Jorge Braga Riera
Universidad Complutense de Madrid, English, Faculty Member
- https://www.ucm.es/departamento-estudios-ingleses-linguistica-y-literatura/jorge-braga-rieraedit
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From 1660 onwards, Restoration dramatists drew on seventeenth-century Spanish theatre in search of new plots and characters that might appeal to London audiences. Despite the socio-historical differences between two distinct theatrical... more
From 1660 onwards, Restoration dramatists drew on seventeenth-century Spanish theatre in search of new plots and characters that might appeal to London audiences. Despite the socio-historical differences between two distinct theatrical traditions, practitioners managed to turn the foreign plays into actable English texts. By comparing a corpus of classical Spanish plays and their versions in Restoration England, this paper aims to provide some insight into the translation strategies employed. In this sense, two performance- -oriented mechanisms can be distinguished. On the one hand, many elements in the source texts were naturalised to meet the demands of the target culture, as perceived not only in the treatment of rhythm, versification and rhetorical devices but also in action, act-division and characterisation. This domesticating method is also noticeable in how the central motifs of the comedia, i.e. comicality (stage and linguistic), honour and love, were approached. On the other hand, some aspects in the originals (storylines, names and certain stylistic features) were maintained, manifestly showing the Spanishness of the play-text. A contrastive study leads to significant conclusions on the success of these tailor-made, accommodating formulas, and raises questions about the extent to which the translators reach the status of authors by leaving a visible mark on their creations.
El proyecto MUST (MUltilingual Student Translation) (Granger y Lefer, 2018: 72) tiene como objetivo compilar un corpus paralelo multilingüe de traducciones realizadas por estudiantes sin experiencia en el campo de la traducción. En el... more
El proyecto MUST (MUltilingual Student Translation) (Granger y Lefer, 2018: 72) tiene como objetivo compilar un corpus paralelo multilingüe de traducciones realizadas por estudiantes sin experiencia en el campo de la traducción. En el marco de este proyecto, el equipo UCMA (de la Universidad Complutense de Madrid) aporta un subcorpus bilingüe de textos especializados traducidos por estudiantes en los ámbitos audiovisual y de las humanidades, entre otros. Teniendo en cuenta las cinco subcompetencias propias de la adquisición de la competencia traductora (lingüística, extralingüística, de transferencia, profesional, psicofisiológica y estratégica [PACTE, 2001 y 2003]), este estudio persigue detectar las debilidades y fortalezas presentes en las tareas de traducción inglés-castellano de los estudiantes. Para ilustrarlas, se ha utilizado el sistema de anotación TAS propuesto por Granger y Lefer (2018) y Granger, Lefer y Penha Marion (2018), junto con una muestra de textos humanísticos a cargo de traductores en formación universitaria (postgrado) que se encuentran almacenados en el corpus UCMA.
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In recent years, the notion of paratranslation has grown in Translation Studies, particularly in the literary field. Nevertheless, little attention has been paid to the effect that paratextual components — peritextual and epitextual —... more
In recent years, the notion of paratranslation has grown in Translation Studies, particularly in the literary field. Nevertheless, little attention has been paid to the effect that paratextual components — peritextual and epitextual — (Genette 1997) may have on the rendering of theatrical texts into another language, especially if these texts are intended for performance. This article will seek to deal with the issue of paratranslation in the theatre, and more specifically with the potential influence of epitexts on the reception of a particular stage play in a different culture, as well as with the significance of the figure of the translator in the process. Two recent British performances of the Spanish classic Life is a Dream, based on two different translations, have been used by way of example. The results will show how reviews, webpages, videos, posters, flyers and programmes can add to the manner in which a particular play is perceived in the eyes of its target audiences, and to what extent the final outcome may be felt as part of the recipient theatrical culture.
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Thomas Hardy's use of the Wessex county dialect plays a key role in much of his narrative fictional dialogue, as shown in Tess of the D'Urbervilles (1891). By analysing the two existing Spanish translations of this novel (one by M. Ortega... more
Thomas Hardy's use of the Wessex county dialect plays a key role in much of his narrative fictional dialogue, as shown in Tess of the D'Urbervilles (1891). By analysing the two existing Spanish translations of this novel (one by M. Ortega y Gasset, first published in 1924 and recently reedited and revised by Carmen Criado; the other by Javier Franco Aixelá in 1994), this paper is intended to illustrate how the grammatical structures, vocabulary , and phonological characteristics of such dialect are rendered into Spanish. Attempts will be made to show the mechanisms that the translators resort to in order to convey those dialectal features and the extent to which they have managed to portray both Tess's rural quality and social evolution as reflected in her idiom.
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In the last few years Spanish seventeenth-century drama has aroused the interest of a group of translation scholars and practitioners, both in Great Britain and America. This article is intended to show some of the procedures used by... more
In the last few years Spanish seventeenth-century drama has aroused the interest of a group of translation scholars and practitioners, both in Great Britain and America. This article is intended to show some of the procedures used by contemporary translators of the most international Spanish classical play: La vida es sueño. For this purpose, and thanks to a brief corpus of plays translated into English that have been first staged in the last two decades, attention will be paid to how some of the most recurrent topics of our comedia (that is, honour, decorum and the view of women) are transferred to a different period, culture and space. Thus, an analysis of the target texts reveals the use of a wide range of translation mechanisms to guarantee a favourable reception of the final product.
