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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: Por su característico argumento principal The taming of the Shrew es una de las obras de Shakespeare más conocidas y representadas en todo el mundo. Pero, quizás tambien por ello, es una de las mas sujetas adaptaciones escénicas o cinematográficas de todo tipo. En España, ha sido traducida en mas de veinte ocasiones y llevada al cine en 1955 con el título La fierecilla domada.

Resumen: Pese a ser un componente esencial de la poesía, la forma ha sido frecuentemente ignorada en la investigación sobre traducción poética o ha sido abordada bajo enfoques más bien prescriptivistas, con destacables excepciones (Holmes 1994, Jones, 2011, entre otros). Este trabajo aborda la traducción de la forma poética desde una perspectiva descriptivista a partir de un corpus de 69 traducciones al español de los Sonetos de Shakespeare publicadas entre 1877 y 2018. Trata, en particular, la forma exterior o macroestructura de los poemas utilizando un soneto de cada traducción como prototipo. Esto permitirá clasificar dichas traducciones según las formas del metapoema de James S. Holmes y proponer una revisión de este modelo. Si bien ciertas formas o patrones se repiten, las diversas soluciones demuestran que no hay una forma predilecta para traducir estos sonetos, ni siquiera durante un período específico (más allá de la preferencia por el verso sobre la prosa).

Resumen: Traditional notions surrounding translation have for many centuries defined the translator's idea of his own task as limited, mechanical, and devoid of any creativity, creativity being a characteristic of the author, not the translator. This issue is particularly at stake in the case of poetry translation, where the transporting of the combination of sound and meaning to another language becomes the one great challenge. In this article, an analysis is made of the way three Brazilian translators of Shakespeare's Sonnets explain and deal with their own translation choices. These choices are often dictated by a negotiation process based on loss and compensation.

Resumen: Una de las cuestiones suscitadas a raiz de la aparición de los "enfoques culturales" a la Traducción es la del tratamiento de la identidad racial y sexual. A su análisis se han dedicado numerosos investigadores en el campo traductológico, y la aparición de artículos y libros dedicados a estos temas es incesante. Los estudios realizados, encuadradosen la denominada, por lo general, "escuela de la Manipulación", tienen como objeto analizar cómo los textos de llegada modifican los constructos referidos a la identidad racial o sexual presentes en los textos de partida. En este sentido, y dados los posibles distintos tratamientos de estos temas según las culturas de llegada, la intervención del traductor sigue siendo determinante.

Resumen: Susan Bassnett asks why there is such strong opposition to the idea of translating Shakespeare into modern English

Resumen: This article focuses on Josep Maria de Sagarra's translations of Shakespeare's plays. It starts by offering an overview of clandestine translation under Franco's regime, it considers the social impact of later reeditions and analyzes the translation criteria employed in his translations of Shakespeare's plays: Sagarra's is a natural fictive orality meant not to be read aloud but rather to be staged, and his use of formal resources like rhythm and rhyme distinguish him from his predecessors (Magí Morera i Galícia and Cèsar August Jordana) and followers (Marià Manent). Finally, the article analyzes the reception that Sagarra's translations have had.

Resumen: As is widely known, Shakespeare was late to appear in Spain and did so through Jean-François Ducis ́s adaptations into French. The first Shakespearean text in Spanish, a translation of Hamlet carried out by the famous Spanish playwright Ramón de la Cruz, was not published until 1772, more than one and a half centuries after Shakespeare ́s death in 1616. This text, titled Hamleto, rey de Dinamarca, was based on Ducis ́s adaptation Hamlet, tragédie imitée de l ́anglois (1769). The second translation into Spanish of the Bard ́s work was another versión of Hamlet published in 1798 under this same title by Leandro Fernández de Moratín, also a famous Spanish playwright. Moratín translated directly from English. However, after this first direct translation of Shakespeare there was a succession of indirect versions from French, with only a few sporadic direct renderings.

Resumen: This paper addresses the problem of linguistic and cultural differences in literary translation, and more specifically in the translation of poetry. It examines a key concept in postmodernism: "the other", and its relationship with translation studies. This study aims to investigate the translation of the "other" in literature, and how this is assimilated/domesticated or made foreign/exotic in poetic translation. In other words, it probes the translation of ppoetry of SL-culture and TL-culture orientation. Toachieve this, various versions of Arabic translation of Shakespeare's sonnet 18 "Shall I compare thee to a summer's day" are examined. An analytical comparative method is used.

Resumen: Toda producción intelectual o artística está ligada a los condicionamientos culturales de su época. La traducción literaria no es excepción: como actividad productora de textos, se ve afectada por los factores culturales, la visión del mundo de una determinada sociedad, los modelos textuales ofrecidos por esa sociedad, la orientación hacia textos ya aceptados y el discurso que comparten el escritor y el lector. Theo D'Haen presenta varios casos en que los condicionamientos culturales explican traducciones dispares de una misma obra clásica, como el Julio César de Sahkespeare, realizadas en diversos países y épocas. Dichos casos parecen confirmar la idea de que la escritura o la traducción no son completas sin el concurso del lector y la sanción de la sociedad para los que se escribe o traduce. Ahora bien, la traducción de textos clásicos, al realizarse sobre supuestos culturales que no suelen coincidir con los de la época del autor, corre el riesgo de desvirtuar el original si no respeta la lectura que éste exige.