Sobre autotraducción y paratexto en Boquitas pintadas. Folletín de Manuel Puig
DOI:
https://doi.org/10.26512/belasinfieis.v8.n2.2019.24379Palabras clave:
Manuel Puig. Boquitas pintadas. Autotraducción. Paratexto. Reescrituras.Resumen
La injerencia de Manuel Puig en el campo de la traducción puede estudiarse en un caso ejemplar como el de su novela Boquitas pintadas. Folletín (1969). El autor colaboró activamente en la traducción de las versiones realizadas especialmente para Italia, donde la novela apareció como Una frase, un rigo appena. Romanzo d’appendice (1971); para Francia, donde se tituló Le plus beau tango du monde (1972), y para Estados Unidos, donde se publicó como Heartbreak Tango. A Serial (1973). Su intervención se concentró fundamentalmente en lo que se refiere a los elementos paratextuales. Títulos, subtítulos y epígrafes que encabezan cada capítulo fueron especialmente adaptados en función de los nuevos espacios de recepción literarios y culturales en que la obra circularía. Este artículo estudia el rol de Manuel Puig como traductor a través del análisis de las traducciones mencionadas. Para ello se tienen en cuenta tanto las versiones publicadas como algunas huellas del proceso de escritura legibles en los borradores de trabajo del archivo personal del escritor. Cabe destacar que lo que todas estas traducciones priorizan y conservan de distintos modos es especialmente el dominio del tango como elemento peculiar de la cultura de partida, entre otros materiales representativos de la cultura popular.
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