- Salamanca, Castilla y Leon, Spain
- África Vidal is Professor of Translation at the University of Salamanca, Spain, since 1998. She is the Principal Inve... moreÁfrica Vidal is Professor of Translation at the University of Salamanca, Spain, since 1998. She is the Principal Investigator of the Research Group “Traducción, Ideología y Cultura”, focussed on cultural and ideological aspects of translation seen as a key epistemological concept of our globalized society. Her research interests include translation theory, post-structuralism, post-colonialism, contemporary art, and gender studies. She has participated in international conferences and has been invited guest-lecturer at many universities in Spain and universities in England, Ireland, Italy, France, Germany, Iran, Mexico, Puerto Rico, Chile and Argentina. She has published 12 anthologies (among them Routledge Handbook of Spanish Translation Studies, 2019, co-edited with Roberto Valdeón, and Translation/ Power/ Subversion, coedited with Román Álvarez, Clevedon: Multilingual Matters, 1996), more than a hundred chapters and articles, many of them in leading journals (Meta, Perspectives, TTR, Linguistica Antwerpiensia, The Translator, Translation Studies, Translating and Interpreting Studies, Translation, Translation and Interpreting, European Journal of English Studies, Forum, Journal of Multicultural Studies, Terminology, etc.) and 20 books, including Translation and Objects (Routledge, 2024); Translation and Repetition: Rewriting (Un)original Literature (Routledge, 2024); Translating Borrowed Tongues: The Verbal Quest of Ilan Stavans (Routledge, 2023); Translation and Contemporary Art: Transdisciplinary Encounters (Routledge, 2022); Ilan Stavans, traductor (Granada: Comares, 2022); Traducción y literatura translingüe: voces latinas en Estados Unidos (Madrid/Frankfurt: Iberoamericana Vervuert, 2021); La traducción y la(s) historia(s): nuevas vías para la investigación (Granada: Comares, 2018); “Dile que le he escrito un blues”: del texto como partitura a la partitura como traducción en la literatura latinoamericana (Frankfurt: Veurvert Iberoamericana, 2017); La traducción y los espacios (Granada: Comares, 2012); Traducción y asimetría (Frankfurt: Peter Lang, 2010); Traducir entre culturas: diferencias, poderes, identidades (Frankfurt, Peter Lang, 2007); En los límites de la traducción (Granada, Comares, 2006); El futuro de la traducción (Valencia: Alfons el Magnànim, 1998); Traducción, manipulación, desconstrucción (Salamanca, Ediciones Colegio de España, 1995). She has supervised to completion 22 PhD theses. She has been included (2015) in Routledge’s collection Great Linguists and Translation Theorists, which offers articles that highlight work published both by and about key translation theorists throughout the years. She is member of the International Advisory Board of several international journals and a practising translator specialized in the fields of philosophy, literature and contemporary art.edit
Translation and Objects offers a new and original perspective in Translation Studies, originating from the conviction that in today’s world translation is pervasive. Building on the ideas of scholars who have expanded the boundaries of... more
Translation and Objects offers a new and original perspective in Translation Studies, originating from the conviction that in today’s world translation is pervasive. Building on the ideas of scholars who have expanded the boundaries of the discipline, this book focuses on the analysis of objects that migrants carry with them on their journey of migration.
The ideas of displacement and constant movement are key throughout these pages. Migrants live translation literally, because displacement is a leitmotif for them. Translation and Objects analyses migrant objects –such as shoes, stones or photographs– as translation sites that function as expressions as well as sources of emotions. These displaced emotional objects, laden with meanings and sentiments, tell many stories, saying a great deal about their owners, who almost never have a voice. This book shows how meaning is displaced through the materiality, texture, smells, sensations, and forms of moving objects.
Including examples of translations that have been created from a non-linguistic perspective and exploring linguistic issues whilst connecting them to other fields such as anthropology, and sociology, Vidal sets out a broad vision of translation. This is critical reading for translation theory courses within translation studies, comparative literature and cultural studies.
The ideas of displacement and constant movement are key throughout these pages. Migrants live translation literally, because displacement is a leitmotif for them. Translation and Objects analyses migrant objects –such as shoes, stones or photographs– as translation sites that function as expressions as well as sources of emotions. These displaced emotional objects, laden with meanings and sentiments, tell many stories, saying a great deal about their owners, who almost never have a voice. This book shows how meaning is displaced through the materiality, texture, smells, sensations, and forms of moving objects.
Including examples of translations that have been created from a non-linguistic perspective and exploring linguistic issues whilst connecting them to other fields such as anthropology, and sociology, Vidal sets out a broad vision of translation. This is critical reading for translation theory courses within translation studies, comparative literature and cultural studies.
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Translation and Repetition: Rewriting (Un)original Literature offers a new and original perspective in Translation Studies, considering creative repetition from the perspective of the translator. This is done by analysing so-called... more
Translation and Repetition: Rewriting (Un)original Literature offers a new and original perspective in Translation Studies, considering creative repetition from the perspective of the translator. This is done by analysing so-called "unoriginal literature" and thus expanding the definition of translation.
In Western thought, repetition has long been regarded as something negative, as a kind of cliché, stereotype or automatism that is the opposite of creation. On the other hand, in the eyes of many contemporary philosophers from Wittgenstein and Derrida to Deleuze and Guattari, repetition is more about difference. It involves rewriting stories initially told in other contexts so that they acquire a different perspective. In this sense, repeating is often a political act. Repetition is a creative impulse for the making of what is new. Repetition as iteration is understood in this book as an action that recognizes the creative and critical potential of copying.
The author analyses how our time understands originality and authorship differently from past eras, and how the new philosophical ways of approaching repetition imply a new way of understanding the concept of originality and authorship. Deconstructing these notions also implies subverting the traditional ways of approaching translation. This is vital reading for all courses on literary translation, comparative literature and literature in translation within translation studies and literature.
In Western thought, repetition has long been regarded as something negative, as a kind of cliché, stereotype or automatism that is the opposite of creation. On the other hand, in the eyes of many contemporary philosophers from Wittgenstein and Derrida to Deleuze and Guattari, repetition is more about difference. It involves rewriting stories initially told in other contexts so that they acquire a different perspective. In this sense, repeating is often a political act. Repetition is a creative impulse for the making of what is new. Repetition as iteration is understood in this book as an action that recognizes the creative and critical potential of copying.
