516 research outputs found
Maria-Mercè Marçal, autora de contes
No full textIn this article Carme Riera talks about Marçal as a short-story writer, aspect of the author which is less discussed than her poems and novels, but, according to Riera, not at all insignificant. She discusses the three short stories Marçal wrote for adults: Joc de màscares, El retorn and Tronatrons (unpublished). Riera refers to the game of intertextualtity in Marçal’s work; Joc de màscares, which takes Riera´s novel, Te deix, amor, la mar com a penyora, as a starting point, and Tronatrons, which Riera feels could well be intended to pay a tribute to Víctor Català, whose work was well-known by Marçal. Finally, the author of this article talks about the importance of the recurring motif of the mirror in Marçal´s work, both in her poetry and novels
Maria-Mercè Marçal: Short-Story Writer
No full textIn this article, Carme Riera talks about Marçal as a short-story writer, an aspect of the author which is less discussed than her poems and novels, but, according to Riera, not at all insignificant. She discusses the three short stories Marçal wrote for adults: Joc de màscares, El retorn and Tronatrons (unpublished). Riera refers to the game of intertextuality in Marçal’s work; Joc de màscares, which takes Riera’s novel, Te deix, amor, la mar com a penyora, as a starting point, and Tronatrons, which Riera feels could well be intended to pay a tribute to Víctor Català, whose work was well-known by Marçal. Finally, the author of this article talks about the importance of the recurring motif of the mirror in Marçal’s work, both in her poetry and novels
Maria-Mercè Marçal, Short-Story Writer
No full textIn this article Carme Riera talks about Marçal as a short-story writer, aspect of the author which is less discussed than her poems and novels, but, according to Riera, not at all insignificant. She discusses the three short stories Marçal wrote for adults: Joc de màscares, El retorn and Tronatrons (unpublished). Riera refers to the game of intertextualtity in Marçal’s work; Joc de màscares, which takes Riera´s novel, Te deix, amor, la mar com a penyora, as a starting point, and Tronatrons, which Riera feels could well be intended to pay a tribute to Víctor Català, whose work was well-known by Marçal. Finally, the author of this article talks about the importance of the recurring motif of the mirror in Marçal´s work, both in her poetry and novels
Els prefacis ficcionals en la narrativa de Carme Riera
No full text Fictional prefaces in the narrative of Carme RieraCarme Riera is one of the canonical authors of Catalan contemporary narrative. Even though her work has been broadly studied, no scientific studies have been carried out on the meaning and importance of the prefaces in her literary work. Riera shows a high interest for this paratext, which uses for conferring a special meaning to her writing as well as for influencing the reader. On the basis of the Paratext Theory of Genette, explained in Seuils 1987, the present article provides detailed analysis of all fictional prefaces encompassed in the publications of the last forty years of this author 1975–2015. This study unravels the high importance of the fictional prefaces, not only in order to understand in depth the meaning of her writing, but also as a decisive tool to distinguish key aspects of the literary work of this Majorcan writer. Fictional prefaces in the narrative of Carme RieraCarme Riera is one of the canonical authors of Catalan contemporary narrative. Even though her work has been broadly studied, no scientific studies have been carried out on the meaning and importance of the prefaces in her literary work. Riera shows a high interest for this paratext, which uses for conferring a special meaning to her writing as well as for influencing the reader. On the basis of the Paratext Theory of Genette, explained in Seuils 1987, the present article provides detailed analysis of all fictional prefaces encompassed in the publications of the last forty years of this author 1975–2015. This study unravels the high importance of the fictional prefaces, not only in order to understand in depth the meaning of her writing, but also as a decisive tool to distinguish key aspects of the literary work of this Majorcan writer
La Independencia en tres novelas andinas: Mientras llega el día, La tragedia del Generalísimo y Bolívar. Delirio y epopeya (Dossier: Bicentenario, rastros y revelaciones de la Independencia)
No full textLa autora revisa tres novelas que leen la Historia bajo nuevos planteamientos y que proponen otro sentido de heroicidad. La tragedia del Generalísimo, de Denzil Romero, evoca al criollo ilustrado Francisco de Miranda, teórico de los procesos de Independencia. Riera enfatiza las cualidades casi divinas del héroe, sus dudas y excentricidades, su paso de la defensa del realismo al de la causa americana. Mientras llega el día, de Juan Valdano, mira a la Independencia desde una visión contrahegemónica. Riera rescata la noción de que los eventos de 1810, en Quito, no fueron manifestación del nacionalismo criollo, sino de un heterogéneo colectivo social y cultural, el mestizo, que buscaba superar viejos agravios. La biografía Bolívar. Delirio y epopeya, de Víctor Paz, juega con el mito sin alejarse de las fuentes historiográficas. La autora reflexiona sobre los rasgos que definirían al Libertador: cordura-delirio, lucidez-locura, sobre la idea de la emancipación como deseo de posesión de tierras, otorgado por el derecho de nacimiento y negado por la herencia de la sangre. El