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Performing the Author-Translator Across Shores: Japanese Refractions of World and Latin American Literature in the 20th Century
No full textThis dissertation intervenes in current scholarly debates surrounding East-West literary exchanges and the role that Western literary and academic cultural networks play in the mediation of transcultural literary relationships between the Global South and non-Western cultural spaces. It does so by analyzing the translations and intertextualizations of Japanese literature in Latin American literature during the 20th century, and vice versa.
The critical argument of my project is centered on the figure that I have termed the “author-translator,” writers whose work in translation occurs not in parallel to professional or academic careers, but in direct relation with their endeavors as creators of works of literature. Author-translators approach the task of translation with a different set of considerations, expectations, and goals than those of a different ilk. My contention is that by treating such translators as a distinct category, and by then using the Japanese and Latin American examples of this phenomenon as a case study, we can shed light on the larger processes of literary circulation and world literature canon-formation in contemporary global literature.
The Introduction provides a substantial account of how Latin American literature was read in Japan during the 20th century, while also establishing the theoretical framework of the dissertation in regard to translation studies, postcolonialism, and world literature studies, the three vectors on whose intersection this dissertation lies. Chapter 1 analyzes Mexican poet Octavio Paz’s early stays in India and Japan, and his translation of Matsuo Bashō’s The Narrow Road to the North (1st ed. 1952, 2nd ed.1970). Chapter 2 discusses how Borges has been read in Japan since the 1950s up to the present day, but also pays special attention to Borges’s own transculturation of Japanese literary themes in the form of his tanka, haiku, and short fiction, and how these have been translated into Japanese. Chapter 3 analyzes Terayama Shūji’s 1980s adaptations—first for the stage and later for film—of García Márquez’s novel One Hundred Years of Solitude. Chapter 4 proceeds to the 1990s, tracing Murakami Haruki’s career as an influential translator of American literature in Japan before analyzing his 1992 travel narrative to Mexico, included in his 1998 travel book Distant Frontier, Close Frontier
Implementing the AIFMD: Success or failure? ECMI Commentary No. 34, 28 March 2013
No full textThis commentary considers the implementation of the Alternative Investment Fund Managers Directive (AIFMD) by the European Commission. The AIFMD creates an internal market for asset management and as an endeavour to develop market-based finance is an important piece of legislation for the European economy. The author, Mirzha de Manuel Aramendía, considers the implementation of some of the provisions that raised concern among industry participants. He finds that, on balance, a practical and flexible approach to implementation has been followed that should help secure the success of the framework, which at present is still uncertain. The commentary also considers the remuneration guidelines adopted recently by the European Securities and Markets Authority (ESMA). It encourages EU and national authorities to commit to the success of the AIFMD framework, as part of a broader effort to develop capital markets and reduce the historical reliance of the European economy on bank finance
PROPUESTA DE IMPLEMENTACIÓN DE UN SISTEMA DE GESTIÓN EN BASE A LA NORMA ISO 9001 E ISO 14001 EN UNA INDUSTRIA TEXTIL DEL SECTOR DEPORTIVO
No full textGonzález Palomar, Santiago Manuel; director de proyecto: Galan del Alamo, Jose2024-2025Máster Universitario en Sistemas Integrados de GestiónEscuela de Ingeniería, Arquitectura y Diseñ
MONTAÑO, Manuel G.
No full textCover page with the seal of the Pro-Serrano Committee titled “File #76. “M”. Mr. Montaño Manuel G. III Alamo St., San Antonio, Texas”. Manuel G. Montaño asks Gen. Francisco R. Serrano for a ticket and a badge in order to work on political advertising in the municipalities of the Federal District and other states of the Republic. Reply from Justo A. Santa Anna thanking him for his enthusiasm. / Portada con el sello del Comité Pro-Serrano titulada "Expediente #76 "M". Sr. Montaño Manuel G. III Alamo St. San Antonio, Texas". Manuel G. Montaño solicita al Gral. Francisco R. Serrano un pase y un distintivo para realizar trabajos de propaganda política en municipios del Distrito Federal y de otros estados de la República. Respuesta de Justo A. Santa Anna agradeciendo su entusiasmo
MONTAÑO, Manuel G.
