A Conversation with Acclaimed Translator Edith Grossman

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A Conversation with Acclaimed Translator Edith Grossman

LITERATURE A conversation with acclaimed NEW YORK translator Edith Grossman Mon, November 07, 2016 6:00 pm – 7:00 pm Venue The Simon H. Rifkind Center for the Humanities and the Arts, The City College of New York 160 Convent Ave, New York, NY 10031 View map Phone: 212-650-6731 Admission Free More information The City College of New York Credits Translator and critic Edith Grossman and Consul of Spain for With the support of Review: Cultural Affairs Juan José Herrera de la Muela will discuss Literature and Arts of the Americas, The Simon H. Rifkind Center for the translation and literature. Humanities and the Arts, the Department of Classical and Modern Edith Grossman is a translator, critic, and occasional teacher of literature Languages & Literatures, and The in Spanish. She has been the recipient of various awards and honors Consulate General of Spain in New including Fulbright, Woodrow Wilson, and Guggenheim Fellowships, an York. Award in Literature from the American Academy of Arts and Letters and a medal for the Order of Civil Merit from the Spanish government, among others. Grossman has brought over into English poetry, fiction, and non-fiction by major Latin American writers, including Gabriel García Márquez and Mario Vargas Llosa. Her works in Spain include Don Quixote by Miguel de Cervantes, novels by Julián Ríos, Carmen Laforet and Antonio Muñoz Molina, and poetry of the sixteenth and seventeenth centuries: The Solitudes of Luis de Góngora and the Exemplary Novels of Miguel de Cervantes. Juan José Herrera’s career has always been focused on culture and the arts. He is a diplomat, a published author, an art curator, a book editor, and a translator from French, English and Italian, specializing in Russian culture. He has managed museums, orchestras, book collections, and performing arts centers in his native Spain, and he currently serves as Consul of Spain for Cultural Affairs in New York City. Embassy of Spain – Cultural Office | 2801 16th Street, NW, Washington, D.C. 20009 | Tel: (202) 728-2334 View this event online: https://www.spainculture.us/city/new-york/a-conversation-with-the-acclaimed-translator-edith-grossman/ Created on 09/30/2021 | Page 1 of 1.

