Su búsqueda retornó 2 resultados.

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: Although fuzziness is one of the innate characteristics of language, shared by both Chinese and English, there do exist apparent differentiations between them as far as their roles in aesthetic-effect-generating, representation mode, application field suitability and aesthetic impact are concerned, which has remained a great challenge and regret in either English to Chinese (E-C) or Chinese to English (C-E) translation, particularly in the latter. It's no exaggeration to say that translation is a profession with no lack of regret and translators are professional regret-tasters. The most impressive regret in C-E translation might lie in the fact that the talent and capability of the translators is painfully restricted in reproducing and conveying the aesthetic effect of Chinese fuzzy expressions. As an artistically conceived language, Chinese invites macro-induction in terms of linguistic features while English, being logic-oriented, analysis-based and hypotaxis-dependent, is largely ignorant of what is called macro-induction. Hence abundant aesthetic genius of Chinese fuzzy expressions can hardly find its way into the English version. It can be said that generally the process of C-E translation is one of complementing continuously "meaning blank", of changing "indeterminacy of meaning" into "determinacy of meaning", with the E-C translation as the opposite. Many language problems in communication are essentially closely related to nationality psychologic archetype complex, which may be a significant try in translation study.