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Fahrenheit 451 De Ray Bradbury UNIVERSIDAD PABLO DE OLAVIDE ESTUDIO DE LOS PROBLEMAS DE TRADUCCIÓN VINCULADOS A MUNDOS FICTICIOS: FAHRENHEIT 451 DE RAY BRADBURY TESIS DOCTORAL ROBERT PIOTR SZYMYŚLIK DIRIGIDA POR: DRA. ELISA CALVO ENCINAS SEVILLA, 2019 Dedicado a E., P., N., D. y A. (que saben quiénes son), por su apoyo incondicional, a veces incluso inconsciente. AGRADECIMIENTOS Estas líneas recogen, de forma irremediablemente insuficiente, mi gratitud hacia todas aquellas personas que han tenido alguna clase de influencia sobre la finalización de esta Tesis Doctoral, ya sea de manera intencionada o por completo desapercibida. Inevitable es mencionar a mis padres, E. y P., por estar ahí, aunque a veces parezca que se me olvida o que no me doy cuenta. Estoy seguro de que no lo manifiesto ni con la suficiente frecuencia ni lo bastante intensamente, así que queda reflejado aquí por escrito como prueba. A N. y, aunque ella probablemente no se dé cuenta, las infinitas horas de apoyo que me ha dado me han mantenido a flote todo este tiempo y nada de esto habría sido posible o no habría salido de esta manera tan especial. A la Directora de esta Tesis Doctoral, cuya confianza y dedicación han sido los motores que han propiciado que todo este trabajo exista siquiera. D. y A. (mantengo el anonimato para no avergonzar a nadie), me habéis demostrado que, dentro de una maraña arcana que no alcanzo a comprender del todo, a veces pueden encontrarse cosas buenas y que valen la pena, lo que compensa el a menudo ingrato esfuerzo de adentrarse en ella. También a los revisores (L., C., L., M. y D.), que no debió de resultarles fácil hacerlo. RESUMEN DE LA TESIS DOCTORAL La presente Tesis Doctoral se titula Estudio de los problemas de traducción vinculados a mundos ficticios: Fahrenheit 451 de Ray Bradbury. Este trabajo se basa en la investigación de los problemas de traducción que pueden encontrarse al trasladar las estructuras narrativas y especulativas denominadas «mundos ficticios». Estas se construyen dentro de las composiciones que pretenden relatar una historia a unos receptores, en las que actúan de cimientos para los acontecimientos y los personajes que se encuentran en ella. Los mundos ficticios se construyen preeminentemente en el seno de obras narrativas, basadas en la exposición de una trama. Estos constructos hipotéticos están conectados con la historia, aunque también pueden aparecer en trabajos que se centran en teorizar acerca de diferentes posibilidades de evolución de un entorno, como los campos de la sociología o la filosofía. En este trabajo doctoral se indagan, en primer lugar, las características de los mundos ficticios, las obras, los géneros narrativos y las modalidades creativas en los que se les aporta una profundidad y complejidad destacadas. Estos datos se combinan con nociones acerca de la «industria cultural» y los «productos culturales» para comprender cómo se diseminan las obras narrativas de manera comercial en la época actual y qué importancia tienen para ello los mundos ficticios. Además, se estudian las relaciones entre los mundos ficticios y el entorno que ocupan sus emisores y receptores, su lugar en la corriente filosófica de la Teoría de los mundos posibles; y los componentes conceptuales y lingüísticos que causan la aparición de un mundo ficticio y sus diferentes clases. En segundo lugar, se estudian las corrientes provenientes de los Estudios de Traducción que más se adecúan a los requisitos de traducción de los mundos ficticios. Asimismo, se aplica el concepto de «problema de traducción» a estas estructuras hipotéticas, se operacionaliza esta idea de «problema de traducción» en el contexto de la traducción de mundos ficticios y se identifican los problemas que con mayor frecuencia pueden encontrarse en estas estructuras narrativas. Para ello, se diseña un catálogo de problemas de traducción vinculados a los mundos ficticios. Todo ello se enfoca desde las perspectivas del funcionalismo, la calidad en traducción y la transcreación y se relaciona con las diferentes estrategias de traducción que pueden aplicarse a la traducción de los mundos ficticios. Por añadidura, se examinan los condicionantes que pueden imponer las modalidades creativas y la especialización temática de las obras en las que se crean estas estructuras a la traducción de mundos ficticios. A continuación, se exponen los criterios metodológicos seguidos para llevar a cabo este trabajo doctoral. Tras el examen de los paradigmas de investigación aplicables al estudio de los problemas de traducción vinculados a los mundos ficticios, se aplica una metodología de análisis de índole cualitativa y se diseña una ficha traductológica para llevar a cabo un estudio de caso para probar la categorización de problemas realizada anteriormente. Por último, se pone a prueba este sistema (formado por la categorización de problemas de traducción de los mundos ficticios y la ficha traductológica) para garantizar sus posibilidades de transferencia y difusión a distintas obras y mundos ficticios sobre la base de una composición que desarrolla un mundo ficticio denso dentro de una narración multidimensional: Fahrenheit 451 de Ray Bradbury, que constituye un ejemplo idóneo, como se explica en la Tesis Doctoral, para realizar este estudio. Esta sección se acompaña de un análisis biográfico y bibliográfico de este autor y de un estudio de la obra sujeta a estudio. ÍNDICE DE CONTENIDOS INTRODUCCIÓN 1. INTRODUCCIÓN Y OBJETIVOS DE INVESTIGACIÓN................................................................ 