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This collection of essays highlights cultural features and processes which characterized translation practice under the dictatorships of Benito Mussolini (1922-1940) and Francisco Franco (1939-1975). In spite of the different timeline, some similarities and parallelisms may be drawn between the power of the Fascist and the Francoist censorships exerted on the Italian and Spanish publishing and translation policies. Entrusted to European specialists, this collection of articles brings to the fore the “microhistory” that exists behind every publishing proposal, whether collective or individual, to translate a foreign woman writer during those two totalitarian political periods. The nine chapters presented here are not a global study of the history of translation in those black times in contemporary culture, but rather a collection of varied cases, small stories of publishers, collections, translations and translators that, despite many disappointments but with the occasional success, managed to undermine the ideological and literary currents of the dictatorships of Mussolini and Franco.
Minorities and Conflict are prevailing topics in literature and translation. This volume analyses their occurrence by focussing on the key domains: censorship/manipulation, translation flows from the linguistic periphery, and reflections on self-expression. The case studies presented discuss (re)translations of authors such as Virginia Woolf and treat a wide variety of languages, such as Flemish literature in Czech or Russian translations of Estonian prose. They also treat relevant topics such as heteroglossia, de-colonialism, and self-translation. The texts in this volume were originally presented at the conference Translating Minorities and Conflict in Literature, held in June 2021. In an increasingly interconnected and complex global landscape they advocate transparency, accountability, and the preservation of linguistic diversity.
Includes entries for maps and atlases.
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Una història tan real com difícil de creure No fa tants anys, durant el franquisme, l'ofici de censor podia semblar una manera com qualsevol altra de guanyar-se la vida. El moviment cultural de la Nova Cançó, pel seu èxit esclatant, va ser una de les dianes principals de l'obsessió inquisidora del règim, i la persecució que van patir els músics va ser salvatge. Saber qui va exercir la repressió, com i per què: aquest ha estat l'objecte d'investigació de Maria Salicrú-Maltas durant més de vint anys, que surt a la llum en una crònica trepidant carregada d'aportacions inèdites i de vivències personals reveladores. L'autora ha aconseguit fer parlar per primera vegada alguns d'aq...
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