Traducir y recrear. Estrategias de Aurora Venturini en Cantos de Maldoror: Satánica Trinidad
DOI :
https://doi.org/10.26512/belasinfieis.v8.n2.2019.24380Mots-clés :
Estudios de traducción. Traducción literaria. Recepción. Lautréamont. Les chants de Maldoror.Résumé
Este artículo se propone estudiar algunos aspectos de la traducción de Les chants de Maldoror de la escritora argentina Aurora Venturini (1921-2015), publicada en 2007 bajo el título Cantos de Maldoror: Satánica Trinidad. El análisis de la obra muestra que la actividad de traducción cumple allí un rol que excede el de la trasposición lingüística de una lengua a otra: la fidelidad a la letra y la búsqueda de equivalencias entre lenguas no constituyen una prioridad para la traductora argentina. El modo en que Venturini trabaja el texto extranjero se emparenta con el del enfoque hermenéutico: la obra traducida resulta ser una traducción-recreación (OSEKI-DÉPRÉ, 1999), o bien una traducción-imitación (OSEKI-DÉPRÉ, 1999), derivada de una lectura crítica del texto de Isidore Ducasse, del estudio de sus contextos de producción y recepción y de la biografía del autor.
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