Ethics and Aesthetics of Translationengages with translation, in both theory and practice, as part of an interrogation of ethical as well as political thought in the work of three bilingual European ...authors: Bernardo Atxaga, Milan Kundera and Jorge Semprún. In approaching the work of these authors, the book draws upon the approaches to translation offered by Benjamin, Derrida, Ricœur and Deleuze to highlight a broad set of ethical questions, focused upon the limitations of the monolingual and the democratic possibilities of linguistic plurality; upon our innate desire to translate difference into similarity; and upon the ways in which translation responds to the challenges of individual and collective remembrance.
Each chapter explores these interlingual but also intercultural, interrelational and interdisciplinary issues, mapping a journey of translation that begins in the impact of translation upon the work of each author, continues into moments of linguistic translation, untranslatability and mistranslation within their texts and ultimately becomes an exploration of social, political and affective (un)translatability. In these journeys, the creative and critical potential of translation emerges as a potent, often violent, but always illuminating, vision of the possibilities of differentiation and connection, generation and memory, in temporal, linguistic, cultural and political terms.
El hijo del acordeonista de Bernardo Atxaga est l’histoire d’une construction identitaire, celle du protagoniste David, construction qui passe par une réappropriation de l’espace et du temps. Les ...différents espaces de la vie de David sont les points d’ancrage de sa quête identitaire. Après une phase d’identification rassurante à l’espace mythique maternel d’Iruain, David est confronté au passé de la Guerre Civile, à travers l’engagement franquiste de son père. Réalité et idéal entrent en opposition violente. Commence alors la phase de ruptures ou d’épreuves propre au schéma initiatique. Mais la renaissance suppose l’exil dans un nouvel espace, la propriété de Stoneham, aux États-Unis. Espace et temps sont donc intimement liés dans le roman, ce qui permet souvent une lecture chronotopique du texte. Comme dans nombre de romans espagnols contemporains, l’espace et le temps participent activement à l’évolution identitaire du héros. Dans le cas de David, l’évolution passe par la rupture spatiale, seule capable d’occulter un passé traumatique. Mais l’acceptation de ce passé n’est-elle pas une condition à l’aboutissement de la quête identitaire ? L’affirmation identitaire de David culmine alors dans l’écriture de sa vie, nécessaire pour surmonter ce paradoxe entre rupture spatiale et continuité temporelle et pour l’aider à se reconstruire pleinement.
My article studies the place of Kirmen Uribe, one of the most read and celebrated Basque-language writers today, in relation to Basque, Spanish and world literature, and what his novels have to say ...about belonging, in the Basque Country and beyond. My starting point is the first sentence of the Wikipedia pages (2017) on Kirmen Uribe in five different languages, which all relate to Uribe’s belonging in separate ways. Since Uribe is a writer who often reflects on belonging and the place of the Basque Country in the larger world, I also contrast his novels, Bilbao–New York–Bilbao (2009) and Elkarrekin esnatzeko ordua (2016) with the dynamics of publication, reception and location. One of the conclusions is that Uribe, as an ambassador for Basque language and culture, often addresses the non-Basque reader.
O obxecto deste artigo, no marco dos estudos filmoliterarios, é elaborar unha análise de Obaba (2005), a adaptación cinematográfica da novela de Bernardo Atxaga Obabakoak (1989) levada a cabo por ...Montxo Armendáriz. Préstase especial atención ao guión como ferramenta intermedia no proceso de transdución dun medio a outro, reivindicando o seu dobre papel como hipertexto do libro e hipotexto do filme. A obra de Atxaga presenta unha dificultade engadida ao tratarse dun ciclo de contos, o que leva a Armendáriz a procurar estratexias narrativas que tratan de emular algúns dos procedementos literarios, eliminando outros e engadindo novas perspectivas que afectan á focalización, o uso dos narradores e o elemento metanarrativo. De tal xeito, esta adaptación caleidoscópica e poliédrica constrúe un texto autónomo que dialoga co hipotexto literario nun universo común que comparten ambos creadores.
Este trabajo pretende abordar algunas de las particularidades de las representaciones de la violencia política en la novela actual en lengua vasca. A partir de la constatación de que en la sociedad ...vasca, como en toda sociedad, existe un conflicto entre memorias de violencias de distinto signo, el artículo pretende ilustrar cómo se han articulado cuestiones tales como las categorías de víctima y victimario, cuya distinción no es siempre nítida, o los orígenes de la violencia política en dos novelas vascas actuales: Soinujolearen semea (El hijo del acordeonista) de Bernardo Atxaga y Antzararen bidea (El camino de la oca) de Jokin Muñoz. El autor sostiene que estas novelas plantean dos modos distintos, aunque no incompatibles, de ficcionalización de la violencia y el deber de memoria.
González-Allende, Iker + Ascunce Arrieta, José Ángel. El mundo está en todas partes. La creación literaria de Bernardo Atxaga. Barcelona, Anthropos Editorial, 2018, 318 pp., ISBN: 978-84-17556-02-0
Bernardo Atxaga Mari Jose Olaziregi Alustiza
Bookbird,
01/2000, Letnik:
38, Številka:
3
Journal Article
Recenzirano
Bernardo Atxaga, an author from Spain nominated for the 2000 Andersen Award, is profiled. He writes for both adults and children and is equally adept at poetry, drama, fiction, fantasy, and lyrics.
In an extended interview conducted in February-March 2001, Basque writer Bernardo Atxaga and Galician writer and politician César Antonio Molina discuss various topics, including: their own poetry; ...the difficulties of translating poetry; Galician, Basque, and Catalan languages, poetry, and identity; and the future of Europe and the European Union. The texts of the following poems are included: (1) Atxaga's "Kantak IV" and "Canciones IV (Arcaico corazón)" (from Poemas & Híbridos); and (2) Molina's "A Coruña" (from El Fin de Finisterre) and "Adelaide" (from Para no ir aparte alguna).
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