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últimas corrientes teóricas en los estudios de traducción - Gredos ...

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M. CRISTINA SOUSA–MIRROR, MIRROR ON THE WALL SHOULD WE TRUST THE TRANSLATOR AT ALL?<br />

“C’mon.” Niland gave Arun a prod and a wink. “The gaffer’s going to that house.<br />

Chatto, it’s called.” (ibid.)<br />

The Fr<strong>en</strong>ch word for castle, château, is graphically changed in or<strong>de</strong>r to allow the SL<br />

rea<strong>de</strong>r to read it in a way which resembles its Fr<strong>en</strong>ch pronunciation. This change was<br />

reproduced in the TL text in or<strong>de</strong>r to allow the TL rea<strong>de</strong>r a similar opportunity. Here, the<br />

SL and TL rea<strong>de</strong>r share a very similar experi<strong>en</strong>ce.<br />

Perto havia uma casa – um casarão, aliás uma mansão, supunha Arun. Era feita <strong>de</strong><br />

uma pedra acastanhada e tinha várias torrinhas, cada uma <strong>de</strong>las coroada com um pequ<strong>en</strong>o<br />

cone em lousa.<br />

“Anda lá.” Niland <strong>de</strong>u um empurrãozinho a Arun e piscou-lhe o olho. “O Patrão<br />

vai para aquela casa. Chama-se Chatô.”<br />

The changes in translation, illustrated in the passages above, were applied in or<strong>de</strong>r<br />

to provi<strong>de</strong> the TL rea<strong>de</strong>r with a maximised un<strong>de</strong>rstanding of the story and its context. The<br />

overall aim was to ext<strong>en</strong>d to the TL rea<strong>de</strong>r the same opportunity for <strong>en</strong>joym<strong>en</strong>t and<br />

<strong>en</strong>richm<strong>en</strong>t giv<strong>en</strong> to the SL rea<strong>de</strong>r. However, we must make an allowance for the rea<strong>de</strong>r’s<br />

g<strong>en</strong>eral knowledge, life experi<strong>en</strong>ce and imagination. These, together with his reading<br />

experi<strong>en</strong>ce and knowledge of his own language, will in the <strong>en</strong>d dictate the rea<strong>de</strong>r’s level of<br />

un<strong>de</strong>rstanding and <strong>en</strong>joym<strong>en</strong>t of the text.<br />

BIBLIOGRAPHY<br />

AIKEN, Joan. The Wolves of Willoughby Chase. London:Red Fox, 1992 [1962].<br />

———. Black Hearts in Battersea. London: Red Fox, 1992 [1965].<br />

———. Night Birds on Nantucket. London: Red Fox, 1993 [1966].<br />

———. The Stol<strong>en</strong> Lake. London: Red Fox, 1993 [1981].<br />

———. Limbo Lodge. London: Jonathan Cape, 1999.<br />

———. The Cuckoo Tree. London: Red Fox, 1992 [1971].<br />

———. Dido and Pa. London: Red Fox, 1992 [1986].<br />

———. Is. London: Red Fox, 1993 [1992].<br />

———. Cold Shoul<strong>de</strong>r Road. London: Red Fox, 1996 [1995].<br />

———. “Purely for love”. In MEEK, Margaret; WARLOW; Aidan; BARTON, Griselda. The<br />

Cool Web. London: The Bodley Head, 1977, pp. 166-181.<br />

KLINGBERG, Göte. Childr<strong>en</strong>’s Fiction in the Hands of the Translators. Lund: CWK Gleerup<br />

(Liber), 1986.<br />

804

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