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In the last two decades British and American drama translators have shown a growing interest in the Spanish classics, resulting in English versions exclusively intended for the stage. Within this particular context, this paper is intended... more
In the last two decades British and American drama translators have shown a growing interest in the Spanish classics, resulting in English versions exclusively intended for the stage. Within this particular context, this paper is intended to provide a general view on how a motif present in the source texts, i.e. the role of women, is transferred into the target plays. A close analysis of the translated works reveals how women’s acts can be enhanced or downplayed in order to accommodate them to the recipient culture. Hence, political correctness, reaction to male domination, moral squeamishness and honour emerge as important elements to be taken into account. Conclusions will ultimately provide us with information about the current vision of Spanish Golden Age drama through English translation, and will hopefully invite discussion on the validity of these mechanisms to guarantee its reception in the Anglo-Saxon theatre world.
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The irruption of the term ‘culture’ in the 1980s posed a revolution in Drama Translation Studies which led to a different approach to the analysis of the translation of theatre. Now the text was no longer seen merely as a linguistic... more
The irruption of the term ‘culture’ in the 1980s posed a revolution in Drama Translation Studies which led to a different approach to the analysis of the translation of theatre. Now the text was no longer seen merely as a linguistic text-type, but as an integral part of the target culture. Besides, special attention was devoted to the transposition of drama as an activity demanding specific strategies. These are not just of a linguistic nature, as the transference of plots and characters to a foreign stage are likely to be manipulated for various purposes other than linguistic.
This paper is intended to provide some insight into the relevance of extralinguistic factors in the translation of dramatic texts. By taking English versions of seventeenth-century Spanish plays as a source for exemplification, we will see how rhythm, rhyme, body language, light, costume and setting may have a say in the transposition of drama. We will also consider other factors such as censorship, criticism or the translator's visibility and reputation. Additionally, some attention will be paid to the
procedures of domestication and/or exotization intended to guarantee the acceptance of the resulting product in the recipient culture.
This paper is intended to provide some insight into the relevance of extralinguistic factors in the translation of dramatic texts. By taking English versions of seventeenth-century Spanish plays as a source for exemplification, we will see how rhythm, rhyme, body language, light, costume and setting may have a say in the transposition of drama. We will also consider other factors such as censorship, criticism or the translator's visibility and reputation. Additionally, some attention will be paid to the
procedures of domestication and/or exotization intended to guarantee the acceptance of the resulting product in the recipient culture.
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La doble naturaleza del texto dramático, que se erige en texto literario y guión teatral para su puesta en escena, hace que, elementos lingüísticos aparte, entren en juego factores no verbales con un peso específico en el proceso... more
La doble naturaleza del texto dramático, que se erige en texto literario y guión teatral para su puesta en escena, hace que, elementos lingüísticos aparte, entren en juego factores no verbales con un peso específico en el proceso traductor. Esta singularidad ha propiciado el empleo de términos tales como “traducción”, “adaptación” o “versión” para referirse precisamente al particular trasvase lingüístico, cultural y escénico que supone la traducción de obras de teatro. Sin ánimo de plantear dónde debe trazarse la frontera de lo que constituye o
no “traducción”, este artículo pretende dejar constancia de la utilización de estos y otros conceptos semejantes en el ámbito dramático, así como plantear el debate sobre la necesidad de
unificar criterios terminológicos dentro de los llamados Estudios de Traducción Teatral.
no “traducción”, este artículo pretende dejar constancia de la utilización de estos y otros conceptos semejantes en el ámbito dramático, así como plantear el debate sobre la necesidad de
unificar criterios terminológicos dentro de los llamados Estudios de Traducción Teatral.
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In the past decade, Content Language Integrated Learning (CLIL) has been steadily gaining ground in tertiary-level education, with an increasing number of programmes being implemented. However, and despite this growing trend, there is... more
In the past decade, Content Language Integrated Learning (CLIL) has been steadily gaining ground in tertiary-level education, with an increasing number of programmes being implemented. However, and despite this growing trend, there is still a wide scope for research in this area. More specifically, one of the aspects which have hardly received any attention is the role of CLIL lecturers as translators. The aim of this paper is to prove how translation has a say in the quality and performance of lectures in this teaching context. For that purpose, a twofold approach has been followed. On the one hand, eight lecturers’ actual production has been qualitatively analysed following the
phasal analysis of lectures as proposed by Young (1994). On the other, the lecturers’ recognition of their role as translators in CLIL lessons has been considered as well. To this double aim, lectures belonging to the fields of Physics and Engineering have been recorded, transcribed and analysed, with special attention being paid to phasal division. As for our next goal, the answers to a 26-item questionnaire addressed to lecturers and containing reflections on their translating activity have also been
thoroughly studied. Findings show that translation does indeed play a pivotal role in the linguistic quality of lectures, with those phases in which translation applies resulting in lower levels of L1 interference. Further research on this area may indeed determine how valuable translation skills are in order to develop a higher efficiency in the preparation and delivery of university lectures.