The author analyses how our time understands originality and authorship differently from past eras, and how the new philosophical ways of approaching repetition imply a new way of understanding the concept of originality and authorship. Deconstructing these notions also implies subverting the traditional ways of approaching translation. This is vital reading for all courses on literary translation, comparative literature and literature in translation within translation studies and literature.
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This book sheds light on the translations of renowned semiotician, essayist, and author Ilan Stavans, elucidating the ways in which they exemplify the migrant experience and translation as the interactions of living and writing in... more
This book sheds light on the translations of renowned semiotician, essayist, and author Ilan Stavans, elucidating the ways in which they exemplify the migrant experience and translation as the interactions of living and writing in intercultural and interlinguistic spaces.
While much has been written on Stavans’ work as a writer, there has been little to date on his work as a translator, subversive in their translations of Western classics such as Don Quixote and Hamlet into Spanglish. In Stavans’ experiences as a writer and translator between languages and cultures, Vidal locates the ways in which writers and translators who have experienced migratory crises, marginalization, and exclusion adopt a hybrid, polydirectional, and multivocal approach to language seen as a threat to the status quo. The volume highlights how the case of Ilan Stavans uncovers unique insights into how migrant writers’ nonstandard use of language creates worlds predicated on deterritorialization and in-between spaces which more accurately reflect the nuances of the lived experiences of migrants.
This book will be of particular interest to students and scholars in translation studies, literary translation, and Latinx literature.
While much has been written on Stavans’ work as a writer, there has been little to date on his work as a translator, subversive in their translations of Western classics such as Don Quixote and Hamlet into Spanglish. In Stavans’ experiences as a writer and translator between languages and cultures, Vidal locates the ways in which writers and translators who have experienced migratory crises, marginalization, and exclusion adopt a hybrid, polydirectional, and multivocal approach to language seen as a threat to the status quo. The volume highlights how the case of Ilan Stavans uncovers unique insights into how migrant writers’ nonstandard use of language creates worlds predicated on deterritorialization and in-between spaces which more accurately reflect the nuances of the lived experiences of migrants.
This book will be of particular interest to students and scholars in translation studies, literary translation, and Latinx literature.
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Prólogo de Steven G. Kellman
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This book looks to expand the definition of translation in line with Susan Bassnett and David Johnston’s notion of the “outward turn,” applying this perspective to contemporary art to broaden the scope of how we understand translation in... more
This book looks to expand the definition of translation in line with Susan Bassnett and David Johnston’s notion of the “outward turn,” applying this perspective to contemporary art to broaden the scope of how we understand translation in today’s global multisemiotic world.
The volume builds on Bassnett and Johnston’s “outward turn” as well as Edwin Gentzler’s work on “post-translation” which have focused on traversing the disciplinary boundaries of translation. The book takes as its point of departure the idea that texts are comprised of not only words but other semiotic systems and therefore expanding our notions of both language and translation can better equip us to translate stories told via non-traditional means in novel ways. While the “outward turn” has been analyzed in literature, Vidal directs this spotlight to contemporary art, a field which has already engaged in disciplinary connections with Translation Studies. The volume highlights how the unpacking of such connections between disciplines encourages engagement with contemporary social issues, around identity, power, migration, and globalization, and in turn, new ways of thinking and bringing about wider cultural change.
This innovative book will be of interest to scholars in translation studies and contemporary art.
Table of Contents
Preface, by Susan Bassnett
1. Translating in a Visual Age. Transdisciplinary Routes.
2. The Artistranslator’s Gaze
3. Translating with Art
4. Concluding Remarks
The volume builds on Bassnett and Johnston’s “outward turn” as well as Edwin Gentzler’s work on “post-translation” which have focused on traversing the disciplinary boundaries of translation. The book takes as its point of departure the idea that texts are comprised of not only words but other semiotic systems and therefore expanding our notions of both language and translation can better equip us to translate stories told via non-traditional means in novel ways. While the “outward turn” has been analyzed in literature, Vidal directs this spotlight to contemporary art, a field which has already engaged in disciplinary connections with Translation Studies. The volume highlights how the unpacking of such connections between disciplines encourages engagement with contemporary social issues, around identity, power, migration, and globalization, and in turn, new ways of thinking and bringing about wider cultural change.
This innovative book will be of interest to scholars in translation studies and contemporary art.
Table of Contents
Preface, by Susan Bassnett
1. Translating in a Visual Age. Transdisciplinary Routes.
2. The Artistranslator’s Gaze
3. Translating with Art
4. Concluding Remarks
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Prólogo de Georges Bastin.
https://www.iberoamericana-vervuert.es/FichaLibro.aspx?P1=190978
https://www.iberoamericana-vervuert.es/FichaLibro.aspx?P1=190978
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A partir de un verso de Joaquín Sabina, "Dile que le he escrito un blues", pero también de la interdisciplinariedad de George Steiner, de la crítica musical y literaria de Edward Said o de las concepciones antagónicas sobre la... more
A partir de un verso de Joaquín Sabina, "Dile que le he escrito un blues", pero también de la interdisciplinariedad de George Steiner, de la crítica musical y literaria de Edward Said o de las concepciones antagónicas sobre la interpretación de Stravinsky o Borges, este libro aborda la traducción entendiéndola en su sentido más amplio: como una actividad heterotópica, a caballo entre espacios y tiempos epistemológicos diversos; una actividad que atraviesa, no sólo todas las artes contemporáneas, desde la música y la pintura o la danza hasta la literatura, sino también cada momento de nuestra vida, desde el nacimiento hasta el ocaso.
Traducir es dejarse seducir por las palabras, y también seducir a las palabras. Lo realmente difícil de traducir no es averiguar lo que el texto dice sino lo que no dice explícitamente, a través de sus ruidos y melodías. La música y la traducción son formas de comunicación, y lo que comunican es información pero también emociones. Ese es el objetivo de este libro. Reflexionar sobre la sabiduría que se torna audible al oído que piensa. El conocimiento hecho música. La cuestión de cómo piensa el oído, de qué pensamos al escuchar o de cómo y qué escuchamos al pensar. Y es que a todos, pero especialmente a los traductores, las palabras nos abren los ojos y nos meten en el mundo y nos animan a mirar de reojo y a cantar. Con ellas reconstruimos tristezas ajenas en lágrimas propias y reinventamos laberintos al recibir mensajes a veces indescifrables.
Sin embargo, traducir siempre es posible, aun en aquellos casos en los que las palabras nos crean y nos recrean, nos hacen creer y descreer, nos obligan a anudar incertidumbres y a acariciar lo que tal vez de otro modo, desde otra profesión, nunca nos hubiéramos atrevido a tocar.
