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Resumen: Apart from referring to a geographical or physical border, the notion of frontera has also become a metaphorical or psychological construct which represents any situation of contrast, such as belonging to two different national, cultural or linguistic communities. Latino writers in the United States live and write on the frontera. The coming together of two cultures forges a new hybrid identity which fights against essentialism and homogenization. This hybrid identity is reflected in these writers' language, a border tongue constantly switching from English to Spanish. Sandra Cisneros is one of those Latina writers who resort to code-switching as an identity hallmark. By introducing Spanish words, phrases or syntactic constructions into her English texts, Cisneros tries to evoke the feeling of inhabiting two worlds which can be conflicting and complementary at the same time. Departing from the notion of frontera, several translations of Cisneros's works are analysed, paying special attention to those aspects related to identity and language. Particularly, I focus on the Mexican Spanish, Galician and Catalan versions of The House on Mango Street, the translation of Woman Hollering Creek into Mexican Spanish, the Catalan versions of several short stories from Woman Hollering Creek and the Galician translation of Loose Woman. In all the analysed versions, the translators use strategies which reflect the border identity present in the source text, such as the resource to code-switching and typographical markers or the use of calques and other borrowings, dialectalisms, and non-standard vocabulary, pronunciation and grammar.

Resumen: Children’s literature in the Arab World is impregnated with morality, didactics and a heavy ideological bias, in spite of some attempts for change. Translating for children is, in its turn, governed by the same rules that govern writing for them.Translation is not only a lexical but also a cultural transfer. Adopting some protective cultural measures, while translating for children, becomes inevitable especially if the source and target cultures have little in common. The Arabian Nights is the first book for children in the Arab world, though not initially meant for them, to be translated into many languages and has become part of international Children’s Classics.

Resumen: "(...) efectuaremos un breve análisis de distintas escenas correspondientes a largometrajes extranjeros subtitulados o doblados al español, en el que describiremos el efecto de estos procedimientos de traducción [domesticación y extranjerización] sobre los nombres propios, los alimentos, el humor, los juegos de palabras, así como sobre elementos de carácter ideológico, como los estereotipos sexuales y las identidades nacionales".

Resumen: This article focuses specifically on two examples of fantasy stories and their translations into Russian: The Lion, the Witch, and the Wardrobe (Lewis 1950), a classic English fantasy story, and Harry Potter and the Philosopher’s Stone (Rowling 1997), a modern blending of fantasy with the traditional English school story. The analysis shows that the approach to translation is largely random. In the translations of The Lion, the Witch and the Wardrobe, there is some evidence of simplification as a strategy, and some confusion over the appropriate translation of cultural items in the translations of Harry Potter and the Philosopher’s Stone. Generally, however, the translators are shown not to have attempted to situate the stories in a Russian context, and have retained intact both the cultural backdrop and the moral values put forward in the works. A study of the reception of such works by young readers would provide valuable information about the success or failure of the translations discussed in this article.

Resumen: El autor analiza el impacto que la traducción de los guiones de cine y televisión elaborados en inglés está teniento en la norma hablada o escrita del español peninsular.