phasal analysis of lectures as proposed by Young (1994). On the other, the lecturers’ recognition of their role as translators in CLIL lessons has been considered as well. To this double aim, lectures belonging to the fields of Physics and Engineering have been recorded, transcribed and analysed, with special attention being paid to phasal division. As for our next goal, the answers to a 26-item questionnaire addressed to lecturers and containing reflections on their translating activity have also been
thoroughly studied. Findings show that translation does indeed play a pivotal role in the linguistic quality of lectures, with those phases in which translation applies resulting in lower levels of L1 interference. Further research on this area may indeed determine how valuable translation skills are in order to develop a higher efficiency in the preparation and delivery of university lectures.
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El presente volumen, que ve la luz en un momento histórico en el que los Estudios de Traducción ya se encuentran prácticamente asentados como disciplina independiente, pretende dar a conocer las herramientas y técnicas necesarias para la... more
El presente volumen, que ve la luz en un momento histórico en el que los Estudios de Traducción ya se encuentran prácticamente asentados como disciplina independiente, pretende dar a conocer las herramientas y técnicas necesarias para la práctica de la traducción de los textos literarios. Con este objetivo, se han tenido en cuenta los fundamentos lingüístico-teóricos y culturales intrínsecos a la labor traductora: tipología textual, factores que intervienen en el proceso, análisis del contexto, equivalencias y estrategias traslativas, etc., sin olvidar la gama de recursos disponibles para ello, tanto impresos como en línea. Herramientas y técnicas para la traducción inglés-español: los textos literarios pretende, pues, sumarse a los estudios de las últimas décadas en este campo y mostrar al interesado en embarcarse en esta apasionante empresa los escollos que debe vencer y los recursos de los que dispone para conseguir un producto solvente en la lengua de llegada (en este caso la castellana), independientemente de su formación previa (filológica, traductológica o de otro tipo).
Madrid: Escolar y Mayo (2015). ISBN: 978-84-16020-44-7.
Madrid: Escolar y Mayo (2015). ISBN: 978-84-16020-44-7.
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From 1660 to c 1700, England set her eyes on Spain and on the seventeenth-century Spanish comedy of intrigue with an aim to import new plots and characters that might appeal to the Anglo-Saxon audience. As a consequence, Hispanic drama in... more
From 1660 to c 1700, England set her eyes on Spain and on the seventeenth-century Spanish comedy of intrigue with an aim to import new plots and characters that might appeal to the Anglo-Saxon audience. As a consequence, Hispanic drama in translation enjoyed a period of relative popularity never to be repeated until the turn of the twenty-first century. By analysing a corpus of translated classical Spanish plays intended for performance, this book aims to show the strategies chosen by the translators concerned. Hence, many aspects present in the source texts are naturalized in order to meet the demands of the target culture, while others are kept to clarify the “Spanishness” of the text. This study draws significant conclusions on the validity of these mechanisms within the specific framework of Drama Translation Studies. This volume will be of interest to Hispanists, drama translation scholars and theatre practitioners.
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en Cadera, Susanne M. y Walsh, Andrew S. (eds.) (volumen 49 of the series «Approaches to Translation Studies»), Leiden, Brill. ISBN: 978-90-04-51130-9.
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en Hernández, Isabel (ed.), Madrid, Guillermo Escolar Editor. ISBN: 978-84-18981-58-6.
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Los rasgos semánticos, fonológicos y etnolingüísticos inherentes al nombre propio de persona son de vital importancia para el traductor literario en tanto que encargado de plasmarlos en otra lengua. La dificultad de esta tarea se acentúa... more
Los rasgos semánticos, fonológicos y etnolingüísticos inherentes al nombre propio de persona son de vital importancia para el traductor literario en tanto que encargado de plasmarlos en otra lengua. La dificultad de esta tarea se acentúa aún más en el ámbito teatral, pues la carga implícita al antropónimo debe ser transmitida al espectador de forma oral e inmediata. Este trabajo se centra en la traducción de los nombres de los personajes patentes de la comedia áurea y en cómo han sido traspasados al inglés en dos periodos diferentes: la actualidad y la segunda mitad del siglo xvii. Para ello se ha tomado como ejemplo la producción calderoniana, que en el caso del siglo xxi se circunscribe exclusiva-mente a su pieza más internacional, La vida es sueño.
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En BRAGA RIERA, JORGE y GARCÍA GALLARÍN, CONSUELO (eds.): Deonomástica multilingüe: del nombre propio al nombre de clase la escena, Kassel, Reichenberger, 2018, pp. 61-79.
en Huerta Calvo, Javier (ed.), Abolido esplendor. En torno a la poesía de Juan Luis Panero