Traducir es dejarse seducir por las palabras, y también seducir a las palabras. Lo realmente difícil de traducir no es averiguar lo que el texto dice sino lo que no dice explícitamente, a través de sus ruidos y melodías. La música y la traducción son formas de comunicación, y lo que comunican es información pero también emociones. Ese es el objetivo de este libro. Reflexionar sobre la sabiduría que se torna audible al oído que piensa. El conocimiento hecho música. La cuestión de cómo piensa el oído, de qué pensamos al escuchar o de cómo y qué escuchamos al pensar. Y es que a todos, pero especialmente a los traductores, las palabras nos abren los ojos y nos meten en el mundo y nos animan a mirar de reojo y a cantar. Con ellas reconstruimos tristezas ajenas en lágrimas propias y reinventamos laberintos al recibir mensajes a veces indescifrables.
Sin embargo, traducir siempre es posible, aun en aquellos casos en los que las palabras nos crean y nos recrean, nos hacen creer y descreer, nos obligan a anudar incertidumbres y a acariciar lo que tal vez de otro modo, desde otra profesión, nunca nos hubiéramos atrevido a tocar.
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Ese acercamiento de la traducción a la filosofía y la reformulación de las visiones tradicionales del acto de traducir, generalmente basadas en metáforas que sugieren el transporte idealmente mecánico de significados y contenidos... more
Ese acercamiento de la traducción a la filosofía y la reformulación de las visiones tradicionales del acto de traducir, generalmente basadas en metáforas que sugieren el transporte idealmente mecánico de significados y contenidos supuestamente estables de una lengua a otra, ha promovido una reformulación y una valorización de la actividad de los traductores sin precedentes en la historia de sus estudios. Es precisamente en este contexto donde se inserta el riguroso trabajo de África Vidal. En un texto conciso y muy bien informado, la autora aborda algunas de las principales cuestiones que interesan no sólo a la relación entre traducción y desconstrucción sino también a cualquier proceso de significado revisado desde la óptica antiesencialista inspirada sobre todo por el post-estructuralismo. Aborda con desenvoltura textos fundamentales de la difícil área a la que decidió enfrentarse, y los relaciona con autores de ficción procedentes de diversas tradiciones y culturas, como Jorge Luis Borges, Italo Calvino, Carlos Fuentes, Octavio Paz, Umberto Eco o Miguel de Cervantes. El resultado de su investigación es una invitación que no pueden rechazar quienes se interesan por los misterios del lenguaje, de la traducción y de la interpretación en general, y no sólo los iniciados en los arduos caminos del pensamiento de Derrida y sus seguidores. Como autora de esta presentación y como lectora que tiene el privilegio de (intentar) presentar En los límites de la traducción, sólo puedo desear que los lectores que me sigan tengan el mismo placer que yo he tenido al acompañar a África Vidal en su afortunado intento de cuestionar los puntos de partida del pensamiento derrideano en relación con los estudios de traducción.
Traducción, manipulación, desconstrucción empieza por plantear problemas que son y serán eternos en los estudios de traducción, y que van desde las cualidades que debe poseer el traductor hasta el problema de la equivalencia, pasando por... more
Traducción, manipulación, desconstrucción empieza por plantear problemas que son y serán eternos en los estudios de traducción, y que van desde las cualidades que debe poseer el traductor hasta el problema de la equivalencia, pasando por los tipos de traducción posibles o por la cuestión de si existe o no una lengua original esencial. Todo esto sirve como base para escudriñar los pros y los contras de algunas de las teorías más novedosas en el campo de la traducción durante los últimos años: la llamada escuela de la manipulación y las aportaciones del post-estructuralismo y la desconstrucción a la traductología. Son estas dos líneas de investigación polémicas con lo que se puede estar o no de acuerdo, pero que sin duda, no dejarán al lector indiferente. Este es, precisamente, uno de los mayores atractivos del libro.
Nuestra sociedad no es, evidentemente, la de nuestros padres, y la forma novela, reflejo de una cultura, también ha cambiado. Este libro intenta demostrar que la narrativa posmoderna es espejo de la aldea post-tecnológica en que vivimos,... more
Nuestra sociedad no es, evidentemente, la de nuestros padres, y la forma novela, reflejo de una cultura, también ha cambiado. Este libro intenta demostrar que la narrativa posmoderna es espejo de la aldea post-tecnológica en que vivimos, caracterizada por la estética de la desaparición, la disolución del sujeto, la deflación de la realidad y el triunfo del espectáculo. La novela posmoderna, texto formado a partir de otros textos, habla del silencio de los signos contemporáneos, y sonríe dejando un hueco que llena con el encanto de la desaparición y con la forma desértica sin referentes.
Aun cuando muchos han oído la palabra "posmodernismo", son pocos los que conocen en profundidad todas sus implicaciones. Este libro intenta acercarnos más a ese fenómeno, que no es sino la era ecléctica, cínica y paródica en la que... more
Aun cuando muchos han oído la palabra "posmodernismo", son pocos los que conocen en profundidad todas sus implicaciones. Este libro intenta acercarnos más a ese fenómeno, que no es sino la era ecléctica, cínica y paródica en la que vivimos. El ensayo se divide en dos partes: la primera intenta definir el posmodernismo, mientras que, en la segunda, se analizan, a partir de cuatro conceptos -el yo, la historia, la originalidad y la coherencia-, los puntos de encuentro y las diferencias entre el movimiento que da título al libro y su predecesor, la modernidad. El "método" que se ha seguido es el único posible en un estudio de este tipo: una aproximación interdisciplinar y abierta. Su punto de partida es la filosofía. Baudrillard, Derrida, Lacan, Wittgenstein, Habermas, Lyotard... son algunos pensadores cuyas ideas se aplican a la pintura -David Salle, Julián Schnabel, etc.-, a la fotografía -Cindy Sherman, Sherry Levine- o a la literatura y la crítica literaria.
https://www.casadellibro.com/libro-que-es-el-posmodernismo3f/9788486809447/172818
https://www.casadellibro.com/libro-que-es-el-posmodernismo3f/9788486809447/172818
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The first issue of MonTI focuses on the current state of the art in Translation Studies from a (self-)critical perspective, trying to promote debate and to disclose interrelationships between the very different approaches we currently use... more
The first issue of MonTI focuses on the current state of the art in Translation Studies from a (self-)critical perspective, trying to promote debate and to disclose interrelationships between the very different approaches we currently use in our research.
