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M. CRISTINA SOUSA–MIRROR, MIRROR ON THE WALL SHOULD WE TRUST THE TRANSLATOR AT ALL? “C’mon.” Niland gave Arun a prod and a wink. “The gaffer’s going to that house. Chatto, it’s called.” (ibid.) The French word for castle, château, is graphically changed in order to allow the SL reader to read it in a way which resembles its French pronunciation. This change was reproduced in the TL text in order to allow the TL reader a similar opportunity. Here, the SL and TL reader share a very similar experience. Perto havia uma casa – um casarão, aliás uma mansão, supunha Arun. Era feita de uma pedra acastanhada e tinha várias torrinhas, cada uma delas coroada com um pequeno cone em lousa. “Anda lá.” Niland deu um empurrãozinho a Arun e piscou-lhe o olho. “O Patrão vai para aquela casa. Chama-se Chatô.” The changes in translation, illustrated in the passages above, were applied in order to provide the TL reader with a maximised understanding of the story and its context. The overall aim was to extend to the TL reader the same opportunity for enjoyment and enrichment given to the SL reader. However, we must make an allowance for the reader’s general knowledge, life experience and imagination. These, together with his reading experience and knowledge of his own language, will in the end dictate the reader’s level of understanding and enjoyment of the text. BIBLIOGRAPHY AIKEN, Joan. The Wolves of Willoughby Chase. London:Red Fox, 1992 [1962]. ———. Black Hearts in Battersea. London: Red Fox, 1992 [1965]. ———. Night Birds on Nantucket. London: Red Fox, 1993 [1966]. ———. The Stolen Lake. London: Red Fox, 1993 [1981]. ———. Limbo Lodge. London: Jonathan Cape, 1999. ———. The Cuckoo Tree. London: Red Fox, 1992 [1971]. ———. Dido and Pa. London: Red Fox, 1992 [1986]. ———. Is. London: Red Fox, 1993 [1992]. ———. Cold Shoulder Road. London: Red Fox, 1996 [1995]. ———. “Purely for love”. In MEEK, Margaret; WARLOW; Aidan; BARTON, Griselda. The Cool Web. London: The Bodley Head, 1977, pp. 166-181. KLINGBERG, Göte. Children’s Fiction in the Hands of the Translators. Lund: CWK Gleerup (Liber), 1986. 804
M. CRISTINA SOUSA–MIRROR, MIRROR ON THE WALL SHOULD WE TRUST THE TRANSLATOR AT ALL? PUURTINEN, Tiina. “Dynamic style as a parameter of acceptability in translated children’s books”. In SNELL-HORNBY, Mary; PÖCHHACKER, Franz; KAINDL, Klaus (eds.) Translation Studies: An interdiscipline (vol. 2). Amsterdam: John Benjamins, 1994, pp. 83-90. BELL, Anthea. “Translating the classics of children’s fiction”. In Other Words. 1997, vol. 8/9, pp. 38-48. CARUS, Marianne. “Translation and Internationalism in Children’s Literature”. Children’s Literature in Education, 1980, vol. 11 (4), pp. 171-179. JOBE, Ronald. “Translation”. In HUNT, Peter (ed.) International Companion Encyclopaedia of Children’s Literature. London: Routledge, 1998 [1996], pp. 519-529. 805
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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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ÍNDICE-ÚLTIMAS CORRIENTES TEÓRIC
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ÍNDICE-ÚLTIMAS CORRIENTES TEÓRIC
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M. I. BALTEIRO FERNÁNDEZ-PROBLEMS
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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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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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MOHAMED EL-MADKOURI MAATAOUI-TRADUC
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MARIA EDUARDA KEATING-LES VOYAGES D
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RAINER MARIA KOEPPL-ALFRED HITCHCOC
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LIST OF REFERENCES RAINER MARIA KOE
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J.J. LANERO-RAPIDEZ Y TRANSFORMACI
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DANIEL LINDER-TRANSLATING HARD-BOIL
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Mª JESÚS LORENZO MODIA-LATE 17TH-
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