Censorship and Self-Translation - Arturo Barea’S Two Versions of Lorca, the Poet and His People

Total Page：16

File Type：pdf, Size：1020Kb

Censorship and self-translation - Arturo Barea’s two versions of Lorca, the Poet and his People. Author: Andrew Samuel Walsh Affiliation: Comillas Pontifical University Madrid Keywords: Self-translation; Censorship; Lorca Abstract: The proposed talk focuses on a highly politicized case of censorship and self- translation: the two versions of Lorca, the Poet and his People, which the Spanish Republican exile Arturo Barea published in English with Faber & Faber in 1944, translated and to some extent rewritten by his wife, Ilsa Barea-Kulcsar, and the Spanish version which appeared in Buenos Aires in 1957 and was subsequently rejected for publication by Franco’s censors in Spain in the same year, despite the relative translational dilution of the original English version. This text had been written essentially in 1942 in the midst of the fight against Fascism and appeared first in partial form in the journal Horizon, coinciding with the success of Barea’s Civil War trilogy, The Forging of a Rebel, which appeared between 1941 and 1946, was also translated (and rewritten) by Barea-Kulcsar, and drew fulsome praise from the likes of George Orwell. In 1957, an attempt was made to publish just 200 copies of the Spanish translation of Lorca, the Poet and his People, but this was not permitted by Franco’s censors, despite the new version’s attempts to mitigate the harsh political denunciations of the original 1944 text, including disclaimers such as the statement that there was “no political meaning in Lorca’s work”, that “he had no politics”, and even that Lorca had a “conservative social message”. Essentially, this talk will attempt to analyse this subsequent self-translation/rewriting of the 1944 text, which was rejected for its “constant attacks on the current regime” and negative vision of the church and Spanish Catholicism”, despite the fact that the author was unknown to the censor but nevertheless presumed to be a political exile who was determined to misinterpret what the censorship file referred to as “the War of Liberation” i.e. the Spanish Civil War. .

Copy Link

Recommended publications

Redescubriendo a Arturo Barea
PERGOLA 5 Tele- Redescubriendo viddio 2 las dos y media de la madrugada a Arturo Barea pongo en marcha el televisor portátilA y espero que aparezca en la pantalla el presentador rtu ro Barca na de la corbata floreada. Me ció en Badajoz el 20 mira a los ojos hoy y sonríe de septiembre de como perdonándome la vida. 1897, en el seno de Se ha permitido incluso el A una familia pobre. Poco des atrevimiento de guiñarme el pués de nacer, murió su padre. ojo. Ese pobre hombre no Creció en Madrid, donde su ma sabe lo que le espera. Se dre se había trasladado tras en aclara la voz y empieza a leer viudar. Pudo estudiar, en un co la lista de los últimos legio privado, gracias a la gene artilugios eróticos que han rosidad de un tío adinerado, pe aparecido en el mercado. ro sólo hasta que dicho familiar Entonces desconecto el murió, cuando él tenía 13 años. televisor, me lo cargo al A esa edad, se puso a trabajar: hombro y tuvo diversos empleos. Su ser bajo a la calle. vicio militar incluyó servicio Cruzo la calzada y entro en activo en la guerra de Marrue el solar que está justo delante cos. Republicano autoprocla- de mi casa. Pongo otra vez el mado, abandonó España en fe televisor en marcha y lo brero de 1938, por cuestiones deposito en el fondo de la políticas y ante la inmimente zanja. El presentador no se ha derrota de las tropas que en la dado todavía cuenta de mis guerra civil luchaban por man maniobras.
