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Resumen: Basandose en algunos ejemplos tomados de la literatura española e hispanoamericana, el presente trabajo aborda algunos problemas de traducción en cuya solución, por mucha intuición que tenga el traductor, la investigación científica puede desempeñar un papel importante. De la gran variedad de aspectos posibles el autor ha escogido unos cuantos que demuestran que el traductor literario no puede llegar a solucionar satisfactorias si se basa solamente en la intuición, sin haber recurrido antes a un procedimiento científico de análisis de texto y documentación. Se muestran ejemplos de traducción del español al alemán

Resumen: El traductor y el texto pretende mostrar un camino a todos los que se inicien en el apasionante mundo de la traducción. La concepción del libro es eminentemente práctica, aunque la teoría, implícita, servirá de gúia en este recorrido introductor: po un lado, los fundamentos teóricos ayudarán a entender y explicar determinados fenómenos relacionados con los textos y la traducción de éstos y, por otro, a fijar y desarrollar un programa de actualización de la forma más eficaz y consecuente posible.

Resumen: In Spain, as in the rest of the non-Anglophone Western world, English-language film titles have become texts (or paratexts) of great cultural importance. The titles of the films that one may encounter in Western cinema can be considered, on the one hand ephemeral, elusive, and inconsequential. However, on the other hand, despite their clear irrelevance, film titles are considered to be the genuine contemporary cultural texts, for their continued presence in the media and for their evocative nature: an important marketing tool. Moreover, the result of what happens when film titles are translated into other languages and cultures has always intrigued the audience: this is perhaps indicative of the vast universe of translation studies. The differences between languages are palpable, not only from a linguistic point of view but also from a pragmatic, historical or cultural standpoint. In this paper, we deal with the translation of Quentin Tarantino's film titles into a number of European languages, including Spanish, Catalan, French and German. Quentin Tarantino's films are controversial, self-reflexive and have acquired a significant recognition within popular culture. Most of the typologies employed so far have revolved around the notion of 'fidelity" in the translation of film titles, and involving such strategies as literal translation, transposition, addition, etc. We wish to propose here another avenue for investigation: that of film-title translation as a complex (and globalised) rewriting phenomenon that benefits the commercial and ideological interests of the film industry.

Resumen: Generally speaking, the message of a poem is conveyed on three levels: the semantic, the syntactic, and the phonological. How translatable each of these levels is to the translator depends on how much cognation there is between source and target language: the more cognation there is, the more translatable each of these levels. Thus, in respect of all three levels, translation between languages of the same family, such as English and French, both of which belong to the Indo-European family, is easier than translation between languages of different families, such as English and Chinese, which belong respectively to the Indo-European and the Sino-Tibetan family. If a further distinction is to be made, one may say that, in translation between Chinese and European languages, the semantic level is less challenging than both the syntactic and the phonological level, since syntactic and phonological features are language-bound, and do not lend themselves readily to translation, whereas language pairs generally have corresponding words and phrases on the semantic level to express similar ideas or to describe similar objects, events, perceptions, and feelings. As an image owes its existence largely to its semantic content, the imagery of a poem is easier to translate than its phonological features. Be that as it may, there is yet another difference: the difference between the imagery of non-dramatic poetry and the imagery of poetic drama when it comes to translation. With reference to Hamlet and its versions in Chinese and in European languages, this paper discusses this difference and the challenges which the translator has to face when translating the imagery of poetic drama from one language into another; it also shows how translating Shakespeare's imagery from English into Chinese is more formidable than translating it from English into other European languages.

Resumen: In der vorliegenden Arbeit soll der Versuch unternommen werden, die deutsche Übersetzung der Biografía de un cimarrón des Cubaners Miguel Barnet (La Habana, 1940) kritisch zu werten, und zwar in dopperlter Hinsicht: zum einen im allgemeinen Kontext der Rezeption lateinamerikanischer Literatur im deutschsprachigen Raum in der Zeit der 60er Jahre und zum anderen im Sinne einer Kritik der konkreten Übersetzungsleistung.

Resumen: Das Übersetzen ist eine besondere Anwendung der menschlichen Sprachfähigkeit. Und gleichwie bei der normalen Erforschung der Sprache kann man auch beim Übersetzen prozeßorientiert oder produktorientiert vorgehen. Die normalerweise getrennte Prozeße des Sprachverstehens und der Sprachproduktion sind beim Übersetzen verbunden und sie verteilen sich auf zwei Sprachen.