Laura Alcoba, a French-Argentine writer, revised the Spanish translation (2014) of her work Le bleu des abeilles (2013) for the edition of the Trilogía de la casa de los conejos (2021), which brought together La casa de los conejos (2008), El azul de las abejas (2014) and La danza de la araña (2018). In these three works – originally written in French – she fictionalised her memories of clandestine childhood in Argentina and exile in France. The interpretations and rewritings of certain features of stylistic variation by the argentinian writer and translator Leopoldo Brizuela and the author-reviser are analysed within the framework of Antoine Berman’s (1999 [1985]) analytics of translation and Jean Boase-Beier’s (2020) stylistics of translation. The aim is to analyse in what cases and how the translator and the author-reviser rewrote the stylistic features of the French original.
De "Le bleu des abeilles" a "El azul de las abejas" de Laura Alcoba: variación estilística en las (re)escrituras
Irene Margarita Theiner
2024-01-01
Abstract
Laura Alcoba, a French-Argentine writer, revised the Spanish translation (2014) of her work Le bleu des abeilles (2013) for the edition of the Trilogía de la casa de los conejos (2021), which brought together La casa de los conejos (2008), El azul de las abejas (2014) and La danza de la araña (2018). In these three works – originally written in French – she fictionalised her memories of clandestine childhood in Argentina and exile in France. The interpretations and rewritings of certain features of stylistic variation by the argentinian writer and translator Leopoldo Brizuela and the author-reviser are analysed within the framework of Antoine Berman’s (1999 [1985]) analytics of translation and Jean Boase-Beier’s (2020) stylistics of translation. The aim is to analyse in what cases and how the translator and the author-reviser rewrote the stylistic features of the French original.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