[Show full text]
La Raíz Rota De Arturo Barea: Destiempo Ficcionalizado Y Autobiografía Figurada
Acta Universitatis Wratislaviensis No 3837 ESTUDIOS HISPÁNICOS XXVI . Wrocław 2018 DOI 10.19195/2084-2546.26.3 ELŻBIETA BENDER ORCID: 0000-0002-1136-2539 Uniwersytet Marii Curie-Skłodowskiej w Lublinie Correo: [email protected] La raíz rota de Arturo Barea: destiempo ficcionalizado y autobiografía figurada Palabras clave: La raíz rota — Arturo Barea — destiempo — autobiografía figurada — ficción. Las lecturas y relecturas de la obra de Arturo Barea, que llevan inevitable- mente a comparar sus libros con los de otros republicanos exiliados, terminan en una constatación desesperanzadora: Barea parece ser el único exiliado a quien, a pesar de la nueva política histórica que cede la palabra a los vencidos, no le quieren reivindicar ni los vencedores —lo que al fin y al cabo se entien- de perfectamente por la militancia socialista del escritor—, ni los republicanos —lo que queda aclarado gracias a la lectura de su trilogía autobiográfica La forja de un rebelde—. En el tercer tomo de este libro, La llama, el escritor cuenta sinceramente lo que vivió durante el sitio de Madrid, permaneciendo en la zona republicana durante la Guerra Civil. Su testimonio es estremecedor porque revela las atrocidades cometidas por ambos bandos del conflicto. En consecuencia, Barea es un escritor incómodo para los partidarios de cualquier ideología, un hombre que rechaza la confrontación por ideas políticas y que lucha incondicionalmente por los ideales humanistas. Del último tomo de su autobiografía, La llama, sabemos que Barea, afectado por las luchas inter- nas en el bando republicano y personalmente amenazado por las sospechas comunistas, pierde su entusiasmo socialista y, al parecer, llega a cuestionar la validez de ideología política alguna.
[Show full text]
The Spanish Communist Party in the Spanish Civil War (1936-39), Vol
The Defence of Madrid: The Spanish Communist Party in the Spanish Civil War (1936-39), Vol. Amanda Marie Spencer Ph. D. History Department of History, University of Sheffield June 2006 i Contents: - List of plates iii List of maps iv Summary v Introduction 5 1 The PCE during the Second Spanish Republic 17 2 In defence of the Republic 70 3 The defence of Madrid: The emergence of communist hegemony? 127 4 Hegemony vs. pluralism: The PCE as state-builder 179 5 Hegemony challenged 229 6 Hegemony unravelled. The demise of the PCE 274 Conclusion 311 Appendix 319 Bibliography 322 11 Plates Between pp. 178 and 179 I PCE poster on military instruction in the rearguard (anon) 2a PCE poster 'Unanimous obedience is triumph' (Pedraza Blanco) b PCE poster'Mando Unico' (Pedraza Blanco) 3 UGT poster'To defend Madrid is to defend Cataluna' (Marti Bas) 4 Political Commissariat poster'For the independence of Spain' (Renau) 5 Madrid Defence Council poster'First we must win the war' (anon) 6a Political Commissariat poster Training Academy' (Canete) b Political Commissariat poster'Care of Arms' (anon) 7 lzquierda Republicana poster 'Mando Unico' (Beltran) 8 Madrid Defence Council poster'Popular Army' (Melendreras) 9 JSU enlistment poster (anon) 10 UGT/PSUC poster'What have you done for victory?' (anon) 11 Russian civil war poster'Have you enlisted as a volunteer?' (D.Moor) 12 Poster'Sailors of Kronstadt' (Renau) 13 Poster 'Political Commissar' (Renau) 14a PCE Popular Front poster (Cantos) b PCE Popular Front poster (Bardasano) iii Maps 1 Central Madrid in 1931 2 Districts of Madrid in 1931 2 3 Province of Madrid 3 4 District of Cuatro Caminos 4 iv Summary The role played by the Spanish Communist Party (Partido Comunista de Espana, PCE) during the Spanish Civil War of 1936-39 remains controversial to this day.
[Show full text]
Restoring Arturo Barea's Headstone
Basque Children of ’37 Association UK Newsletter: May 2011 Restoring Arturo Barea’s Headstone there some years ago (Newsletter Forge”, the first book in the trilogy, which No. 6) we had some difficulty locating by Adrian Bell tells of Barea’s early life in Madrid at the the headstone, not least because the beginning of the twentieth century; and vicar was quite unaware that such an Martin Murphy read the lines from Olive internationally distinguished Spanish On the morning of 4 December 20 or Renier’s memoir in which she explained writer was remembered in his little so people assembled in the churchyard how she came to be moved to have the churchyard in the depths of Oxfordshire. of All Saints in the Oxfordshire village stone placed there: “I put up a stone Another admirer who encountered of Faringdon. All were admirers of the but could find no words to express my similar problems was William Chislett, Spanish writer Arturo Barea who died feelings for those four people, whose an English journalist living in Madrid. after 18 years of exile in England, and fate (though they could be said to be Only at the fourth attempt, and only in the tradition of visiting the grave among the fortunate ones) was symbolic after being given directions from Natalia, of relatives on All Saints’ Day they of the giant lost cause of our generation was he able to locate it last year. His gathered around the headstone that – the fate of Spain, the fate of the Jews, pleasure was mixed with some sadness: commemorates his life and work.