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Don Quijote in English
Tilting at Windmills: Don Quijote in English _________________________________________ Michael J. McGrath rinted on the inside jacket of Edith Grossman’s 2003 transla- tion of Don Quijote is the following statement: “Unless you read PSpanish, you have never read Don Quixote.” For many people, the belief that a novel should be read in its original language is not contro- vertible. The Russian writer Dostoevsky learned Spanish just to be able to read Don Quijote. Lord Byron described his reading of the novel in Spanish as “a pleasure before which all others vanish” (Don Juan 14.98). Unfortunately, there are many readers who are unable to read the novel in its original language, and those who depend upon an English transla- tion may read a version that is linguistically and culturally quite different from the original. In his article “Traduttori Traditori: Don Quixote in English,” John Jay Allen cites the number of errors he encountered in different translations as a reason for writing the article. In addition, ac- cording to Allen, literary scholarship runs the risk of being skewed as a result of the translator’s inability to capture the text’s original meaning: I think that we Hispanists tend to forget that the overwhelming ma- jority of comments on Don Quixote by non-Spaniards—novelists, theoreticians of literature, even comparatists—are based upon read- ings in translation, and I, for one, had never considered just what this might mean for interpretation. The notorious difficulty in es- tablishing the locus of value in Don Quixote should alert us to the tremendous influence a translator may have in tipping the balance in what is obviously a delicate equilibrium of ambiguity and multi- valence.
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Don quixote edith grossman pdf Continue Miguel de Cervantes was born on September 29, 1547, in Alcala de Henares, Spain. At the time of twenty-three he joined the Spanish militia and in 1571 fought against the Turks at the Battle of Lepanto, where a gunshot wound permanently damaged his left arm. He spent another four years at sea and then five more as a slave after being captured by the Barbari pirates. Redemption of his family, he returned to Madrid, but his disability prevented him; it was in the debtor's prison that he began to write Don quixote. Cervantes has written many other works, including poems and plays, but he remains best known as the author of Don quixote. He died on April 23, 1616. Edith Grossman is an award-winning translator of the main works of many of Latin America's most important writers. She was born in Philadelphia, studied at the University of Pennsylvania and the University of California, Berkeley, and later earned a doctorate from New York University. She lives in New York. The final English translation of The Spanish masterpiece by Edith Grossman. Widely regarded as the world's first modern novel, and one of the funniest and most tragic books ever written, Don quixote chronicles the famous picaresque adventures of the noble knight the wandering Don quichot La Mancha and his faithful squire, Sancho Panza, as they travel through sixteenth-century Spain. If you don't read Spanish, you've never read Don quixote. Although there were many valuable English translations of Don quixote, I would praise Edith Grossman's version for the unusually high quality of her prose.
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Annoted Cover 2010-Full-Correct Spine.Indd
4/c + PMS 021 overall matte uv TITLE: 5.0625 x 7.75 SPINE: 0.6875 F F R REE E E PENGUIN CLASSICS Because what you read matters. PENGUIN CLASSICS • More than 1,500 Titles in Print • Authoritative Introductions and Notes by Leading Academics and Contemporary Authors • Up-to-Date Translations from Award-Winning Translators • • Readers Guides and Other Resources Available Online A Complete Annotated Listing • Penguin Classics On Air Online Radio Programs www.PENGUINCLASSICS.Com Cover art from R. K. Narayan's A Tiger for Malgudi and The Man-eater of Malgudi Illustration by Philippe Lardy ISBN 978-0-14-750722-8 Penguin classics Penguin Group (USA) A Pearson Company PENGUIN CLASSICS 375 Hudson Street New York, NY 10014 A Complete Annotated Listing Penguin ClassiCs www.penguinclassics.com Penguin ClassiCs A Complete Annotated Listing Publisher’s note For more than sixty years, Penguin has been the leading publisher of classic literature in the English-speaking world, providing readers with a global bookshelf of the best works from around the world, throughout history, and across genres and disciplines. We focus on bringing together the best of the past and the future, using cutting-edge design and production as well as embracing the digital age to create unforgettable editions of treasured literature. Penguin Classics is timeless and trend-setting. Whether you love our familiar black-spine series, our Penguin Classics Deluxe Editions, or our Penguin Enriched eBook Classics, we bring the writer to the reader in every format available. With this catalog—which provides complete, annotated descriptions of all books currently in our Classics series, as well as those in the Pelican Shakespeare series—we celebrate our entire list and the illustrious history behind it and continue to uphold our established standards of excellence with exciting new releases.
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THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE DEPARTMENT OF SPANISH, ITALIAN, AND PORTUGUESE CELEBRATED AUTHORS, DISTINGUISHED TRANSLATORS, AND ME CHRISTOPHER ABRAHAM SPRING 2020 A thesis submitted in partial fulfillment of the requirements for baccalaureate degrees in Spanish and English with honors in Spanish Reviewed and approved* by the following: Krista Brune Assistant Professor of Portuguese and Spanish Thesis Supervisor John Lipski Edwin Erle Sparks Professor of Spanish and Linguistics Honors Adviser * Electronic approvals are on file. i ABSTRACT This thesis combines translation practice and translation theory. With regards to practice, I first selected four short stories from some of the most celebrated Latin American authors of the twentieth century–Carlos Fuentes, Jorge Luis Borges, Gabriel García Márquez, and Guillermo Cabrera Infante–and then translated these stories from Spanish into English. For the second half of the project, I performed a short literature review of writings on translation theory and practice. These readings informed my opening translator’s note that both presents a personal philosophy on translation and also argues for the importance of retranslation. I consider this thesis to be a creative project that presents four original translations and an analysis that reflects on the practice of translation itself. I designed this project to learn more Spanish, read more short stories by celebrated Spanish-language authors, and continue to practice translating. By the end of the thesis, I wanted to have gained a better awareness of the translator, the reader, and the craft that comes between the two. While reading and reflecting on the practice of translation, I came across hard questions concerning not only translation itself, but also language and literature more broadly.
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1 Introduction 1. See the Selected and Annotated Bibliography on Pp. 155
Notes 1 Introduction 1. See the selected and annotated bibliography on pp. 155-7. 2. Plinio Apuleyo Mendoza and Gabriel Garcia Marquez The Fragrance of Guava, trans. Ann Wright (London: Verso, 1983) pp. 62, 78. 3. For example:Josefina Ludmer, Cien Aiios de Soledad: una interpretacion (Buenos Aires, 1972); Michael Palencia-Roth, Myth and the Modern Novel: Mafquez., Mann and joyce (New York: Garland, 1987); Robert L. Sims, The Evolution of Myth in Gabriel Garcia Mafquez (Miami: Universal, 1981). 4. For a good study of the political and historical context of Marquez see Stephen Minta, Gabriel Garcia Mafquez: Writer of Colombia (Lon don: Cape, 1987). 5. Philosophical Investigations, trans. G. E. M. Anscombe (Oxford: Blackwell, 1958) pp. 213-14. 6. Fragrance, pp. 53-4. 7. The Labyrinth of Solitude, trans. Lysander Kemp (Harmondsworth: Penguin, 1985 ). 8. In this connection see Miguel de Unamuno's remarks on the cape, with its total isolation within a personal atmosphere, as an expres sion of the old Casti!ian character. En torno al casticismo (Madrid: Austral, 1943) p. 52. Unamuno's comments on the mixture of free will and fatalism are especially suggestive for the colonel of No One Writes to the Colonel. En torno (pp. 75-6). 9. La ruta de don Quijote, ed. Jose 'Maria Martinez Cachero (Madrid: Catedra, 1988). 10. Ruta de don Quijote, p. 114. 11. It is a common observation that the great tradition of Spanish painting is fundamentally indifferent to perspective. 12. For a good modern discussion of this theme see Edwin Williamson, The Halfway House of Fiction: Don Quixote and Arthurian Romance (Oxford: Clarendon Press, 1984).
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