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DANIEL LINDER–TRANSLATING HARD-BOILED SLANG: RAYMOND CHANDLER IN SPANISH CHANDLER, Raymond. The Long Goodbye. In MACSHANE, Frank (ed.) Later Novels and Other Writings. New York: Library of America, 1995 [original: 1939], pp. 417-734. ———. El largo adiós (trans.: M.ª del Carmen Márquez de Odriozola). In Obras Selectas. Barcelona: Carrogio, S.A. de Ediciones, 1974 [original: 1958], pp. 681-1028. ———. El largo adiós (trans.: Flora W. de Setaro). Buenos Aires: Fabril Editora, 1962. ———. El largo adiós (trans.: José Antonio Lara). Barcelona: Barral Editores, 1973. ———. El largo adiós (trans.: Daniel Zadunaisky). Buenos Aires: Emecé Editores, 1989. DURHAM, Philip. Down These Mean Streets a Man Must Go: Raymond Chandler’s Knight. Chapel Hill: University of North Carolina Press, 1963. HARVEY, Keith. “A Descriptive Framework for Compensation”. The Translator, 1995, vol. 1 (1), pp. 63-86. MACSHANE, Frank. The Life of Raymond Chandler. New York: Dutton 1976. MORÁN, Carlos Alberto. “Lectura Latinoamericana de Raymond Chandler”. Imagen. 1975, vol. 103/104, pp. 34-39. ZAUBERGA, Ieva. “Pragmatic Aspects of the Translation of Slang and Four-Letter Words”. Perspectives: Studies in Translatology. 1994, vol. 2 (2), pp. 137-145. 366
Mª JESÚS LORENZO MODIA–LATE 17TH- AND 18TH-CENTURY TRANSLATIONS BY ENGLISH WOMEN LATE SEVENTEENTH- AND EIGHTEENTH-CENTURY TRANSLATIONS BY ENGLISH WOMEN WRITERS: FACT AND/OR FICTION 367 MARÍA JESÚS LORENZO MODIA Universidade da Coruña Translations by late seventeenth- and eighteenth-century English women writers will be analysed here paying attention to two main aspects. On the one hand, translation has been frequently used as a rhetorical device to avoid responsibility and/or to cover up identities in the publication of some texts by women writers. On the other hand, the publication of translations into English mainly from French – and less frequently from Latin, and Greek – provided social respectability for the very same women translators in periods when writing itself was a dangerous social activity. Hence, translation was used with the double function of alibi, to avoid hard criticism, and award, to demonstrate proficiency in languages and fields not habitual in women’s curricula. The first woman writer to be considered in this view is Aphra Behn (ca.1640-1689). She is both a writer and a translator. These two different activities were not so clearly separated in the history of European culture since Chaucer, Shakespeare, and many other writers used works in various European languages as a source of inspiration. As is wellknown, the concept of translation has had many different interpretations throughout history, which cannot be dealt with here. Suffice it to mention that medieval writers, for instance, were acknowledged both as “auctors” and “compilers” of other texts and their task may be described in terms of gleaning from other sources, as Hussey points out, referring to Chaucer’s Prologue to the Legend of Good Women (G version, 61-5): “To make available the works of the great authors of the past, by compilation, translation, commentary or simple transcription.” (Hussey 1971: 33). In contemporary criticism translation may even be understood as “first and foremost, intralingual. It serves to decipher messages between speakers and writers within the same speech-community” (Steiner 1998: 93). However, translation, of different types, was a widespread occupation among many relevant Restoration writers. Aphra Behn does not seem to have mixed these two activities in theory, as she usually recognised authorship of original works, or recognised being the translator, in the title page of her works as distinct activities. Examples of works by her where authorship is declared are: The Fair Jilt: or, The History of Prince Tarquin and Miranda. Written by Mrs. A. Behn (1688); Oroonoko: or, The Royal Slave. A True History. By Mrs A. Behn (1688); The Lucky Mistake. A New Novel. By Mrs. A. Behn (1689); or The History of the Nun: Or, The Fair Vow-Breaker. Written by Mrs. A. Behn (1689). There are also instances where the authorship is not declared on the front page due to the special characteristics of the work. This is the case of Love-Letters Between a Noble-Man and His Sister, Parts I, II, and III, where we find a series of letters supposedly from the true correspondents, where no author’s name – other than those of the pen-friends – are to be found. As far as translations are concerned, we find in most of them the name of the translatress, for instance in A Discovery Of New Worlds. From The French. Made English By Mrs. A. Behn (1688), which is a translation from Fontenelle’s Entretien sur la pluralité des mondes,
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ANNE BARR, M. ROSARIO MARTÍN RUANO
