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INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9412044 Norms and strategies in the English translations of Federico Garcfa Lorca’s “Bodas de sangre” Robie-Theunen, Nicole Susanne, Ph.D. The Ohio State University, 1993 Copyright ©1993 by Robie-Theunen, Nicole Susanne. All rights reserved. UMI 300 N. ZeebRd. Ann Arbor, MI 48106 NORMS AND STRATEGIES IN THE ENGLISH TRANSLATIONS OF FEDERICO GARCIA LORCA'S BODAS DE SANGRE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Nicole Susanne Robie-Theunen, B.A., M.A. * ★ ★ ★ * The Ohio State University 1993 Dissertation Committee: Approved by Dr. Donald Larson Dr. Stephen Summerhill Adviser Dr. Salvador Garcia Castaneda Department of Spanish and Portuguese Copyright by Nicole S. Robie-Theunen 1993 To my Son, Andrew ii ACKNOWLEDGMENTS I wish to express my appreciation to Dr. Donald R. Larson for his continual encouragement and guidance throughout the research. Thanks go to the other members of the advisory committee, Drs. Stephen Summerhill and Salvador Garcia Castaneda for their suggestions and comments. Grateful acknowledgement is made to Dr. Raymond van den Broeck as well as to the organizers and participants of the CERA Chair for Translation, Communication and Cultures' Summer Program in Translation Studies 1990 and 1991 for their interest and council. Acknowledgement is made to Harold Ober Associates, Inc., and the Estate of Langston Hughes for their permission to copy the Langston Hughes translation of Bodas de sangre. to the New York Public Library for their cooperation in the acquisition of the translation by Jose Weissberger, to Sue Bradbury for the kind insight she provided in her translation, and to Varun Khanna for his interest and encouragement. VITA May 4, 1959............... Born - Antwerp, Belgium 1982....................... Licenciate in Translation, Dutch, Spanish and English Languages, Katholieke Vlaamse HogeSchool, Antwerp, Belgium 1985....................... M.A. , The Ohio State University, Columbus, Ohio 1983-1990................. Graduate Teaching Associate, Research Associate, The Ohio State University, Columbus, Ohio 1989-present.............. Freelance translator, Columbus, Ohio FIELDS OF STUDY Major Field: Spanish and Portuguese Translation Studies iv TABLE OF CONTENTS DEDICATION.............................................. ii ACKNOWLEDGEMENTS ........................................ iii VITA ..................................................... iv TABLE OF CONTENTS ....................................... v LIST OF ABBREVIATIONS....................................vii INTRODUCTION ............................................ 1 CHAPTER PAGE I. GENESIS AND RECEPTION OF BODAS DE SANGRE IN SPANISH AND IN ITS ENGLISH TRANSLATIONS ....... 35 The Original T e x t ............................ 35 The Presentation of the Translations to the Target Language Audience ................. 39 The Reception of the Translations in the Target Language System ................... 45 N o t e s ......................................... 66 II. THE PLAY'S FRAMEWORK: THE TRANSLATOR'S FIRST INTERVENTION .................................... 70 Text-critical Features ....................... 72 Textstructural Features ..................... 80 Conclusions.................................. 93 N o t e s ......................................... 95 III. THE TRANSLATION OF THE STAGE DIRECTIONS ....... 97 The Function of the Stage Directions in the Drama and Theatre Text ................... 97 The stage Directions in Bodas de sancrre 107 The Treatment of the Stage Directions in the Translations of Bodas de sangre .......... 117 A Case of Extreme Addition: Jose Weissberger's Translation................. 141 A Case of Extreme Deletion: The Translation of Bodas de sangre by Dewell and Zapata .. 147 Conclusions................................... 152 v N o t e s .......................................... 154 IV. INTO THE TEXT: TEXTEMES AND THEIR ENGLISH COUNTERPARTS......................................156 Selecting the Passages ........................ 157 Selecting the Textemes ........................ 158 Passage I. Act One, Scene One: Textemic Aspects of the Original Text ....... 163 Cultural Textemes............................. 165 Grammatical Textemes.......................... 180 Deictic Textemes.............................. 185 Rhetorical Textemes .......................... 192 Passage II. Act Three, Scene One: Analysis of the Original Text ................. 200 Cultural Textemes ............................ 202 Grammatical Textemes .......................... 204 Rhetorical Textemes .......................... 206 Deictic Textemes.............................. 213 Prosodic Textemes............................. 222 Conclusions....................................232 N o t e s .......................................... 236 V. THE TRANSLATION ON STAGE: A RECENT PRODUCTION OF BLOOD WEDDING AT THE OHIO STATE UNIVERSITY 239 The Director and Cast ......................... 240 Presentation of the Play to the Target Language Audience .......................... 242 Reception of the P l a y ......................... 244 The Framework of the Text: Director's Comments and Textstructural Features 245 Set and Costumes: A Director's Concept of Blood Wedding .............................. 247 The Production of Blood Wedding .............. 249 Conclusions....................................264 N o t e s .......................................... 266 CONCLUSION............................................... 268 N o t e s .......................................... 279 APPENDICES A. Shifts in the Stage Directions in the Translations by Jose Weissberger and Dewell/Zapata ....... 280 B. Interview with Varun Khanna....................... 291 C. P l a t e s ............................................. 312 BIBLIOGRAPHY ............................................ 324 vi LIST OF ABBREVIATIONS AT Adequate Translation ST Source Text TT Target Text SL Source Language TL Target Language JW Jose Weissberger LH Langston Hughes GN Gilbert Neiman GL/O'C James Graham-Lujan and Robert O'Connell WO William Oliver SB Sue Bradbury GE Gwynne Edwards D/Z Michael Dewell and Carmen Zapata DJ David Johnston DUE Diccionario de uso del Espanol vii INTRODUCTION Translation Studies and Literary Theory In 1987, Rainer Schulte presented critics with the notion of translation research as a challenge for the future, stating that "the comparative study of multiple translations appears to be one of the most successful ways of bringing the reader closer to the original text."1 This study aims to do precisely that, by examining the various translations into English of Federico Garcia Lorca's Bodas de Sangre. It may hardly seem necessary to introduce this author to any reader, since his poetry as well as his theater have been translated extensively, making him one of the best known authors of the twentieth century. His rural trilogy, of which Bodas de sangre is the first part, has been the object of much scholarly research, yet little attention has been paid to the translation and reception of these plays in the English speaking world. This is a typical situation in the United States and Western European countries, where the reviewing and study of translations "is left to a random set of publicists, ranging from philologists and literary critics familiar with the source language and literature to translators from the same or 1 related fields. Nearly all of them are amateurs in the field of translation studies, and hence translation criticism is amateurish."2 The study of translations of literary texts can yield some interesting insights into both the Source Language text and the Target Language literary system. Pertinent questions concern such matters as the degree of similarity between, or "adaptability" of, the codes and conventions of one literature to those of another; the rationale behind the personal norms different translators adopt for one and the same text, either during the same