 2014 00:00:00 +0000

"Falling"

"Estranged"

Fri, 14 Nov 2014 00:00:00 +0000

"Estranged"

"The Subversion of Carlitos the Magician"

Fri, 14 Nov 2014 00:00:00 +0000

"The Subversion of Carlitos the Magician"

"Early One Morning"

Fri, 14 Nov 2014 00:00:00 +0000

"Early One Morning"

Selected Poems from "Sebastian Im Traum"

Fri, 14 Nov 2014 00:00:00 +0000

Selected Poems from "Sebastian Im Traum"

YOUR FATHER DID HE EVER DIE

Fri, 14 Nov 2014 00:00:00 +0000

YOUR FATHER DID HE EVER DIE

"Contact"

Fri, 14 Nov 2014 00:00:00 +0000

"Contact"

Selections from the Georgics

Fri, 14 Nov 2014 00:00:00 +0000

Selections from the Georgics

"Hands"

Fri, 14 Nov 2014 00:00:00 +0000

"Hands"

"Partridge Sky"

Fri, 14 Nov 2014 00:00:00 +0000

"Partridge Sky"

Table of Contents - VOLUME 2 - 2007

Thu, 13 Nov 2014 00:00:00 +0000

Table of Contents - VOLUME 2 - 2007

Acknowledgements & Front Matter

Thu, 13 Nov 2014 00:00:00 +0000

Acknowledgements & Front Matter

Translator´s Preface, by Steve Sadow. Selected Poems by Angelina Muñiz-Huberman. Translated by Steve Sadow and Jim Kate

Tue, 21 Oct 2014 00:00:00 +0000

Selected Poems by Angelina Muñiz-Huberman.

Translator´s Preface, by Suzanne Jill Levine / On Castellano in America by Severo Sarduy

Tue, 21 Oct 2014 00:00:00 +0000

Translation of Sarduy's text.

Translator´s Preface, by E. M. Test. TRUCES by Valerie Mejer. SELECTIONS FROM THE BRIDE OF THE BODY by Víctor Mendiola

Tue, 21 Oct 2014 00:00:00 +0000

TRUCES by Valerie Mejer. SELECTIONS FROM THE BRIDE OF THE BODY by Víctor Mendiola

Creative Translation, Transcreation or Simply Translation. How Can Literature Be Translated

Tue, 21 Oct 2014 00:00:00 +0000

Theories of originality centered on the author/artist in 18th century Britain and could apply to the contemporary concept of translation. In France, however, the days of great invention of Rabelais were over, grammarians were guardians of the bon usage and the predominant idea was that works written in other languages should adapt to the rules and limits of the French language and the tastes of the French public once translated. Considering these ideas, the author explores which translation is more radical: an adaptive one that keeps possible target language contexts into account or a more faithful one that leaves some foreign elements in the target text?

Translator´s Preface, by Suzanne Jill Levine. ISLA NEGRA by Leonardo García Pabón

Tue, 21 Oct 2014 00:00:00 +0000

ISLA NEGRA by Leonardo García Pabón

Translator´s Preface, by Élide Valarini Oliver. A Crónica -For Maria da Graca by Paulo Mendes Campos

Tue, 21 Oct 2014 00:00:00 +0000

A Crónica -For Maria da Graca by Paulo Mendes Campos

Autore, traduttore, editore-traditori! Conspiracy Theory and Small Languages. Icelandic.

Tue, 21 Oct 2014 00:00:00 +0000

The author explores the problems that arise in translating 'small languages,' i.e. languages with fewer than one million speaker, including issues of translators' monopolies, interventions by editorial staff and publishing houses, with examples from Icelandic literature translated into Italian.

TABLE OF CONTENTS - VOLUME 1 - 2005

Tue, 21 Oct 2014 00:00:00 +0000

TABLE OF CONTENTS - VOLUME 1 - 2005

CONTRIBUTORS

Tue, 21 Oct 2014 00:00:00 +0000

CONTRIBUTORS

Translator´s Preface, by KEBishop. CITY CEMETERY. Translated by KEBishop

Tue, 21 Oct 2014 00:00:00 +0000

CITY CEMETERY. Translated by KEBishop

Translator´s Preface, by Daniel M. Jaffe. Ordinary Life by Jorge Luis Castillo

Tue, 21 Oct 2014 00:00:00 +0000

Ordinary Life by Jorge Luis Castillo

Translator´s Preface, by Odile Cisneros. 50 Greguerías, by Ramón Gómez de la Serna.