The main aim of this number is, thus, to provide a critical discussion of our own approaches. In this connection, it attempts to gain insights into what the different schools and approaches do (not) provide, where do their real potentials and limitations lie, what improvements they have brought about as compared with other approaches, or what lines of research are really compatible.
The main aim of this number is, thus, to provide a critical discussion of our own approaches. In this connection, it attempts to gain insights into what the different schools and approaches do (not) provide, where do their real potentials and limitations lie, what improvements they have brought about as compared with other approaches, or what lines of research are really compatible.
Written by leading experts in the area, The Routledge Handbook of Spanish Translation Studies brings together original contributions representing a culmination of the extensive research to-date within the field of Spanish Translation... more
Written by leading experts in the area, The Routledge Handbook of Spanish Translation Studies brings together original contributions representing a culmination of the extensive research to-date within the field of Spanish Translation Studies. The Handbook covers a variety of translation related issues, both theoretical and practical, providing an overview of the field and establishing directions for future research. It starts by looking at the history of translation in Spain, the Americas during the colonial period and Latin America, and then moves on to discuss well-established areas of research such as literary translation and audiovisual translation, at which Spanish researchers have excelled. It also provides state-of-the-art information on new topics such as the interface between translation and humour on the one hand, and the translation of comics on the other. This Handbook is an indispensable resource for postgraduate students and researchers of translation studies. Table of Contents Contents Notes on contributors Introduction: Translation and Translation Studies in Spain and in Spanish-speaking areas Roberto A. Valdeón and África Vidal Claramonte 1. Spanish translation history Luis Pegenaute 2. Literary translation Juan Jesús Zaro 3. Translation and the Spanish empire Roberto A. Valdeón 4. Translation in Hispanic America Álvaro Echeverri and Georges L. Bastin 5. Spanish translation in the US and Canada Kelly Washbourne 6. Translation and gender Pilar Godayol 7. Translation and ideology: Spanish perspectives Ovidi Carbonell 8. Translation and humour Marta Mateo and Patrick Zabalbeascoa 9. Pedagogy of translation Dorothy Kelly 10. Cognitive approaches Amparo Hurtado Albir 11. An overview of interpreting in Spanish: past, present and future Robert Neal Baxter 12. Intercultural communication: public service interpreting and translation Carmen Valero-Garcés 13. Linguistic approaches to translation in Spain Gloria Corpas and Maria-Araceli Losey 14. Terminology Pamela Faber and Silvia Montero-Martínez 15. Legal and institutional translation Rosario Martín Ruano 16. Technical and medical translation Goretti Faya and Carmen Quijada 17. Audiovisual translation Frederic Chaume 18. Localization and localization research in Spanish speaking contexts Miguel A. Jiménez-Crespo 19. Translation of Hispanic comics and graphic novels Javier Muñoz-Basols and Enrique del Rey Cabero 20. Journalistic translation María José Hernández Guerrero 21. Tourism, translation and advertising Elizabeth Woodward-Smith 22. Ethics and translation Alberto Fuertes 23. Translation policies from/into the official languages in Spain Montserrat Bacardí 24. A bibliometric overview of Translation Studies research in Spanish-speaking countries Javier Franco and Sara Rovira
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En consonancia con los cambios operados en la sociedad en la que vivimos actualmente, en los últimos tiempos en el ámbito de la traducción se ha pasado de poner el acento en la similitud para centrarse en la diferencia y en cómo... more
En consonancia con los cambios operados en la sociedad en la que vivimos actualmente, en los últimos tiempos en el ámbito de la traducción se ha pasado de poner el acento en la similitud para centrarse en la diferencia y en cómo transmitirla y gestionarla. Este es, sin duda un cambio conceptual absolutamente fundamental porque implica transformaciones profundas en nuestra manera de ver el mundo y, por ende, de practicar la traducción. En la línea de las últimas tendencias teóricas que han abordado, a lo largo de este siglo, la traducción como renegociación problemática y conflictiva, los diferentes ensayos que componen esta antología se adentran en casos concretos de textos en cuya traducción surge el conflicto. Los contextos son muy distintos, las texturas variadas, pero en todos ellos el hilo conductor es la preocupación por la comunicación intercultural y la inquietud ante los peligros que acechan a las distintas opciones que la traducción puede tomar: el malentendido, la manipulación, el silenciamiento, la dominación, la alienación, la exclusión, la sobrecualificación estereotipada, el paternalismo, etc. De la misma manera, aun en escenarios muy variados, común a todos los ensayos es el interés por descubrir fórmulas, métodos o modelos —nuevas rutas y horizontes— que puedan permitir a la traducción afrontar ética y responsablemente los retos del pluralismo cultural en el siglo XXI, donde la coexistencia de identidades, tradiciones culturales y visiones de futuro es un hecho y, a la par, un proyecto que debe seguir construyéndose.
Trans(in)fusion and Contemporary Thought. Thinking in Migration, ed. by Jayjit Sarkar.
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The Translation of Experience, ed. by Madeleine Campbell and Ricarda Vidal. London and New York: Routledge.
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The Routledge Handbook of Translation and Migration, edited by Rita Wilson, Loredana Polezzi and Brigid Maher.
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Co-author: Tong King Lee
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https://www.tandfonline.com/eprint/A3TXERM3WBPU9XUQQPK8/full?target=10.1080/13556509.2022.2161125 The way the West thinks of the subaltern has opened an extremely necessary research venue in Translation Studies which underlines the... more
https://www.tandfonline.com/eprint/A3TXERM3WBPU9XUQQPK8/full?target=10.1080/13556509.2022.2161125
The way the West thinks of the subaltern has opened an extremely necessary research venue in Translation Studies which underlines the importance of improving communication in managing emergencies and crises. Translation is an underdeveloped tool in situations of risk, and therefore the right to language access is in many cases overlooked. It seems things are beginning to change if we take into account the literature on the subject. However, the aim of this is not to analyse how Power harms the subaltern by silencing them but the opposite. By taking a less travelled road, I will try to show how the subaltern’s linguistic diversity, fundamentally ‘queer’ with respect to the normative, is seen as a risk by the status quo. I do not intend to study the subaltern’s vulnerability but the Power they exert through language. My aim is to show how writers who have experienced the structural violence of migratory crises, marginalisation, social exclusion and unbelonging, react not fearing the dominant culture and accepting its language as a way for them to be recognised by Power, but quite the opposite.