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ROMÁN ÁLVAREZ-PRESENTACIÓN 3 PRE
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ANNE BARR/M. ROSARIO MARTÍN RUANO/
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ANNE BARR/M. ROSARIO MARTÍN RUANO/
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ÍNDICE-ÚLTIMAS CORRIENTES TEÓRIC
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ÍNDICE-ÚLTIMAS CORRIENTES TEÓRIC
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JOSÉ MIGUEL ALONSO GIRÁLDEZ-EL SP
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ALBERTO ÁLVAREZ LUGRÍS-HIPÓTESIS
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MARIBEL ANDREU/PILAR ORERO: ENSEÑA
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M. I. BALTEIRO FERNÁNDEZ-PROBLEMS
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A. BOLAÑOS, D. M.ª GUERRA, P. MÁ
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ADAURI BREZOLIN: RECENT WORK ON THE
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ADAURI BREZOLIN: RECENT WORK ON THE
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J. M. BUSTOS GISBERT-TRANSFERENCIA
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PABLO CANCELO-EVALUATION OF MACHINE
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TERESA CANEDA CABRERA-TRANSLATION A
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OVIDI CARBONELL-IDENTITY IN TRANSLA
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ANNEX TEXT A TEXT B Marzo Fui a Ale
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Al cuerno, dijo Troy. OVIDI CARBONE
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MARC CHARRON-LE PRESTIGE DES PROLOG
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RUTH AMARILIS COTTO-SKIN, COLOR, SI
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RESUMEN SUSANA CRUCES COLADO-LAS PA
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SUSANA CRUCES COLADO-LAS PALABRAS N
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SUSANA CRUCES COLADO-LAS PALABRAS N
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R. DE PEDRO RICOY-SUBVERSIÓN O TRA
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K. J. DUNCAN BARLOW-ON THE TRANSLAT
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EVA ESPASA BORRÁS-LABERINTOS Y PAR
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JOÃO FERREIRA DUARTE-REPRESENTING
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E. FLORES ACUÑA/C. SANCHO VERA-LA
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ALAN FLOYD-ACTITUDES PURISTAS: EL E
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CARLOS FORTEA-LOS MOTIVOS DEL TRADU
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ANA M.ª GARCÍA ÁLVAREZ-DESCONSTR
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ROSARIO GARCÍA LÓPEZ-TEORÍA Y DI
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CARMEN GARCÍA NAVARRO-LA TRADUCCI
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E. GAREA OYA-LA TRADUCCIÓN COMO RE
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PILAR GODAYOL-TRADUCIR DERRIDA: LA
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IRIA GONZÁLEZ LIAÑO-LA TRADUCCIÓ
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VERÓNICA GONZÁLEZ PÉREZ-TERMINOL
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VERÓNICA GONZÁLEZ PÉREZ-TERMINOL
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MICHAEL GRADE-IMPACT OF THE GROWTH
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CAMINO GUTIÉRREZ LANZA-DOBLAJES PO
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EMMANUEL HERIQUE-”STYLISTIQUE COM
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LETICIA HERRERO RODES-LA TRADUCCIÓ
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LETICIA HERRERO RODES-LA TRADUCCIÓ
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CELIA MARTÍN DE LEÓN-LA LINGÜÍS
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ADELA MARTÍNEZ GARCÍA-LA HERMENÉ
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CONCLUSIÓN ADELA MARTÍNEZ GARCÍA
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CARMEN MATA PASTOR-SOBRE LA TRADUCC
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LUCÍA MOLINA-INTERFERENCIAS CULTUR
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TM2: 148 TM3: 564 LUCÍA MOLINA-INT
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TM3: 453 LUCÍA MOLINA-INTERFERENCI
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TM2: 179 TM3: 605 LUCÍA MOLINA-INT
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CONSUELO MONTES GRANADO-LA CONSTRUC
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ESTHER MONZÓ-EL GÉNERO DISCURSIVO
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4. CONCLUSIÓN ESTHER MONZÓ-EL GÉ
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GABRIEL MOYAL-SCIENTIFIC TRANSLATIO
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