Tue, 21 Oct 2014 00:00:00 +0000

50 Greguerías, by Ramón Gómez de la Serna.

Translator´s Preface, by Daniela Hurezanu and Stephen Kessler. Selected Poems by Raymond Queneau

Tue, 21 Oct 2014 00:00:00 +0000

Selected Poems by Raymond Queneau

Cover, Legal Page, Acknowledgements

Tue, 21 Oct 2014 00:00:00 +0000

Cover, Legal Page, Acknowledgements

Conveying the Author´s Voice. Translating Style

Tue, 21 Oct 2014 00:00:00 +0000

An exploration of what it means for the author to allow the target language reader the possibility of enjoying the original literary text in all its dimensions.

Translator´s Preface, by Asa Zatz. HIEROPHANCY IN THE CLOUD FOREST by Efraín Bartolomé

Tue, 21 Oct 2014 00:00:00 +0000

HIEROPHANCY IN THE CLOUD FOREST by Efraín Bartolomé

Transcreator´s Preface, by Yunte Huang.Think Haiku, Act Locu-An Experiment in Back-Translation

Tue, 21 Oct 2014 00:00:00 +0000

Think Haiku, Act Locu-An Experiment in Back-Translation

Translator´s Preface, by Andrea G. Labinger. The Conversation of the Saints by Alicia Steimberg

Tue, 21 Oct 2014 00:00:00 +0000

The Conversation of the Saints by Alicia Steimberg

PREFACE TO VOLUME 3 - THE NECESSARY FOREIGN: TRANSLATING DIALECTS

Tue, 21 Oct 2014 00:00:00 +0000

The preservation of cultural diversity and issues of prestige are considered in underlining the importance of translating dialects.

Neruda and Blake, The Visionary Company

Tue, 21 Oct 2014 00:00:00 +0000

Blake's influence on Neruda's poetry.

Translator´s Preface, by Cristina de la Torre. Excerpt from Past Perfect (Pasado perfecto) by Leonardo Padura Fuentes

Tue, 21 Oct 2014 00:00:00 +0000

Past Perfect (Pasado perfecto) by Leonardo Padura Fuentes

FOREWORD - VOLUME 1

Tue, 21 Oct 2014 00:00:00 +0000

FOREWORD - VOLUME 1

Translator´s Preface, by Annette H. Levine. The Portrait by Paula Varsavsky

Tue, 21 Oct 2014 00:00:00 +0000

The Portrait by Paula Varsavsky

HASTA NO VERTE SALKA MÍA: CÓMO VOLVER HIPERBÓREO EL MÉXICO POPULAR DE ELENA PONIATOWSKA

Tue, 21 Oct 2014 00:00:00 +0000

Using Translation Studies methodology, the author analyzes the problems the Icelandic translator of Poniatowska's testimonial novel Hasta no verte Jesús mío might encounter in transposing Jesusa's Mexican Spanish to Icelandic. The main issue, Miglio argues, is transposing the richly dialectal speech of Jesusa Palancares into a language essentially devoid of dialectal distinctions and so far removed from Mexico in cultural and geographical terms. A solution can be reached however if a detailed analysis of the text is carried out first, which would reveal that it is not regional dialectal nuances that are important in Poniatowska's text, but rather the fact that those features of Jesusa's speech are mainly sociolinguistic, lower class markers. Equivalences to these can be found in Icelandic too, and in fact, are readily available in Salka Valka, a novel by 1955 Nobel Prize winner Halldór Laxness. Miglio proceeds to analyze parallels between the two novels, pointing out...

Transcreator´s Preface, by Leonard Schwartz. The Apple Anyone Sonnets

Tue, 21 Oct 2014 00:00:00 +0000

The Apple Anyone Sonnets

THE ITALIAN LINGUISTIC CONTINUUM ON THE STAGE: THE CHALLENGE OF TRANSLATING CARTA CANTA BY RAFFAELLO BALDINI

Fri, 13 Apr 2012 00:00:00 +0000

The origins of theatrical Italian are rooted in literature rather than orality, and this has regularly been at odds with any demands for realism. At the same time, the unique and broad assortment of regional dialects that actively interact with Italian offers a great opportunity for dramatists who wish to endow their plays with a closer connection to everyday life. Unfortunately, these dialects are often mutually unintelligible and represent a risky choice for authors aiming at a general circulation of their plays in regions other than the one a particular dialect belongs to. While the traditional choice in implementing dialect has been to simplify it and make it more understandable, thus unavoidably losing some of its visceral power, in his monologue Carta canta, Raffaello Baldini adopted a more effective and functional solution through the frequent code-switching between Italian and an underlying dialect. This process makes his monologues both extremely realistic...