The way the West thinks of the subaltern has opened an extremely necessary research venue in Translation Studies which underlines the importance of improving communication in managing emergencies and crises. Translation is an underdeveloped tool in situations of risk, and therefore the right to language access is in many cases overlooked. It seems things are beginning to change if we take into account the literature on the subject. However, the aim of this is not to analyse how Power harms the subaltern by silencing them but the opposite. By taking a less travelled road, I will try to show how the subaltern’s linguistic diversity, fundamentally ‘queer’ with respect to the normative, is seen as a risk by the status quo. I do not intend to study the subaltern’s vulnerability but the Power they exert through language. My aim is to show how writers who have experienced the structural violence of migratory crises, marginalisation, social exclusion and unbelonging, react not fearing the dominant culture and accepting its language as a way for them to be recognised by Power, but quite the opposite.
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https://www.tandfonline.com/eprint/B3IQCSNEUGWZPZ3ESTUA/full?target=10.1080/14781700.2022.2116098 The aim of this article is to expand the definition of translation in a transdisciplinary fashion. This is achieved by understanding the... more
https://www.tandfonline.com/eprint/B3IQCSNEUGWZPZ3ESTUA/full?target=10.1080/14781700.2022.2116098
The aim of this article is to expand the definition of translation in a transdisciplinary fashion. This is achieved by understanding the cosmopolitan city as a text that needs to be translated. Taking as a case study Ilan Stavans’s particular use of language in a cosmopolitan translanguaging space, this article analyzes his Nuyol as a translation site and a translation zone. The translations of Stavans, a polyglot transmigrant, show how the contemporary interconnection between mobility, space and languages contributes to the construction of complex identities in cosmopolitan cities, particularly in his Nuyol, where people live translated. This is studied following a research avenue that sees contemporary cities both as translanguaging spaces and as translational cities. Combining these two concepts shows how Stavans’s Spanglish may be a force that can be used to deterritorialize homogeneous spaces.
The aim of this article is to expand the definition of translation in a transdisciplinary fashion. This is achieved by understanding the cosmopolitan city as a text that needs to be translated. Taking as a case study Ilan Stavans’s particular use of language in a cosmopolitan translanguaging space, this article analyzes his Nuyol as a translation site and a translation zone. The translations of Stavans, a polyglot transmigrant, show how the contemporary interconnection between mobility, space and languages contributes to the construction of complex identities in cosmopolitan cities, particularly in his Nuyol, where people live translated. This is studied following a research avenue that sees contemporary cities both as translanguaging spaces and as translational cities. Combining these two concepts shows how Stavans’s Spanglish may be a force that can be used to deterritorialize homogeneous spaces.
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Este artículo se propone analizar las traducciones de Paul Bowles como un espacio de choque o de encuentro de culturas mayores y menores. Esas traducciones son el resultado de su prolongada y bien conocida estadía en Tánger. Se basan en... more
Este artículo se propone analizar las traducciones de Paul Bowles como un espacio de choque o de encuentro de culturas mayores y menores. Esas traducciones son el resultado de su prolongada y bien conocida estadía en Tánger. Se basan en los relatos de sus amigos marroquíes. Estas no son en absoluto traducciones ortodoxas. El presente artículo busca responder una serie de preguntas para demostrarlo: ¿Cuál es el texto fuente? ¿Quién es el autor? ¿A qué literatura corresponde el manuscrito redactado en magrebí? La reescritura que hace Bowles de los relatos contados por sus amigos marroquíes tiene tantos defensores como detractores. Revelan la identidad de Bowles en múltiples frentes, incluidas la sexualidad y la nacionalidad. Pero a la vez son políticos en cuanto revelan que las traducciones pueden estar en el centro de encuentros asimétricos entre personas y culturas.
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El objetivo de este artículo es analizar la escritura de muchas mujeres que reescriben las historias ya contadas por el patriarcado. Así, sus traducciones cuentan historias ya contadas, pero lo hacen de una manera nueva, por primera vez.... more
El objetivo de este artículo es analizar la escritura de muchas mujeres que reescriben las historias ya contadas por el patriarcado. Así, sus traducciones cuentan historias ya contadas, pero lo hacen de una manera nueva, por primera vez. Se mostrarán ejemplos de diversas disciplinas, desde el mundo del arte hasta la literatura. Buhle Ngaba, Ghada Amer, Caroline Bergvall y Nalini Malani, entre otras, demuestran que hay otras historias dentro de la historia que nos han contado. Las mujeres nos inv Sobre el vagón. Itan a irnos de viaje a través de espacios que ellas van transformando, y en consecuencia traduciendo.
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El propósito de este artículo es analizar la función de la autotraducción en Ilan Stavans, un traductor y autotraductor muy influido por la teoría traductológica de Jorge Luis Borges. Mi punto de partida es que estamos ante un autor... more
El propósito de este artículo es analizar la función de la autotraducción en Ilan Stavans, un traductor y autotraductor muy influido por la teoría traductológica de Jorge Luis Borges. Mi punto de partida es que estamos ante un autor palimpséstico, dado su origen híbrido y su vida posmonolingüe. Ilan Stavans es un migrante judío, mexicano, latinoamericano que se mueve contantemente entre muchas lenguas, desde el hebreo hasta el inglés o el espanglish. Sus traducciones y autotraducciones demuestran esta interconexión entre espacios y lenguas. Stavans es un traductor traducido para quien, siguiendo al autor argentino, la traducción no es una actividad secundaria, sino que completa el original.
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The aim of this article is to show how Antoni Muntadas' projects deconstruct the spaces controlled by economic powers, politicians, the media and government institutions. Most Muntadas' projects are site-specific and, therefore, focus on... more
The aim of this article is to show how Antoni Muntadas' projects deconstruct the spaces controlled by economic powers, politicians, the media and government institutions. Most Muntadas' projects are site-specific and, therefore, focus on spaces like the city, public and private spaces or digital spaces. This article concentrates on those projects by Antoni Muntadas which show asymmetries of power in different spaces and moves on to focus on a concrete space, the border, in two projects: On Translation: Miedo/Fear, on the border between the United States and Mexico, and On Translation: Miedo/Jauf on the border between Spain and Morocco. These projects analyse how some people and others, those who are most vulnerable and those who are afraid of strangers, feel fear, depending on what side of the border they are on.