protagonismo entonces no sería exclusivo de Bolívar, aunque este perviva como paradigma cultural, capaz de legitimar actuales presupuestos de de-colonialidad.The author examines three novels that read History through new approaches and suggest another sense of the heroic. La tragedia del Generalísimo, by Denzil Romero, evokes Francisco de Miranda, a highly educated criollo, theorist of the Independence process. Riera emphasizes the hero’s godly features, his doubts, eccentricities, and his transition from supporting realism to the defense of the Spanish American cause. Mientras llega el día, by Juan Valdano, sees Independence from a counterhegemonic point of view. Riera points out the concept that the events of 1810, in Quito, were not a demonstration of criollo nationalism but of the presence of a heterogenous social-cultural collective, the mestizos, which were trying to overcome long-standing injustice. Bolívar. Delirio y epopeya, biography by Víctor Paz, deals with myth without denying historical sources. The author analyzes sanitydelusion and lucidity-madness as traits that would define Bolívar, and the idea of emancipation as a wish for land ownership, granted through birth but denied by blood heritage. Therefore, Bolívar wouldn’t be the sole protagonist, even though he may remain as a cultural paradigm able to legitimize current assumptions of Anticolonialism
Jerónimo Nadal (1507-1580) und der "verschriftlichte" Ignatius. Die Konstruktion einer individuellen und kollektiven Identität
No full textLibro de InvestigaciónNiemand ist mehr verantwortlich für die Entstehung jenes Denksystems, das auf Ignatius von Loyola (1491-1556) und seinen Exerzitien basiert, als Jerónimo Nadal. Ignacio Ramos legt in seiner Studie Jerónimo Nadal (1507-1580) und der verschriftlichte Ignatius: Die Konstruktion einer individuellen und kollektiven Identität die ursprünglichen Konturen der sogenannten ignatianischen Spiritualität dar. Es wird deutlich, wieviel Einfluss Nadal auf die Herausbildung des Ignatianischen hatte.
Anhand Nadals lange verkannten Selbstzeugnisses (Chronicon Natalis) wird hermeneutisch herausgearbeitet, wie der gequälte Reifeprozess von Nadal originales Denken erzeugte insbesondere in Bezug auf Ignatius.
An diese europäische Schlüsselgestalt des jungen Jesuitenordens heranzutreten, gewährt einen existentiell vermittelten Einblick in manche der gesellschaftlichen und philosophischen Spannungen (converso-Frage, Rolle der Vermittlungen...) z. Zt. des Humanismus und der großen Reformen.Jerónimo Nadal plays a key role in the creation of the tradition of thought based on the person of Ignatius of Loyola (1491-1556) and his Spiritual Exercises. Ignacio Ramos book Jerónimo Nadal (1507-1580) und der verschriftlichte Ignatius unveils the large percentage of too often overlooked Nadalian moments in the origins of Ignatian Spirituality.
Leaning on Nadal s autobiographical account ( Chronicon Natalis, fully translated) the author deploys a hermeneutical method to show how Nadal´s stressful maturation process became a source of original thought, especially regarding Ignatius.
The reader will gain an existentially mediated insight into some of the social and philosophical hot spots (converso question, role of mediations...) of Humanism and the reformation era.info:eu-repo/semantics/publishedVersio
Carme Riera, l'autotraducció com a oportunitat de reescriptura
No full textAquest treball s'ha beneficiat de la subvenció a grups d'investigació consolidats de la Direcció General de Ciència i Investigació de la Generalitat Valenciana AICO/2021/143 per al projecte «Les relacions hipertextuals en la literatura catalana» (1939-1983).A pesar de mantenir una actitud escèptica sobre les possibilitats de la traducció literària, Carme Riera ha traduït tota la seua obra de creació al castellà, amb l'excepció de la novel·la Una primavera per a Domenico Guarini. Partidària de versionar les obres en comptes de transferir-les amb fidelitat, l'autora declara que concep l'autotraducció amb una gran llibertat. L'article analitza les particularitats i les estratègies d'una de les autotraduccions diferides de Riera, la de la novel·la Cap al cel obert, publicada en castellà amb el títol Por el cielo y más allá: la pèrdua de la variació diatòpica, l'adaptació cultural, les omissions, les addicions, les substitucions, la correcció d'errors i les opcions lèxiques.Despite maintaining a skeptical attitude about the possibilities of literary translation, Carme Riera has translated all of her literary works into Spanish, with the exception of the novel Una primavera per a Domenico Guarini. In favour of making a new version of the works instead of transferring them faithfully, the author declares that she conceives self-translation with great freedom. The paper analyses the particularities and strategies of one of Riera's consecutive selftranslations, that of the novel Cap al cel obert, published in Spanish with the title Por el cielo y más allá: loss of geographic variation, cultural adaptation, omissions, additions, substitutions, error correction and lexical choices
Cultural variation, techniques and stylistic procedures used by Carme Riera to Spanish self-translation
