Rita Bueno Maia
- Published in print:
- 2021
- Published Online:
- January 2022
- ISBN:
- 9781800856905
- eISBN:
- 9781800853171
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781800856905.003.0007
- Subject:
- Literature, European Literature
This chapter examines the history of translation in/of the picaresque novel in relation to the concepts of heteroglossia (Bakhtin, 1935) and intertextuality (Kristeva, 1984), studying the systematic ...
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This chapter examines the history of translation in/of the picaresque novel in relation to the concepts of heteroglossia (Bakhtin, 1935) and intertextuality (Kristeva, 1984), studying the systematic strategy of borrowing intertexts that may be said to have played an important role in the development of the picaresque novel in Spanish, French, and Portuguese as a heteroglossic genre. The first part discusses the theoretical framework and designates as intertexts the translated fragments inserted as episodes or intercalary short stories into Spanish, French, and Portuguese picaresque novels. The chapter contends that the identification of such (translated) intertexts allows picaresque novels from the seventeenth to nineteenth centuries to be described as eclectic translations (Ringmar, 2007). The second section dialogues with previous critical works on Guzmán de Alfarache (1599 and 1604) and Gil Blas de Santillane (1715–35) that have demonstrated the presence of a strong component of translation in the making of the picaresque novel, first in Spanish (Berruezo, 2011) and later in French (Cavillac, 1984). The last section uncovers alien discourses within four picaresque novels published in Portuguese in mid-nineteenth-century Paris.Less
This chapter examines the history of translation in/of the picaresque novel in relation to the concepts of heteroglossia (Bakhtin, 1935) and intertextuality (Kristeva, 1984), studying the systematic strategy of borrowing intertexts that may be said to have played an important role in the development of the picaresque novel in Spanish, French, and Portuguese as a heteroglossic genre. The first part discusses the theoretical framework and designates as intertexts the translated fragments inserted as episodes or intercalary short stories into Spanish, French, and Portuguese picaresque novels. The chapter contends that the identification of such (translated) intertexts allows picaresque novels from the seventeenth to nineteenth centuries to be described as eclectic translations (Ringmar, 2007). The second section dialogues with previous critical works on Guzmán de Alfarache (1599 and 1604) and Gil Blas de Santillane (1715–35) that have demonstrated the presence of a strong component of translation in the making of the picaresque novel, first in Spanish (Berruezo, 2011) and later in French (Cavillac, 1984). The last section uncovers alien discourses within four picaresque novels published in Portuguese in mid-nineteenth-century Paris.
Jonathan Evans
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9781474400176
- eISBN:
- 9781474426909
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474400176.003.0001
- Subject:
- Literature, Women's Literature
This chapter introduces the book. It offers an overview of Davis’s career as a writer and as a translator before putting forward the main argument of the book that translation is central to ...
More
This chapter introduces the book. It offers an overview of Davis’s career as a writer and as a translator before putting forward the main argument of the book that translation is central to understanding Davis’s work. The chapter then discusses the role of translation in a writer’s œuvre, arguing, based on a literature review, that there are three main trends: 1) translation that has no relation to the rest of their work, 2) translation as influential on a writer and 3) translation in dialogue with their other writing. In Davis’s case, there are examples of translations which have no relation to her other writing, but the book focuses on those where a dialogue can be perceived. The chapter ends by summarising the upcoming chapters.Less
This chapter introduces the book. It offers an overview of Davis’s career as a writer and as a translator before putting forward the main argument of the book that translation is central to understanding Davis’s work. The chapter then discusses the role of translation in a writer’s œuvre, arguing, based on a literature review, that there are three main trends: 1) translation that has no relation to the rest of their work, 2) translation as influential on a writer and 3) translation in dialogue with their other writing. In Davis’s case, there are examples of translations which have no relation to her other writing, but the book focuses on those where a dialogue can be perceived. The chapter ends by summarising the upcoming chapters.