FROM STANDARDIZATION TO DIALECT COMPILATION: A BRIEF HISTORY OF ITALIAN DIALECT POETRY IN ENGLISH TRANSLATION

Fri, 13 Apr 2012 00:00:00 +0000

Dialectal texts have the potential, perhaps more than any other texts, to be truly untranslatable. Putting aside the complex obstacles presented by texts that employ a number of different vernaculars and a variety of registers (such as Twain’s Huckleberry Finn and Gadda’s Pasticciaccio), this study will focus on the limitations of a trilingual format for the translation of dialect poetry, and propose an alternate quadrilingual solution designed to reflect the unique linguistic features of Italy’s many dialects. A single poem (“Can,” by the late Venetian poet Ernesto Calzavara) will be used as a case in point. A published translation of said poem is presented as a practical application of a strategy that has more often been theorized than put into practice.

In order to reflect the ever-changing linguistic realities of our modern world, it is argued in this study, the field of translation studies must remain as fluid and flexible as the language(s) we speak, read, and write....

POPE JOHN PAUL I’S CRITIQUE OF TRILUSSA’S FAITH: A TRANSLATOR’S DEFENSE

Fri, 13 Apr 2012 00:00:00 +0000

In 1978 Cardinal Albino Luciani was elected Pope at Rome andchose as his papal, public name John Paul I. Immediately afterwards, a volume of the new Pope’s essays was published with the title Illustrissimi, for the illustrious saints and scholars, fictional characters and writers (such as Mark Twain, Francesco Petrarca, and Gioachino Belli) whom Cardinal Luciani had addressed and imaginatively conversed with in each of these essays.

Trilussa was one of only three Italian poets whom the Pope, that is, Albino Luciani, addressed in his book. The other two were Petrarca and Gioachino Belli, a poet who, like Trilussa, wrote not in standard Italian, but in Romanesco, the modern dialect of Rome. However, Luciani’s essay “To Trilussa: In the Heart of the Mystery,” reveals a misinterpretation of Trilussa’s thirteen-line poem “La Guida,” which he used as a springboard to discuss what Christian faith is and what it is not.

In this essay, DuVal translates Trilussa's...

TRANSLATING NEAPOLITAN DIALECT IN THEATRE: PROBLEMS OF CULTURAL TRANSFER

Fri, 13 Apr 2012 00:00:00 +0000

Eduardo De Filippo (1900-1984) was a leading exponent of both Neapolitan and Italian twentieth century theatre and is among the few Italian playwrights whose works have been translated into English. He portrayed different facets of human nature using Neapolitan dialect as a language and not purely as a folkloristic factor. Dialect was, therefore, a powerful means to disseminate universal values while reaffirming the importance of local identities. This essay looks at translations into British and American English of three plays by De Filippo, and examines the implications of the translators’ choices in the receptor theatrical system in terms of the portrayal of Neapolitan culture.De Martino starts from the premise that at the basis of the translating process there is cultural transfer between languages, and suggests that dialect theatre represents an autonomous genre, separate from standard Italian theatre, and in particular that language domestication reduces the cultural...

DIALECT IDENTITIES IN GADDA’S TRANSLATION: THE CASE OF QUER PASTICCIACCIO BRUTTO DE VIA MERULANA

Fri, 13 Apr 2012 00:00:00 +0000

In assessing the untranslatability of dialects, Valeria Petrocchi focuses in this paper on Gadda's Quer pasticciaccio brutto de via Merulana and William Weaver's translation of the novel.

The Roman dialect word 'pasticciaccio' in Gadda's title hints at a very intrigued situation. It has an ontological connotation and is a synonym for the inextricable and unfathomable personal inner essence. The meaning therefore entails an existential and philosophical implication that gives a peculiar physiognomy to the whole novel and justifies the lack of a final resolution. Therefore, the novel is unfinished but not incomplete. The Americantranslator William Weaver was well aware of this and as a result he faced the text by realizing a “translation in progress.” The difficulty in translating Quer pasticciaccio brutto de via Merulana resides in the novel's multi-dialectal patchwork (Italian standard and Roman, but also Molise, Neapolitan and Veneto dialects), which...

VERNACULAR EXPERIMENT

Fri, 13 Apr 2012 00:00:00 +0000

This study on the 18th century Scottish poet Robert Fergusson (1750-1774) focuses on how one might translate one of his compositions in Lowland Scots, 'The Daft Days,' published in 1772. This was a ground-breaking poem, the first one to be published in Lowland Scots in The Weekly Magazine, a successful periodical with wide distribution. Fergusson’s vernacular poem focuses on the 'crazy' days of revelry and mirth (in this sense daft) around Christmas time and is thematically centered on descriptions of Edinburgh's Old Town and its inhabitants. Buffoni proposes three “Italian” versions: the first is a literal rendition (which immediately follows the original text); the second is translated in the dialect of Milan and the third – which appears as a footnote of sorts to the second – is a translation of the Milanese in standard Italian. Since Fergusson had opted for the dialect spoken in his city, Buffoni imitated him in this respect, conscious of the fact that...

Title Page - Volume 3

Fri, 13 Apr 2012 00:00:00 +0000

Short summary about volume 3 contents and list of editors for this issue.