[Show full text]
Barea-Arturo-La-Forja-De-Un-Rebelde-I
Arturo Barea La forja de un rebelde I La forja Prólogo de Luis Antonio de Villena 2 ®Las mejores novelas en castellano del siglo xx La forja de un rebelde La forja © 1951 Arturo Barea y Herederos de Arturo Barea © 2001 BIBLIOTEX, S. L. para esta edición Diseño cubiertas e interiores: ZAC diseño gráfico Impresión: Printer, Industria Gráfica, S.A. ISBN: 84-8130-267-8 (parte I) ISBN: 84-130-270-8 (obra completa) Dep. Legal: B. 8.895-2001 3 ÍNDICE Prólogo por Luis Antonio de Villena ........................................................... 5 Primera parte ................................................................................................ 8 Capítulo I .................................................................................................. 8 Capítulo II El Café Español .................................................................... 16 Capítulo III Rutas de Castilla.................................................................. 22 Capítulo IV Tierras de pan ...................................................................... 28 Capítulo V Tierras de vino...................................................................... 35 Capítulo VI Antesala de Madrid ............................................................. 46 Capítulo VII Madrid ............................................................................... 56 AVAPIÉS ................................................................................................ 65 Capítulo VIII El Colegio ........................................................................
[Show full text]
Juncker, Clara, "John Dos Passos in Spain,"
JOHN DOS PASSOS IN SPAIN CLARA JUNCKER University of Southern Denmark [email protected] 91 In 1931, Ernest Hemingway wrote to John Dos Passos from Madrid: “You are the great writer of Spain” (Baker 1968: 342). The two friends both knew Spain, but Dos Passos got there first. After graduating from Harvard, Dos Passos studied Spanish language, literature and culture at the Centro de Estudios Históricos in Madrid in 1916-17, and he returned for almost eight months in 1918-19 (Carr 1984: 101-102). For six weeks he walked with his friend Dudley Moore across the Basque Provinces before returning to Madrid, where he wrote his war novel Three Soldiers (1921). In his first Spanish book, Rosinante to the Road Again (1922), Telemachus and his bawdy companion, Lyaeus, ramble along Spanish roads in search of “the gesture”, the essence of Spanish life that the Dos Passos persona hoped to emulate in words. Spain would remain important to both Dos Passos and Hemingway, from 1924 when they planned a hiking trip from Burguete to Andorra, to other times, as when Hemingway explored Zaragoza during the feria and Our Lady of the Pillar festivities in 1926. He used the railway station there in “Hills Like White Elephants” (1927) and would compare both Africa and Wyoming to Aragón in his works. Angel Capellán writes in Hemingway and the Hispanic World (1985) that “Aragón had become an integral part of his accumulated memories of Spanish landscapes” (33). In 1937, Dos Passos and Hemingway collaborated with Joris Ivens on the documentary The Spanish Earth .
[Show full text]
El Centro De La Pista
EL CENTRO DE LA PISTA ARTURO BAREA EL CENTRO DE LA PISTA Edicion y estudio de MARIA HERRERA RODRIGO Badajoz, 1988 COLECCION RAICES "Coleccion RAICES", N.° 6. ® De esta edicion: Departamento de Publicaciones de la Excma. Diputacion de Badajoz. I.S.B.N.: 84^796^953^1. Dep. Legal: BA 103/88 Imprime: Tecnigraf, S. A. Virgen de Guadalupe, 6. Badajoz. INDICE Pag. INTRODUCCION......................................9 TRAYECTORIA DE LA NOVELA HASTA 1936. .................9 CULTURA Y NOVELA EN LA POSGUERRA. ...................12 LA NARRATIVA DEL EXILIO................................16 LA GUERRA CIVII. EN LA NOVELA...........................20 ARTURO BAREA, NOVELISTA DEL EXILIO. ...................26 El. CENTRO DE LA PISTA ..................................28 LA GUERRA: ANTES Y DESPUES.............................30 DENUNCIA SOCIAL........................................33 ClF.NCIA FICCION.........................................34 DRAMATISMO COTIDIANO.................................35 FRAGMEN I OS DESCRIP ITVOS ..............................35 COSTUMBRISMO ..........................................36 RF.TROSPECTIVA FAMILIAR................................37 GENIO Y FIGURA.........................................38 El. I.IRISMO DE l.A 1NFANCIA. ..............................38 El. CENTRO OF. l.A PISTA..................................39 EL CENTRO DE LA PISTA............................41 PREPACK), por lisa Barea.................................43 EL TESTAMENTO.........................................47 MADRID EN TRE AVER Y HOY ...............................53