No full textEl propósito de este artículo es hacer un repaso de las técnicas y procedimientos estilísticos que la escritora Carme Riera utiliza al traspasar sus propias obras desde el original catalán al castellano. La intención de causar un mismo efecto estético en un nuevo público lector en lengua castellana hace que la autora se sienta absolutamente libre para modificar, adaptar, modular, ampliar o suprimir el texto original. Riera considera sus traducciones solo como ejercicio de recreación. Desde esa perspectiva, sus recreaciones consiguen seducir también al público lector hispano, al tiempo que reflejan una de las características esenciales de su obra: la visión poliédrica de la realidad, ya que sus autotraducciones guardan una estrecha correspondencia con la pluralidad de cosmovisiones inherente a la diversidad de lenguas. Sus procedimientos pueden ser a veces discutibles, pero el resultado final desemboca en una nueva y enriquecedora mirada.The purpose of this article is to survey the techniques and stylistic procedures used by the writer Carme Riera to transfer her own work from the original Catalan to Spanish. The process of seeking to create the same aesthetic impact on a new Spanish readership has the effect of liberating the author, enabling her to modify, adapt, vary, enlarge or omit passages of the original text. Riera considers translation only as an exercise in recreation. As a product of this perspective, her recreations are not only successful in captivating a Spanish readership but also reflect one of the essential characteristics of her work: a multifaceted vision of reality, since her self-translations are a close parallel to the multiplicity of world views inherent in the diversity of languages. Her procedures may at times be questionable, but they lead to a new and enriching final standpoint.peerReviewe
Variación cultural, técnicas y procedimientos estilísticos a propósito de las autotraducciones al castellano de Carme Riera
No full textThe purpose of this article is to survey the techniques and stylistic procedures used by the writer Carme Riera to transfer her own work from the original Catalan to Spanish. The process of seeking to create the same aesthetic impact on a new Spanish readership has the effect of liberating the author, enabling her to modify, adapt, vary, enlarge or omit passages of the original text. Riera considers translation only as an exercise in recreation. As a product of this perspective, her recreations are not only successful in captivating a Spanish readership but also reflect one of the essential characteristics of her work: a multifaceted vision of reality, since her self-translations are a close parallel to the multiplicity of world views inherent in the diversity of languages. Her procedures may at times be questionable, but they lead to a new and enriching final standpoint.El propósito de este artículo es hacer un repaso de las técnicas y procedimientos estilísticos que la escritora Carme Riera utiliza al traspasar sus propias obras desde el original catalán al castellano. La intención de causar un mismo efecto estético en un nuevo público lector en lengua castellana hace que la autora se sienta absolutamente libre para modificar, adaptar, modular, ampliar o suprimir el texto original. Riera considera sus traducciones solo como ejercicio de recreación. Desde esa perspectiva, sus recreaciones consiguen seducir también al público lector hispano, al tiempo que reflejan una de las características esenciales de su obra: la visión poliédrica de la realidad, ya que sus autotraducciones guardan una estrecha correspondencia con la pluralidad de cosmovisiones inherente a la diversidad de lenguas. Sus procedimientos pueden ser a veces discutibles, pero el resultado final desemboca en una nueva y enriquecedora mirada
Variación cultural, técnicas y procedimientos estilísticos a propósito de las autotraducciones al castellano de Carme Riera / Cultural variation, techniques and stylistic procedures used by Carme Riera to Spanish self-translation
No full textResumen: El propósito de este artículo es hacer un repaso de las técnicas y procedimientos estilísticos que la escritora Carme Riera utiliza al traspasar sus propias obras desde el original catalán al castellano. La intención de causar un mismo efecto estético en un nuevo público lector en lengua castellana hace que la autora se sienta absolutamente libre para modificar, adaptar, modular, ampliar o suprimir el texto original. Riera considera sus traducciones solo como ejercicio de recreación. Desde esa perspectiva, sus recreaciones consiguen seducir también al público lector hispano, al tiempo que reflejan una de las características esenciales de su obra: la visión poliédrica de la realidad, ya que sus autotraducciones guardan una estrecha correspondencia con la pluralidad de cosmovisiones inherente a la diversidad de lenguas. Sus procedimientos pueden ser a veces discutibles, pero el resultado final desemboca en una nueva y enriquecedora mirada.Summary: The purpose of this article is to survey the techniques and stylistic procedures used by the writer Carme Riera to transfer her own work from the original Catalan to Spanish. The process of seeking to create the same aesthetic impact on a new Spanish readership has the effect of liberating the author, enabling her to modify, adapt, vary, enlarge or omit passages of the original text. Riera considers translation only as an exercise in recreation. As a product of this perspective, her recreations are not only successful in captivating a Spanish readership but also reflect one of the essential characteristics of her work: a multifaceted vision of reality, since her self-translations are a close parallel to the multiplicity of world views inherent in the diversity of languages. Her procedures may at times be questionable, but they lead to a new and enriching final standpoint
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