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The purpose of this article is to analyze the hybrid language used in the US by a generation who think brown and write brown. I am referring to the so-called one-and-a-halfers, a generation that includes writers such as Gloria Anzaldúa,... more
The purpose of this article is to analyze the hybrid language used in the US by a generation who think brown and write brown. I am referring to the so-called one-and-a-halfers, a generation that includes writers such as Gloria Anzaldúa, Cherríe Moraga, Sandra Cisneros, Pat Mora, Ilan Stavans, Ana Lydia Vega, Ana Castillo, Helena Viramontes, Esmeralda Santiago, or Tato Laviera, to name but a few. I aim to analyze how many migrants and refugees use language in a way that destroys consensus. It is in these spaces where the migration movements of the multiple souths talk back in a weird language which the Establishment fears. In these circumstances, translation becomes a tool to raise questions that disturb the universal promises of monolingualism.
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Matthew Bourne’s dance productions dwell in fluid borders. Without using words, his dance theatre is a form of drama and many of his choreographies are rewritings of previous literary and operatic works. This is precisely what I intend to... more
Matthew Bourne’s dance productions dwell in fluid borders. Without using words, his dance theatre is a form of drama and many of his choreographies are rewritings of previous literary and operatic works. This is precisely what I intend to explore in my essay. I will concentrate on The Car Man, a ballet which is a translation of different genres and different works: The Postman Always Rings Twice (both Cain’s novel and the two Hollywood movies) and Bizet’s score for his opera Carmen. Bourne translates the novel, the films, and Carmen’s music and content. What is important in his ballet is realism. The Car Man is violent, has very little lyricism and its characters are not instantly likeable. In the opera, the Carmen-José affair is central to the story, but what is central in The Car Man is a triangle: Lana, Luca and Angelo. With this triangle Bourne introduces a gay element and rewrites the whole story, taking it from Carmen’s original cigarette factory to a garage; translating Carmen’s original heterosexual triangle into a much more borderless work.
Matthew Bourne translates Carmen for a contemporary world. He offers the audience a “liquid” story in Zygmunt Bauman’s sense of the term. His identities are “nomad”, to use Judith Butler’s terminology. He deconstructs genres and genders by subverting opera and dance, but also straight and gay binary oppositions, thus creating richer and more ambiguous identities and characters. Bourne’s translation in The Car Man wants his intersemiotic rewriting of the past to be more down to earth and more real, taking ballet and opera closer to a new audience.
Furthermore, in my conclusion I take Matthew Bourne’s The Car Man as an example of today’s enlarged definition of translation, following Maria Tymoczko’s, Susan Bassnett’s, Edwin Gentzler’s and other, new post-positivist approaches to contemporary translation which, far from purity and univocity, reveal that our 21st-century society has moved from a solid hardware to a liquid software; to paradigms such as loop and entropy. Bourne’s translation offers an up-to-date version of Bizet’s world: he shows a world made up of many worlds and of translated identities which become interrelated and irremissibly linked together. The Car Man is a paradigm of crossroads which breaks away from linear discourses and binary oppositions and which opts for less common lines and different angles. In sum, a contemporary translation.
Key words: translation, post-translation, identity, intersemiotic rewritings, ideology, queer translation theory, gender.
Matthew Bourne translates Carmen for a contemporary world. He offers the audience a “liquid” story in Zygmunt Bauman’s sense of the term. His identities are “nomad”, to use Judith Butler’s terminology. He deconstructs genres and genders by subverting opera and dance, but also straight and gay binary oppositions, thus creating richer and more ambiguous identities and characters. Bourne’s translation in The Car Man wants his intersemiotic rewriting of the past to be more down to earth and more real, taking ballet and opera closer to a new audience.
Furthermore, in my conclusion I take Matthew Bourne’s The Car Man as an example of today’s enlarged definition of translation, following Maria Tymoczko’s, Susan Bassnett’s, Edwin Gentzler’s and other, new post-positivist approaches to contemporary translation which, far from purity and univocity, reveal that our 21st-century society has moved from a solid hardware to a liquid software; to paradigms such as loop and entropy. Bourne’s translation offers an up-to-date version of Bizet’s world: he shows a world made up of many worlds and of translated identities which become interrelated and irremissibly linked together. The Car Man is a paradigm of crossroads which breaks away from linear discourses and binary oppositions and which opts for less common lines and different angles. In sum, a contemporary translation.
Key words: translation, post-translation, identity, intersemiotic rewritings, ideology, queer translation theory, gender.
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El artículo aborda la literatura de los "one-and-a-halfers", una literatura peligrosa porque se construye a partir de un lenguaje mestizo que refleja la sociedad globalizada, híbrida, líquida, en la que vivimos. Esta literatura del entre... more
El artículo aborda la literatura de los "one-and-a-halfers", una literatura peligrosa porque se construye a partir de un
lenguaje mestizo que refleja la sociedad globalizada, híbrida, líquida,
en la que vivimos. Esta literatura del entre nace de la globalización,
un fenómeno que ha transformado las formas epistemológicas de
acercarse a la existencia cotidiana y que nos obliga a cuestionarnos
desde ideales nacionales hasta principios tradicionales sobre la pureza
de las lenguas o la homogeneidad de la literatura (Mignolo,
2000), pasando por los movimientos migratorios, la política de
fronteras, la degradación medioambiental o la relación entre las políticas
nacionales y supranacionales (Gilmour y Steinitz, 2018: 1).
lenguaje mestizo que refleja la sociedad globalizada, híbrida, líquida,
en la que vivimos. Esta literatura del entre nace de la globalización,
un fenómeno que ha transformado las formas epistemológicas de
acercarse a la existencia cotidiana y que nos obliga a cuestionarnos
desde ideales nacionales hasta principios tradicionales sobre la pureza
de las lenguas o la homogeneidad de la literatura (Mignolo,
2000), pasando por los movimientos migratorios, la política de
fronteras, la degradación medioambiental o la relación entre las políticas
nacionales y supranacionales (Gilmour y Steinitz, 2018: 1).