[Show full text]
Arturobarea Postal Variante2.Qxp Maquetación 1 13/12/17 9:46 Página 1
CbtaArturoBarea_Postal_variante2.qxp_Maquetación 1 13/12/17 9:46 Página 1 ARTURO BAREA la ventana inglesa la ventana inglesa ARTURO BAREA 9 7 8 8 4 9 2 6 3 2 7 4 9 | 1 | | 2 | | 3 | | 4 | ARTURO BAREA la ventana inglesa instituto cervantes catálogo director edita Juan Manuel Bonet Instituto Cervantes secretario general edición a cargo de Rafael Rodríguez-Ponga Salamanca William Chislett Juan Marqués director de gabinete José María Martínez Alonso coordinación editorial Luz Bejarano director de cultura Martín López-Vega González textos Juan Manuel Bonet gabinete bibliográfico William Chislett Juan Marqués organiza Antonio Muñoz Molina Instituto Cervantes asesoramiento lingüístico patrocina Pilar Rodríguez Collell Iberdrola diseño gráfico comisario Miguel San José Romano William Chislett fotografías asesor Javier Rosa Juan Marqués fotomecánica e impresión coordinación de la itinerancia Lerner & TF Departamento de Actividades Culturales del Instituto Cervantes isbn: 978-84-92632-74-9 depósito legal: m-31746-2017 jefe de departamento nipo: 503-17-023-5 de actividades culturales Ernesto Pérez Zúñiga © De las fotografías: sus autores © De los textos: sus autores coordinación Luz Bejarano Coca Al amparo de la vigente legislación sobre la propiedad María Florencia Fergnani Brion intelectual y con apercibimiento de las sanciones previstas en la misma, salvo autorización por escrito de los titulares administración del copyright, queda rigurosamente prohibida la reproducción José Javier de la Fuente Sanz total o parcial por cualquier procedimiento o tecnología, José Luis Molina-Prados Iniesta aun citando su procedencia. Yolanda Moñino Rodríguez Todos los libros y documentos expuestos han sido cedidos Javier Sanz Moreno amablemente por: Centro de Estudios Senderianos del Instituto de Estudios Altoaragoneses, William Chislett, Michael Eaude, documentación Pedro Fernández Melero, Juan Marqués, la Red de Bibliotecas Cristina Gonzalo Iglesia del Instituto Cervantes, Victoria Tierz y otros particulares.
[Show full text]
Allende, Elizabeth – Daughter of Fortune
BOOK CLUB COLLECTION Fiction The Age of Innocence – Edith Wharton – Winner of the Pulitzer Prize 265 pages, also available-large print, eBook, cdbook, Playaway, eAudio, DVD, guide in penguin.com Edith Wharton's most famous novel, written immediately after the end of the First World War, is a brilliantly realized anatomy of New York society in the 1870s. The charming Newland Archer is content to live within its constraints until he meets Ellen Olenska, whose arrival threatens his impending marriage as well as his comfortable future. (publisher) The Alchemist – Paulo Coelho 177 pages, also available-large print, eBook, guide in book The charming tale of Santiago, a shepherd boy, who dreams of seeing the world, is compelling in its own right, but gains resonance through the many lessons Santiago learns during his adventures. He journeys from Spain to Morocco in search of worldly success, and eventually to Egypt, where a fateful encounter with an alchemist brings him at last to self-understanding and spiritual enlightenment. The story has the comic charm, dramatic tension and psychological intensity of a fairy tale, but it's full of specific wisdom as well, about becoming self-empowered, overcoming depression, and believing in dreams. (PW) Alias Grace – Margaret Atwood 468 pages, also available-large print, eBook, guide in readinggroupguides.com A finalist for the Booker Prize, a national best-seller by the author of The Handmaid's Tale tells the story of an enigmatic Victorian woman accused of a double murder and the psychologist who treats her. All the Bright Places- Jennifer Niven 388 pages, also available eBook, cd book, Playaway, eAudio Theodore Finch is fascinated by death, and he constantly thinks of ways he might kill himself.
