Noches da amor efímero (Spanish Edition)


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No aceptamos pedidos con destino a Ceuta y Melilla. Seller Inventory Published by Antonio Machado About this Item: Antonio Machado, Condition: as new. Appears unread. May have a retail sticker on back cover or remainder mark on the text block Expect delivery in 20 days. Published by Les Editions du Laquet This series is a collection of night time encounters between a man and a woman with life-changing consequences. The action of each play takes place in real time for just a few minutes, and is then followed by the next. The settings of Paloma Pedrero 's plays are typical, everyday locations such as an apartment, a metro station or a park.

Simple settings that do not need complex scenery or equipment to create. However, despite their simplicity, the settings can often play a significant, symbolic role within the play. For example, the claustrophobic, restricted space of the apartment used in La llamada de Lauren is juxtaposed to the freedom of the carnival which is happening on the street outside.

Her realistic and innovative style of theatrical writing has awarded Paloma Pedrero a lot of attention over the years, and as a result, a good handful of literary prizes.

The Life & Works of Paloma Pedrero

This is also the reason why she is one of the most studied contemporary Spanish playwrights in Spanish language schools. I apparently offended people for whom Borges is "a milestone of Hispanic culture. I'm not the first to endorse such an apostasy: Martin Amis, J.

Coetzee, and Salman Rushdie, among others, expressed similar opinions once; but none of them is fully versed in Quevedo's tongue, so their views might be taken as fanciful. My education in Mexico was in three languages: Yiddish, Spanish, and Hebrew; and eventually I embraced a fourth one, English.

It is almost impossible for me, at this stage, to establish which of them is closest to my heart. Translation, therefore, is a daily routine; it is everywhere I go and in everything I do. And so is literature, which, as far as I'm concerned, has no owner: once it is out and about, it is less the property of the author than of any and all readers. It is said in "Borges and I" in Irby's translation : "what is good belongs to no one [.

Does it really matter which of these universes is better than another of equal caliber? To translate, in my view, is to make the particular universal, to enter a Leibnizian reality in which simultaneous universes coexist. Or else, he made English more accessible, less remote to readers in Buenos Aires, and henceforth the rest of the Hispanic orbit.

I want to address his obsession with translation, though; it will allow me to explore the tension between original and "replica" in a way that, I hope, is a response to my critics. This passion persisted throughout his life: translators are protagonists in a myriad of stories, from "Pierre Menard, Author of the Quixote " and "Averroes's Search" to "The Secret Miracle"; and in essays such as "The Translator of the Nights ," "The Homeric Versions," and "The Enigma of Edward Fitzgerald," he ponders the role translators play in the Rezeptionsgeschichte of a book or in the construction of a heritage.

All this is part of the Argentine's easily available oeuvre; there is a less approachable aspect, too. That the results are decidedly mixed is less important than the fact that these experiments took place, for the Argentine was in search of a voice and a viewpoint, and through these translations he found, or at least solidified his literary manner. This practice, of course, doesn't necessarily say anything significant about Borges's view of translation.

Scores of litterateurs translate in their free time: for money, most often, but also for posterity.

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So what were his views? He didn't prepare an Ars Poetica on translation; it would be preposterous to produce one that simplifies and perverts. I suggest instead four illustrative examples. My first example is about Pierre Menard, who is and isn't a translator of Cervantes.

Pedrero, Paloma 1957-

But his version of Don Quixote isn't a translation in the strict sense of the term; instead, it is "a rewriting. My second example is a sentence in "On Vathek , by William Beckford," a favorite line of mine: "the original might be unfaithful to the translation. This desire to experiment with language and to give birth to a text in a particular linguistic realm is evident in his two so-called "English poems," drafted in and dedicated to the improbable Beatriz Babiloni Webster de Bullrich. They are part of El otro, el mismo. I quote from the second:. Echoes of Borges's Spanish poetry abound, but these two are poems in English : they were not translated, but delivered in Browning's tongue; and they still inhabit it.

The Argentine included them in his Obras Completas. Another example of significance, the third in this sequence, is in "The Translator of Nights ," published in Spanish in and collected in Historia de la eternidad. He wonders by which process of misappropriation—e. It is enlightening, in this context, to realize that not a single one of the three Spanish renditions of the book up until the s is ever considered.

This is symptomatic: how is it that an erudite, cosmopolitan Spanish-language critic in remote Buenos Aires compares a handful of English, German, and French versions, but never the ones emanating from his milieu? The answer is straightforward: at no time did Borges perceive himself as confined in the Spanish language; language, after all, isna prison but a springboard.


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As a perfect polyglot, he realized—and seized upon the fact—that his own territory, his milieu, was not Argentine letters alone, and Spanish culture in particular, but world literature in its entirety, and every language at his disposal in general. This realization, truly, is his outstanding contribution to the topic of translation. Why be imprisoned in our own environment? In "The Argentine Writer and Tradition," in my eyes one of his most significant writings, he announced:.

I come to my fourth and last example, about which I have a bit more to say. I have a handful of impressions to offer on the latter. The edition I have of it— Las palmeras salvajes , Buenos Aires, Editorial Sudamericana, , with a prologue by Juan Benet—has a copyright dated , twenty-three years after Faulkner published its original in English. But this translation was barely passable, like several other in the s; Borges on the other hand, mimicked the American's style elegantly, making it fluid, electrifying, breath-taking in Spanish.

Noches da amor efímero (Spanish Edition) Noches da amor efímero (Spanish Edition)
Noches da amor efímero (Spanish Edition) Noches da amor efímero (Spanish Edition)
Noches da amor efímero (Spanish Edition) Noches da amor efímero (Spanish Edition)
Noches da amor efímero (Spanish Edition) Noches da amor efímero (Spanish Edition)
Noches da amor efímero (Spanish Edition) Noches da amor efímero (Spanish Edition)
Noches da amor efímero (Spanish Edition) Noches da amor efímero (Spanish Edition)
Noches da amor efímero (Spanish Edition) Noches da amor efímero (Spanish Edition)
Noches da amor efímero (Spanish Edition) Noches da amor efímero (Spanish Edition)
Noches da amor efímero (Spanish Edition) Noches da amor efímero (Spanish Edition)

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