No full textCover page with the seal of the Pro-Serrano Committee titled “File #76. “M”. Mr. Montaño Manuel G. III Alamo St., San Antonio, Texas”. Manuel G. Montaño asks Gen. Francisco R. Serrano for a ticket and a badge in order to work on political advertising in the municipalities of the Federal District and other states of the Republic. Reply from Justo A. Santa Anna thanking him for his enthusiasm. / Portada con el sello del Comité Pro-Serrano titulada "Expediente #76 "M". Sr. Montaño Manuel G. III Alamo St. San Antonio, Texas". Manuel G. Montaño solicita al Gral. Francisco R. Serrano un pase y un distintivo para realizar trabajos de propaganda política en municipios del Distrito Federal y de otros estados de la República. Respuesta de Justo A. Santa Anna agradeciendo su entusiasmo
Narración, exilio, y el traductor translingüístico: Navegando lo traducible y lo intraducible en “Las babas del diablo” de Julio Cortázar
No full textEl artículo examina el discurso sobre el arte y la práctica de la traducción en el corpus del escritor argentino Julio Cortázar. En el campo de la literatura comparada contemporánea, la importancia de la traducción en todos sus ámbitos es un tema que ha sido retomado con fuerza a partir del comienzo del siglo XXI, cuando diversos trabajos—por ejemplo, los de Damrosch, Casanova, o Moretti—dieron un enfoque nuevo a la noción de literatura mundial (world literature, siguiendo la predecesora propuestadeGoethe,Weltliteratur). Una de las críticas más acérrimas a este nuevo enfoque ecualizador fue expuesto por la estudiosa norteamericana Emily Apter en su libro Against World Literature: On the Politics of Unstranslability(2013). Otra vertiente de estudios literarios, ejemplificada por el trabajo de Steven G. Kellman The Translingual Imagination(2000), ha puesto énfasis en la necesidad de reconocer la presencia e influencia de una lengua no materna en los trabajos de autores exiliados. Cortázar se presta perfectamente para reflexionar sobre estos problemas desde la perspectiva de la literatura latinoamericana del siglo XX. Por ejemplo, su cuento, “Las babas del diablo”(1959), estudiado en este artículo, es un texto en el cual no solamente el protagonista principal es un traductor, sino también en el cual el clímax y desdoblamiento de la narración gira en torno a las diferentes traducciones que se le puede dar a la realidad representada en una fotografía y codificada por la dupla de términos “babas del diablo/hilos de la Virgen”.
That Admirable Lack of Orientalism: Jorge Luis Borges’s Translations into Japanese as Self-Orientalizing Acts in The Song Scroll of the Mansion of Fictions (Denkiteiginsō 傳奇亭吟草)
No full textThis article delves into Jorge Luis Borges’s approach to translation and its implications within the context of Orientalism and literary authenticity. A point of departure is Borges’s prologue to “El incivil maestro de ceremonias Kotsuké no Suké,” wherein he praises A.B. Mitford’s narrative for avoiding the embellishments of local color, suggesting a more authentic rendition of the original Japanese tale. Borges’s preference for a domesticating translation—eschewing Orientalist tropes—can be seen within the context of Lawrence Venuti’s concepts of domestication and foreignization in translation. Venuti posits translation as an interpretive act, transferring networks of meaning rather than seeking strict equivalence. This perspective frames Borges’s adaptations of Japanese poetic forms, like haikus and tankas, as inherently translational, composed in Spanish but reflecting an imagined Japanese source.
The article examines Borges’s seventeen Spanish-language haikus, originally published in La cifra (1981) and later translated back into Japanese by the esteemed Japanese poet Takahashi Mutsuo for the 1999 centennial of Borges’s birth. Takahashi’s adaptations, published in the prestigious literary magazine Subaru, exemplify a playful and intertextual approach, transforming Borges’s work into “The Song Scroll of the Mansion of Fictions.” Takahashi’s translation, more than a mere linguistic conversion, situates Borges within the Japanese poetic tradition, highlighting the kind of interplay between adaptation and cultural recontextualization that Borges himself made into one of the themes of his literature.
This article further contextualizes the translated haikus against the background of commemorative events in Japan, including symposia and poetry readings celebrating Borges. Takahashi’s translations, appearing alongside traditional translations and other paratextual essays, underscore the dynamic interaction between Borges’s work and Japanese literature. The article posits that Borges’s haikus, through Takahashi's adaptations, achieve a new dimension of fidelity—not to the original text but to the aesthetic and cultural ethos of Japanese poetry, illustrating a profound cross-cultural literary dialogue.Este artículo examina la aproximación de Jorge Luis Borges a la traducción y sus implicaciones para con el orientalismo y la autenticidad literaria. Un punto clave es el prólogo de Borges a “El incivil maestro de ceremonias Kotsuké no Suké”, donde elogia a A.B. Mitford por evitar el color local, lo que le sugirió que se trataba de una representación más auténtica del cuento japonés original. La preferencia de Borges por una traducción domesticadora que evita tropos orientalistas se puede entender dentro del contexto de los conceptos de domesticación y extranjerización propuestos por Lawrence Venuti. Esta perspectiva enmarca las adaptaciones por Borges de formas poéticas japonesas, tales como haikus y tankas, como inherentemente traductorias, compuestas en español pero reflejando una fuente japonesa imaginada.
El artículo analiza los diecisiete haikus en español de Borges, publicados en La cifra (1981) y traducidos al japonés por el poeta Takahashi Mutsuo para el centenario de Borges en 1999. Las adaptaciones de Takahashi, publicadas en la famosa revista literaria Subaru, muestran un enfoque lúdico e intertextual, transformando los haikus de Borges en El pergamino cancionero de la mansión de las ficciones. La traducción de Takahashi, más que una conversión lingüística, sitúa a Borges dentro de la tradición poética japonesa, resaltando la interacción entre adaptación y recontextualización cultural que Borges hizo tema de su literatura.
El artículo coloca los haikus de Borges dentro del contexto de eventos conmemorativos en Japón, incluidos simposios y lecturas de poesía en su honor. Las traducciones de Takahashi, junto a traducciones tradicionales y otros ensayos, subrayan la interacción dinámica entre la obra de Borges y la literatura japonesa. El artículo sostiene que los haikus de Borges, a través de las adaptaciones de Takahashi, logran una nueva fidelidad—no al texto original sino al espíritu estético y cultural de la poesía japonesa, ilustrando así un profundo diálogo literario intercultural
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