Within the Western discursive tradition the several ways to report voices - be them one's own voice or someone else's - are usually placed on a discursive continuum ranging from conversation and dialogue to narrated discourse with reference to someone else's speech, from oratio recta to oratio obliqua with several intermediate stages. This applies as much to orality as to its literary mimesis, that is to it escrituralidad. This article focuses on the polyphony in a paradigmatic instance of literary escrituralidad, that is, Fernando Aramburu's much praised novel Patria (Tusquets 2016), set between the latest period of postfranquismo and ETA's declaration of the end of armed fight. In its diatopic, diaphasic and diastratic dimension Patria displays varied and diverse forms of colloquiality, and the Spanish language in which it is written is significantly infiltrated by diasystems which are to be traced back to other voices. On certain occsions, the only way of detecting the shift from one diasystem to the other is to assess to which diasystem the escrituralizado refers, since Aramburu constantly disrupts traditional forms of distinction between reported speeches, be them ordinary or free, thus inviting the reader to play his game, his "puzzle of voices". By providing an analysis of the Italian translation of the novel (made by Bruno Arpaia and issued by Guanda in 2017), this article will therefore offer a reflection on the function of such a disruption and on the residue (or loss) implicit in any interlinguistic translation.

El inevitable residuo traductivo en la novela Patria de Fernando Aramburu

NIEVES ARRIBAS
2018-01-01

Abstract

Within the Western discursive tradition the several ways to report voices - be them one's own voice or someone else's - are usually placed on a discursive continuum ranging from conversation and dialogue to narrated discourse with reference to someone else's speech, from oratio recta to oratio obliqua with several intermediate stages. This applies as much to orality as to its literary mimesis, that is to it escrituralidad. This article focuses on the polyphony in a paradigmatic instance of literary escrituralidad, that is, Fernando Aramburu's much praised novel Patria (Tusquets 2016), set between the latest period of postfranquismo and ETA's declaration of the end of armed fight. In its diatopic, diaphasic and diastratic dimension Patria displays varied and diverse forms of colloquiality, and the Spanish language in which it is written is significantly infiltrated by diasystems which are to be traced back to other voices. On certain occsions, the only way of detecting the shift from one diasystem to the other is to assess to which diasystem the escrituralizado refers, since Aramburu constantly disrupts traditional forms of distinction between reported speeches, be them ordinary or free, thus inviting the reader to play his game, his "puzzle of voices". By providing an analysis of the Italian translation of the novel (made by Bruno Arpaia and issued by Guanda in 2017), this article will therefore offer a reflection on the function of such a disruption and on the residue (or loss) implicit in any interlinguistic translation.
escrituralidad, discurso referido en estilos directo e indirecto, tanto libres como ligados, traductología
Nieves, Arribas
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11383/2075314
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