Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

The nineteenth century in France is described by researchers as a time of transition from the tradition of the belles infidèles to a translation model closer to the source text. This article studies two cases which contradict this tendency. Our starting point will be the analysis of the texts written by the translators Jean-Baptiste Millié and François-Félix Ragon for two translations into French of Os Lusíadas, by the Portuguese author Luis Vaz de Camões, in1825 and 1842, respectively. These texts are first hand testimonies, where translators expose their conception of translation, their translation strategies and their perception of Portuguese literature and of the work of Camões. 

Based on the transfer of the conceptual framework of Latin American Decolonial Studies to the European context this paper analyzes comparatively the achievements and shortcomings of access to justice in multilingual states. By adopting a transatlantic view, focusing on the cases of Mexico and Belgium, the paper aims to illustrate the interest of an intercivilizational and decolonial approach to European human and social sciences. 

Drawing from Talmy’s work on lexicalization patterns, and Slobin’s thinking-for-speaking hypothesis, the translation of motion has been an active arena for research. Recently, a new line of research on the reception of translations of motion has arisen, suggesting that typological differences have an impact on the target audience’s assessments about a translated text. This paper aims to explore the influence that typological differences between English and Spanish may have on readers’ judgments about the degree of dynamicity of the motion events narrated in original English texts and in Spanish translations. 20 excerpts were taken from 5 bestsellers written in English and their corresponding translations into Spanish. Participants were asked to rate in a 1 to 4 point scale the degree of dynamicity of the events described. Results suggest (a) Spanish translations did not differ in terms of dynamicity when path and manner information has been either lost or totally kept, and (b) that lexical verb choice in some English fragments together with the intrinsic nature of the events seemed to have an effect on the English audience’s judgments. 

Intercultural mediation and public service interpreting enable communication with migrated families who do not speak or understand the local languages. This can be especially important in parent-teacher meetings and when trying to establish a link between the school and the family. The present research seeks to analyse how mediated communication is developed in education settings.It focuses on two meetings in education settings in the province of Barcelona, where two educators communicated with Chinese families through intercultural mediators. Both meetings were audiotaped and the recordings have been transcribed and analysed by means of conversation analysis. The results show that despite the fact that the mediators enable communication, sometimes mediation is more oriented to the assimilation of the migrated community, and sometimes it even results in a dyadic separation, as direct communication between primary interlocutors (the educator and the mother) is not achieved or promoted. 

During the 19th Century and with the first translations of Don Quixote to japanese, Cervantes’ work started to be part of the country’s mass culture. As a manifestation of this phenomenon, the manga absorbed the image of the knight-errant. This comic genre adapted it to its aesthetic criteria and merged it with its history and folklore. At the same time, the manga has been exported to Western world, where readers and artists are familiarized with its characteristical style. Hence, Don Quixote works together with the manga as a bidireccional bridge between Japan and Spain. Far from the novel, the universality of this classic will find its way into the drawing and will take as base the popular culture instead of the academic sphere.

Since its publication in 1605, Don Quijote has increasingly become part of a collective global culture, being translated and adapted into numerous languages and societies. The most recent step in this quixotic tradition has come in the shape of videogames that allegedly find their inspiration in theCervantean classic. These new remediations provide an insight into the multiple refractions of the hypotext, sometimes hidden among the crossover of narratives or reduced to the use of the character’s name. Whether close or far from the seminal text, these new adaptations prove that the quixotic myth is still a strong presence in our globalized culture.

John Phillips’s translation of Don Quijote (1687) has been considered one of the worst translations of all time, certainly the worst of Cervantes’s work. However, an analysis of the Phillips translation in the context of lateseventeenth-century English culture reveals in Phillips’s work an insightful reading both of the original text and of his own context. Phillips’s text presents not merely a linguistic translation of the original work, but also atranslation of the literary mechanism of Cervantes’s text, by which Phillips reproduces the use of a literary work to indirectly critique contemporary discourse and social mores.

The enactment of a theatrical performance is a complex creative processthat involves multiple agents, elements and processes of signification. Thetext becomes a pretext and so the literary work results in a series of successive texts that will materialize in the theatrical text, that which is heard and seen during each one of the performances. The figure of the dramaturge is particularly important in the overall process, but so it is that of the translator, due to the fact that if drama involves the revision and/or adaptation of the literary material to the scenic syntax, translation facilitates the access to texts written in other languages. With this article we propose a tentative theoretical framework in order to consider the relationship between theatre and translation based on the analysis of the concepts, processes and working methods that are specific to this field of intersection of cultural practices. 

This article proposes a transversal approach to the cinematographic presence of Don Quixote (both the novel and the theme). It is not as much centered on conventional adaptations as on the redefinition of its textual and poetic legacy carried out by Nouvelle Vague authors like Jean-Luc Godard, Jacques Rivette, François Truffaut o Éric Rohmer, a generation brûlée by their literary and cinematographic passion. The warp and weft of this reflection is constituted by a chain that links the iconographic schema of the burned out book object to the paradoxic rewriting that fire makes of Cervantes’s work in G. B. Pabst’s Don Chisciotte (1933), and to the quixotesque will of the filmic medium itself, represented by the unfinished Quijote of Orson Welles (1957-1985), which are all presided over by the flammable nature of old cinema and old books (Fahrenheit 451, book and film).

The present paper deals with the translation of an important stylistic element of the Lithuanian language: the diminutive suffixes and their derivatives. The translation of the meanings conveyed by these suffixes is a challenge, especially when translating into languages that do not possess such a wide range of diminutive suffixes or use this morphological device very seldom. This paper examines the Spanish version of the first part of the poem Metai (Las estaciones del año, translated by Carmen Caro Dugo, 2013), by K. Donelaitis, as well as both translations into English of the same text. The comparative analysis of the Spanish and English versions can provide a more complete view of the means used by translators to convey the meanings denoted by the Lithuanian diminutive suffixes