27 1.1. Objeto de estudio y antecedentes de investigación...................................................... 27 1.2. Objetivos del estudio...................................................................................................... 36 1.3. Estructura de la tesis y consideraciones sobre aspectos formales del trabajo.......... 39 1.4. Notas metodológicas sobre esta Tesis Doctoral............................................................ 44 PARTE A: MARCO CONCEPTUAL 2. MUNDOS FICTICIOS COMO ECOSISTEMAS PARA LA TRADUCCIÓN: INTRODUCCIÓN AL ESTUDIO................................................................................................................................... 47 2.1. Géneros narrativos y mundos ficticios......................................................................... 51 2.2. Mundos ficticios como productos culturales en la industria cultural....................... 54 2.3. Tipos de productos culturales relacionados con la construcción de mundos ficticios.................................................................................................................................... 62 2.3.1. Las obras literarias como producto cultural................................................................ 63 2.3.2. Las obras audiovisuales como producto cultural......................................................... 65 2.3.3. Las obras narrativas gráficas como producto cultural................................................ 67 2.3.4. Las obras digitales interactivas como producto cultural.............................................. 69 2.3.5. Productos culturales transmediales.............................................................................. 71 2.4. Construcción teórica de la noción de mundo ficticio como ecosistema creativo y traductológico........................................................................................................................ 74 2.4.1. Creación de mundos ficticios como disciplina de estudio............................................ 75 2.4.2. Relación entre los mundos ficticios y la realidad conocida por sus autores y destinatarios............................................................................................................................ 79 2.4.3. Los mundos ficticios como mundos posibles................................................................. 89 2.4.4. Trama y contexto en los ecosistemas narrativos de los mundos ficticios..................... 94 2.4.5. La construcción de un mundo ficticio a través del lenguaje: elementos conceptuales y proposiciones........................................................................................................................ 99 2.4.6. Clasificación de los mundos ficticios construidos en obras narrativas........................ 104 3. LA TRADUCCIÓN DE MUNDOS FICTICIOS Y SUS DISTINTOS CONDICIONANTES..................... 109 3.1. Enfoques traductológicos contemporáneos.................................................................. 110 3.1.1. Transcreación: ¿estrategia de traducción o modalidad de traducción vinculada a un servicio distintivo?............................................................................................................. 118 3.2. Creatividad en la toma de decisiones del traductor.................................................... 122 3.2.1. La creatividad y la traducción de mundos ficticios...................................................... 124 3.3. Estrategias de traducción y su relevancia en la traducción de mundos ficticios...... 128 3.4. Construcción teórica del eje funcional en la traducción de mundos ficticios........... 135 3.4.1. Skopos en la traducción de mundos ficticios................................................................ 135 3.4.2. El atributo de evocación en la traducción funcional de mundos ficticios.................... 139 3.4.3. Mantenimiento de la funciones comunicativas de un mundo ficticio en una nueva lengua.....................................................................................................................................
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