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Corps et traduction, corps en traduction-La traduction, dans ses modalités diverses, serait-elle avant tout une histoire de corps ? « Faire corps » avec un auteur, « plaisir musculaire » des mots, d'un « corps du texte » que l'on «... more
Corps et traduction, corps en traduction-La traduction, dans ses modalités diverses, serait-elle avant tout une histoire de corps ? « Faire corps » avec un auteur, « plaisir musculaire » des mots, d'un « corps du texte » que l'on « étreint » ou à travers lequel on « tâtonne », vocalisations diverses qui parti-cipent d'une démarche de re-création d'un texte en langue étrangère : autant de signes de l'omniprésence du corps du traducteur ou de l'interprète dans un pro-cessus dont l'issue engage tout autant le corps de l'autre, destinataire qui est lui aussi le lieu d'une sensorialité déployée. Quelles sont les manifestations et les enjeux de cette corporalité multiforme ? Comment se fait, par et pour les diverses instances en jeu, l'incorporation d'un texte, seule manière d'en appréhender le souffle et la substance ? Par la richesse de leurs approches et la variété des langues envisagées, les textes réunis dans ce volume se proposent d'apporter des réponses à ces questions essentielles à la compréhension intime de certains fondements de notre « être-en-langues » et des mises en relation qui en résultent. Spécialisées en linguistique, les Éditions Lambert-Lucas ont été créées en 2004 dans le but de réé-diter des classiques devenus introu-vables et d'éditer thèses, synthèses, recueils thématiques, essais et actes de colloques. Elles publient une vingtaine de nouveautés par an et sont distribuées par Daudin. Solange Hibbs et alii (dir.) Corps et traduction, corps en traduction ISBN 978-2-35935-260-3, 16 x 24 cm, 312 pages, 30 euros
The global society we live in leads to clashes and asymmetry between cultures. In this context, translation and legal studies play a fundamental but also very sensitive role. The old concepts of the Enlightenment, Reason, universalism,... more
The global society we live in leads to clashes and asymmetry between cultures. In this context, translation and legal studies play a fundamental but also very sensitive role. The old concepts of the Enlightenment, Reason, universalism, objectivity or the universal no longer serve any purpose either in the field of translation or in that of law. This paper proposes a research model based on post-structuralist concepts such as those of "differend", "representation" or "aporia". This model can help us conceive new ways of translating legal texts in the future that are more in line with the asymmetrical problems of our contemporary society.
La Noche de Tlatelolco: Testimonios de Historia Oral is a text full of voices which had been silenced. In addition, it is a hybrid text because it combines photojournalism, the literal words of many interviewees, witness accounts of... more
La Noche de Tlatelolco: Testimonios de Historia Oral is a text full of voices which had been silenced. In addition, it is a hybrid text because it combines photojournalism, the literal words of many interviewees, witness accounts of survivors and political prisoners, and extracts from documentary sources like political speeches and hospital reports. It is an example of histories narrated orally by those who did not previously have a voice. They are oral translations of the real, intralinguistic and interlinguistic rewritings exemplifying what Bastin (2006: 121) calls "oraliture", a type of textual construction of great importance when changing the way of looking at the history of translation. Since the studies published by Paul Bandia, Jeremy Munday or Georges Bastin, translation theory has been pressing for analysis of translations which take into account the concepts of critical historiography. The aim should be to achieve translations which overcome the traditional Eurocentrism and universalism that have allowed Westerners to remain in the comfort zone, a zone which offered only the vision of the conquerors and not that of the conquered. The translator cannot ignore all these changes and must begin to construct new venues in historical text research and its translation which put an end once and for all to that Eurocentric vision presented to us as the only true one.
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Against the English Only movement, many hyphenated authors have tried to break away from international English by transmigrating their ethnic tongue so that it is not excluded by the language of hegemony. Far from rationalization and... more
Against the English Only movement, many hyphenated authors have tried to break away from international English by transmigrating their ethnic tongue so that it is not excluded by the language of hegemony. Far from rationalization and homogenization, the language of mestizaje offers a critique of dominant cultures within a third space which problematizes assimilation and does not aim to reestablish the stability behind monolingualism, which makes acceptable the system of inequalities and exclusions. Such authors as Gloria Anzaldúa, Richard Rodríguez, Guillermo Gómez-Peña, Ana Lydia Vega, Tato Laviera, Ángela de Hoyos, Abelardo Delgado, or Nash Candelaria, to name but a few, write their texts in the language of the atravesados, a dialogical language, a syncretic, transmigrated tongue composed of both Spanish and English; a mestizaje discourse that transcends the sum of its parts. They write neither in International English nor in Spanish but appropriate both by “tropicalizing” (Frances Aparicio) the language with new, politicized, transgressive and transcreative meanings. In these cases, the transmigration of languages goes far beyond simplistic binary conceptualizations thus resisting, opposing, rewriting and subverting stereotypes. In the cosmopolitan world (as described by Gerard Delanty, Ulrich Beck or Zygmunt Bauman) figured by the brown (Richard Rodríguez), language is a blend. Codes are not separate but intrinsically fused. These authors are willing to occupy an interstitial dislocation in order to be recalcitrant to representation either side of the borderline. Latino identity is here mediated and constructed through the struggle over language, a language that textualizes their multiple cultural and hybrid subjectivities.
Taking Cherríe Moraga’s Loving in the War Years: lo que nunca pasó por sus labios as a case example, I will argue, following Derrida, that monolingualism does not exist and that translation is a trope that may force the master to admit that my language is the language of the Other. By refusing to be simply bilingual, Moraga finds through translation a mestizaje voice. Far from denying the contradictions between worlds she rather uses them productively. Translation is for her the primary metaphor for moving beyond binary oppositions and finally meshing both English and Spanish, the colonizers’ languages, so that a new voice emerges. I see translation as a trope, as the means to tell how words and worlds intersect, clash and are remade into a new language that can no longer be viewed as a source or a target but as both at the same time. Moraga highlights the ambiguity at the heart of this brown language and shows how translation generates a new language that exceeds both English and Spanish and creates a dialogic concept not only of language but also of identity. Like other Latino writers, she does not want to be assimilated but asimilao.
Taking Cherríe Moraga’s Loving in the War Years: lo que nunca pasó por sus labios as a case example, I will argue, following Derrida, that monolingualism does not exist and that translation is a trope that may force the master to admit that my language is the language of the Other. By refusing to be simply bilingual, Moraga finds through translation a mestizaje voice. Far from denying the contradictions between worlds she rather uses them productively. Translation is for her the primary metaphor for moving beyond binary oppositions and finally meshing both English and Spanish, the colonizers’ languages, so that a new voice emerges. I see translation as a trope, as the means to tell how words and worlds intersect, clash and are remade into a new language that can no longer be viewed as a source or a target but as both at the same time. Moraga highlights the ambiguity at the heart of this brown language and shows how translation generates a new language that exceeds both English and Spanish and creates a dialogic concept not only of language but also of identity. Like other Latino writers, she does not want to be assimilated but asimilao.
