73 research outputs found
Echoes and reflections of an author
Full text linkEcos y refejos de un autor[Claudia Hammerschmidt. “Mi genio es un enano llamadoWalter Ego”. Estrategias de autoría en Guillermo Cabrera Infante.Trad. Beatriz Galán y Claudia Hammerschmidt.Madrid/Frankfurt: Iberoamericana/Vervuert, 2015,412 p.]The title of this recent monograph -translation of "My genius isa dwarf named Walter Ego. " Strategien von Autorschaft beiGuillermo Cabrera Infante (2002) - comes from an interview inthe one that Cabrera Infante talks about his creative idiosyncrasy with Isabel Álvarez-Borland. The author converts the words thatSilvestre, writer-narrator of Tres tristes tigres , pronouncesbe reflected in a mirror - "Is it me who looks at me throughof the mirror? Or is it my alter ego? Walter Ego "( Three sad tigers,Barcelona, Seix Barral, 1991, 349) - in a personal definitionwhen he states categorically: "My genius is a dwarf called Walter Ego "(Álvarez-Borland, Hispamérica: Revista deLiterature 31, 1982, 54).<br/
Echoes and reflections of an author
Full text linkEcos y refejos de un autor[Claudia Hammerschmidt. “Mi genio es un enano llamadoWalter Ego”. Estrategias de autoría en Guillermo Cabrera Infante.Trad. Beatriz Galán y Claudia Hammerschmidt.Madrid/Frankfurt: Iberoamericana/Vervuert, 2015,412 p.]The title of this recent monograph -translation of "My genius isa dwarf named Walter Ego. " Strategien von Autorschaft beiGuillermo Cabrera Infante (2002) - comes from an interview inthe one that Cabrera Infante talks about his creative idiosyncrasy with Isabel Álvarez-Borland. The author converts the words thatSilvestre, writer-narrator of Tres tristes tigres , pronouncesbe reflected in a mirror - "Is it me who looks at me throughof the mirror? Or is it my alter ego? Walter Ego "( Three sad tigers,Barcelona, Seix Barral, 1991, 349) - in a personal definitionwhen he states categorically: "My genius is a dwarf called Walter Ego "(Álvarez-Borland, Hispamérica: Revista deLiterature 31, 1982, 54).<br/
The Efficient Scribe: Translating Julio Cortázar's Todos los fuegos el fuego
Full text linkAmerican scholar and literary translator Suzanne Jill Levine’s seminal monograph, The Subversive Scribe: Translating Latin American Fiction (1991), furnishes prime examples of her active role during the co-translation of works by subversive, creative authors like the Cuban-British writer Guillermo Cabrera Infante. The intention of this article is to discuss another type of collaborative translation by focusing on her working relationship with the Argentinian author Julio Cortázar during the translation process of his collection of short stories Todos los fuegos el fuego (1966; All Fires the Fire and Other Stories, 1973). An exploration of Cortázar’s working life as a translator reveals that he was far from being a playful author, willing to perform a ‘creative self-betrayal’ of his volume of short stories, and that his understanding of original text and translation defined his collaboration with Levine. An analysis of his correspondence with her, including the examination of mistakes that had been highlighted by Cortázar, and of her incorporation of corresponding amendments in her final version aims to prove that Levine translated his short stories as a non-subversive and efficient scribe, guided by Cortázar’s controlled cooperation and with his interference disguised as assistance
The Empire in their Hands:Topographical and Geographical Questionnaires under Charles V and Philip II
No full text"Making heterogeneity and sorority visible:The Tsunami anthologies by Gabriela Jáuregui in connection with #MeTooEscritoresMexicanos and the collective Mujeres Juntas Marabunta"
No full textThis study establishes a link between the use of social media (for example Me Too in Mexico), and the mobilization and objectives of the feminist organization Mujeres Juntas Marabunta (2019), and the publica-tion of two anthologies edited by one of its members: the writer, editor, and activist Gabriela Jáuregui: Tsunami (2018) and Tsunami 2 (2020). The article briefly contextualizes the current feminist movement in Mexico and analyses three official documents that have been published by Mujeres Jun-tas Marabunta (the statement “Mujeres juntas, marabunta”, the manifesto “Palabra colectiva” and “Pronunciamiento”) as well as Jáuregui’s declara-tions in several interviews. The study underlines connections between so-cial media, some of the objectives of Mujeres Juntas Marabunta, and the creation process and contents of both anthologies<br/
El oficio de escritor: Julio Cortázar y su relación con editores, agentes, traductores y críticos
No full text"Les fanatismes parallèles de La guerra del fin del mundo"
Full text linkOn ne peut pas rester indifférents lorsqu’un écrivain prolifique nous signale la création qu’il juge la plus significative à ce jour dans son œuvre. Son choix nous révèle, notamment, sa prédilection pour certains thèmes et genres narratifs, ainsi que les objectifs qui motivent l’écriture du livre. Prenons pour exemplel’entretien que Mario Vargas Llosa a accordé au journaliste brésilien Ricardo Setti en 1988, au cours duquel l’auteur reconnaît que, à ce jour, « La guerra del fin del mundo [es] su libro más importante » (The Paris Review 243). Écrire le roman a représenté un défi de quatre ans, pendant lesquels il a travaillé entredix et douze heures par jour, faisant face à une quantité de matériel vertigineuse (243-244). Il raconte
"Who Killed the Writer? Intertextual Clues in Cristina Rivera Garza’s ‘El perfil de él’” in Fifty Shades of Latin American Noir: Alternative Models of Criminality and Detection, ed. Carolina Miranda.
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"'The understanding they have is, for Indians, good': the Incas in the Geographical Relations of the 16th century."
No full textSpecial edition by Romana Radlwimmer, "Vida desnuda": apropiaciones textuales y resistencias contra la escritura en las literaturas románicas
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