[Show full text]
Orwell in Spain
A 344659 Orwell in Spain The Full Text of'Homage to Catalonia with Associated Articles, Reviews and Letters from The Complete Works of George Orwell Edited by Peter Davison Introduction by Christopher Hitchens PENGUIN BOOKS Contents Introduction ix Editorial Note xix Acknowledgements xxi Orwell's Journey to Spain i Extract from 'As I Please', 42 [The journey to Spain], Tribune, 15 September 1944 3 Jennie Lee to Margaret M. Goalby, 23 June 1950: Orwell's Arrival in Barcelona 5 Orwell in Spain, December 1936 5 y ' Extract from letter from Eileen Blair to Leonard Moore, 31 January 1937 7 'British Author with the Militia', The Spanish Revolution: Bulletin of the Workers' Party of Marxist Unification (POUM) 8 Letter from Eileen Blair to her mother, 22 March 1937 9 Letter to Eileen Blair [j? April 1937] 13 Extract from letter from Eileen Blair to Leonard Moore, 12 April 1937 !5 Letter from Eileen Blair to her brother, Dr Laurence ('Eric') O'Shaughnessy, 1 May 1937 15 Extract from letter to Victor Gollancz, 1 May 1937 17 Orwell's Wound 18 Letter to Cyril Connolly, 8June 1937 22 Letter from Eileen Blair to Dr Laurence ('Eric') O'Shaughnessy, c. 10 June 1937 23 vi Contents Escape from Spain 24 Reports on Eric and Eileen Blair to Tribunal for Espionage and High Treason, Valencia 26 Report on Charles Doran 26 Homage to Catalonia 28 'Spilling the Spanish Beans', New English Weekly, 29 July and 2 September 1937 215 Letter from Eileen Blair to John McNair, 29 July 1937 223 Letter from George Kopp to Dr Laurence O'Shaughnessy, 7July 1937 225 Letter from George Kopp to Lt.-Col.
[Show full text]
Spanish Military Cultures and the Moroccan Wars, 1909–36
02_Articles 30/3 6/6/00 10:16 am Page 307 Sebastian Balfour and Pablo La Porte Spanish Military Cultures and the Moroccan Wars, 1909–36 Introduction The deepest roots of military ideology in Spain in the first half of the twentieth century lay in the grievances resulting from the defeat of the armed forces in the Spanish–American War of 1898 and the consequent loss of the remnants of the overseas Empire. Whilst public opinion blamed the 1898 Disaster largely on the military, many officers felt they had been sacrificed by the politi- cians of the Restoration regime in order to ensure that it would survive the loss of empire.1 When the army rose in revolt in 1923, the Disaster was the main backdrop to their self-justifications. The first words of General Primo de Rivera’s manifesto on his seizure of power referred to the ‘picture of misfortunes and immoralities’ that had begun in 1898.2 Nine years later, General Sanjurjo, remembering the moment when as a young lieutenant he had lowered the Spanish flag for the last time in Cuba, declared to a journalist shortly after the failure of his attempt to seize power in August 1932: ‘All my life seems of little conse- quence next to the desire to make up for the Spanish ’98.’3 In the novel Raza, Francisco Franco saw continuity between himself and the aggrieved admiral of the Spanish fleet sunk off the coast of Cuba.4 For the new dictator, the military insurrection of 1936 was the final revenge for the apparent injustice done to the mili- tary in 1898.
[Show full text]
Photographs of Child Victims in Propaganda Posters of the Spanish Civil War
Bloomfield, I 2018 Photographs of Child Victims in Propaganda Posters of the Spanish Civil War. Modern Languages Open, 2018(1): 16, pp. 1–15, DOI: https://doi.org/10.3828/mlo.v0i0.178 ARTICLE Photographs of Child Victims in Propaganda Posters of the Spanish Civil War Imogen Bloomfield University of Hull, GB [email protected] This article examines propaganda posters from the Spanish Civil War that used photographs of child victims in an attempt to galvanise support for the Republican war effort. Rather than discus the efficacy of these posters as persuasive tools, this analysis focuses on their suitability to support propagandistic narratives of the Civil War, which would form and support ‘usable pasts’ for collectives – understandings of the past that serve a function in the present – such as identity claims, or the basis of demands for justice. In this instance the photographic discourses of these posters supported broader narratives of the Civil War. The use of child subjects afforded narrative flexibility to the photographs employed in these posters, and this was combined with the supposed veracity of the photographic medium, and the ingrained norms of familial photography – that taken of and by family members – to construct narratives with propagandistic value. Please note: This article contains graphic images of child death. Regarding War To set aside the sympathy we extend to others beset by war and murderous politics for a reflection on how our privileges are located on the same map as their suffering, and may – in ways we might prefer not to imagine – be linked to their suffering […] is a task for which the painful, stirring images supply only an initial spark.
[Show full text]