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El propósito de este artículo es visualizar los mundos simultáneos en constante intersección que nos presenta Najat El Hachmi en todas sus novelas, pero muy especialmente en la última, La hija extranjera. El Hachmi es una autora que nos... more
El propósito de este artículo es visualizar los mundos simultáneos en constante intersección que nos presenta Najat El Hachmi en todas sus novelas, pero muy especialmente en la última, La hija extranjera. El Hachmi es una autora que nos obliga a "desaprender", en el sentido que le da a esa palabra Roland Barthes, a través de la acumulación de escrituras, de voces en varias lenguas, de una heteroglosia, en fin, que revela la riqueza de la diferencia. Ese extraño espejo que es la escritura pone de manifiesto la maravilla que es vivir en un mundo heterotópico, ni homogéneo ni universalista, pero también las dificultades que dicha apertura al Otro entraña. La mezcla de sensaciones y de palabras se refleja en el lenguaje de la madre y en el de la hija, la intersección de mundos alejados y lejanos pero al mismo tiempo respetuosos el uno con el otro y ávidos de reclamar lo que uno y otro pueden y deben aportar al otro. Y en este contexto, el papel del traductor como mediador intercultural. La traducción como un acción ética.
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The aim of this essay is to apply Derrida’s idea of hospitality to the translation of hybrid literature, a literature which addresses ethnicity through a very particular use of language. Many people today live in a language that is not... more
The aim of this essay is to apply Derrida’s idea of hospitality to the translation of hybrid literature, a literature which addresses ethnicity through a very particular use of language. Many people today live in a language that is not their own or know poorly the major language that they are forced to serve. In this paper I defend a need for deconstructive traductological venues which will enable translators to face the challenges of the local and global hybrid society we live in. In my view, Derrida’s ideas on hospitality, closely related to his denial of monolingualism, may help construe new ways to translate hybrid literature.
Keywords: hybrid literature, translation, ethics, monolingualism, hostipitality, hospitality
Keywords: hybrid literature, translation, ethics, monolingualism, hostipitality, hospitality
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Language is a typically human phenomenon and, for that reason, essentially linked to the desire for Power; essentially linked to life, it is the phenomenon we grow up with, we use to create relationships with others, to negotiate, to love... more
Language is a typically human phenomenon and, for that reason, essentially linked to the desire for Power; essentially linked to life, it is the phenomenon we grow up with, we use to create relationships with others, to negotiate, to love and to hate. Language, and the use we make of language, is particularly interesting at a moment in time like the present, characterised by globalisation and the proliferation of homogenizing discourses.The aim of this essay is to consider the peculiar uses of language in the translation of texts related to the world of fashion and marketing of products in women’s magazines. In these texts many words are not translated, we find frequent uses of English and French. These untranslated words are already translations, because the fact that they remain in English or French provokes sensations we would not have if they had been transmitted to us, in this case, in Spanish.
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Research Interests: History and Translation
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Curso de la Universidad Internacional Menéndez Pelayo, Santander, dirigido por África Vidal
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Written by leading experts in the area, The Routledge Handbook of Spanish Translation Studies brings together original contributions representing a culmination of the extensive research to date within the field of Spanish Translation... more
Written by leading experts in the area, The Routledge Handbook of Spanish Translation Studies brings together original contributions representing a culmination of the extensive research to date within the field of Spanish Translation Studies. The Handbook covers a variety of translation related issues, both theoretical and practical, providing an overview of the field and establishing directions for future research. It starts by looking at the history of translation in Spain, the Americas during the colonial period and Latin America, and then moves on to discuss well-established areas of research such as literary translation and audiovisual translation, at which Spanish researchers have excelled. It also provides state-of-the-art information on new topics such as the interface between translation and humour on the one hand, and the translation of comics on the other. This Handbook is an indispensable resource for postgraduate students and researchers of translation studies. Roberto A. Valdeón is Professor in English Studies at the University of Oviedo, Spain. África Vidal is Professor of Translation at
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The Routledge Handbook of Translation and Culture collects into a single volume thirty-two state-of-the-art chapters written by international specialists, overviewing the ways in which translation studies has both informed, and been... more
The Routledge Handbook of Translation and Culture collects into a single volume thirty-two state-of-the-art chapters written by international specialists, overviewing the ways in which translation studies has both informed, and been informed by, interdisciplinary approaches to culture. The book's five sections provide a wealth of resources, covering both core issues and topics in the first part. The second part considers the relationship between translation and cultural narratives, drawing on both historical and religious case studies. The third part covers translation and social contexts, including the issues of cultural resistance, indigenous cultures and cultural representation. The fourth part addresses translation and cultural creativity, citing both popular fiction and graphic novels as examples. The final part covers translation and culture in professional settings, including cultures of science, legal settings and intercultural businesses. This handbook offers a wealth of information for advanced undergraduates, postgraduates and researchers working in translation and interpreting studies.
Número monográfico de Ínsula (885, septiembre de 2020), con los siguientes artículos: La hibridez como «marca glocal» en la literatura latinoamericana actual en los Estados Unidos, Ángel Esteban.—Los misterios de la vida, Gustavo Pérez... more
Número monográfico de Ínsula (885, septiembre de 2020), con los siguientes artículos: La hibridez como «marca glocal» en la literatura latinoamericana actual en los Estados Unidos, Ángel Esteban.—Los misterios de la vida, Gustavo Pérez Firmat.—Por una literatura peligrosa: vidas traducidas en la sociedad líquida, África Vidal.—Self-Translation como survival mecanismo, Ilan Stavans.—Afuera y adentro, siglo xxi: dos novelas latinoamericanas sobre Estados Unidos, Pablo Brescia.—Hibridación y exilio en Gustavo Pérez Firmat y Edmundo Desnoes, Yannelys Aparicio.—Mixturao de Tato Laviera: los desafíos de la cultura latina en el siglo xxi, Alejo López.—Los escritores de origen dominicano en los Estados Unidos y la condición postmonolingüe, Rita de Maeseneer.—La historia cultural de José Antonio Mazzotti en EE. UU.: Las flores del mall y Declinaciones latinas, Eva Valero Juan.—Expresiones de la diáspora: apuntes sobre narrativa colombiana en Estados Unidos hoy, Virginia Capote Díaz.—Extranjería y literatura transnacional: la narrativa de Miguel Gomes, Javier de Navascués