Autor: Cecilia Q. Cañiza
Edición: 3ª
Resumen: En su influyente ensayo “Translating Poetry” el poeta y traductor francés Yves Bonnefoy propone una cuestión a quienes piensen traducir poesía: “Under what circumstances is this type of translation, the translation of poetry, not completely mad?” Respondiendo a su propia pregunta, Bonnefoy dice: “The answer to the question, ‘Can one translate a poem?’ is of course no. The translator meets too many contradictions that he cannot eliminate; he must make too many sacrifices”. Otras teorías sobre la traducción de la poesía plantean la misma perspectiva que Bonnefoy; el trabajo al que se enfrenta un traductor de poesía es demasiado grande y es imposible pasar a otra lengua un texto que pertenece al género literario más expresivo e íntimo. Para Reginald Gibbons, el primer paso en cualquier traducción es la reacción emocional del traductor. “The task of translating a poem”, propone Gibbons, “should be the most practical exercise in reading it. The translator, following an emotional and intellectual response to the original poem, must also feel an impulse toward the genius of his or her own language if the translation is to have life”. Este impulso determina la posibilidad de traducir la obra y, para Bonnefoy, éste es el factor clave: “If a work does not compel us, it is untranslatable”. Pero que una obra sea absorbente no puede ser la única razón que exista tras la traducción de la poesía. Walter Benjamin define la traducción así: “Translation is a mode. To comprehend it as a mode one must go back to the original, for that contains the law governing the translation: its translatability”. Y añade: “the question of whether a work is translatable has a dual meaning. Either: Will an adequate translator ever be found among the totality of its readers? Or, more pertinently: Does its nature lend itself to translation and, therefore, in view of the significance of the mode, call for it?”.
Adelina Gurrea y Monasterio, la traducción de la identidad cultural en la poesía filipina
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