This article analyzes a selection of plays written by Chicano playwright Carlos Morton (Chicago, 1947), namely El jardín (1974a and 1974b) and Johnny Tenorio(1983) and their translations into Spanish (Morton 1999a), as well as Frontera sin fi n(2010) and its translation into English (unpublished). I argue that these works are repre-sentative of the stages of Morton’s existential and artistic evolution toward the rediscovery of his own mestizo roots. This negotiation of a multi-cultural identity clearly emerges in the themes of Morton’s oeuvre, as well as in his style and linguistic choices, which make the most of English–Spanish bilingual resources (e.g., borrowings, code-switching, etc.). Due to their strong culture-bound nature, hybrid texts are notoriously a translation challenge. The second research question I tackle, drawing on Venuti’s domestication–foregnization paradigm (1995) and on the post-colonial perspective applied to Translation Studies (Tymoczko 1999), is how cultural difference expressed through hardly translatable lan-guage choices in Morton’s source texts is re-created in existing translations into Spanish and English

Lengua, cultura e identidad mestizas en el teatro de Carlos Morton y en sus traducciones

Errico, Elena
2018

Abstract

This article analyzes a selection of plays written by Chicano playwright Carlos Morton (Chicago, 1947), namely El jardín (1974a and 1974b) and Johnny Tenorio(1983) and their translations into Spanish (Morton 1999a), as well as Frontera sin fi n(2010) and its translation into English (unpublished). I argue that these works are repre-sentative of the stages of Morton’s existential and artistic evolution toward the rediscovery of his own mestizo roots. This negotiation of a multi-cultural identity clearly emerges in the themes of Morton’s oeuvre, as well as in his style and linguistic choices, which make the most of English–Spanish bilingual resources (e.g., borrowings, code-switching, etc.). Due to their strong culture-bound nature, hybrid texts are notoriously a translation challenge. The second research question I tackle, drawing on Venuti’s domestication–foregnization paradigm (1995) and on the post-colonial perspective applied to Translation Studies (Tymoczko 1999), is how cultural difference expressed through hardly translatable lan-guage choices in Morton’s source texts is re-created in existing translations into Spanish and English
En este trabajo analizo una selección de piezas del dramaturgo chicano Carlos Morton (Chicago, 1947), a saber: El jardín (1974a; 1974b) y Johnny Tenorio (1983) y sus respectivas traducciones al castellano (1999a), así como Frontera sin fi n (2010) y su traducción al inglés (inédita). Argumento que estos trabajos son representativos de las etapas de la trayectoria existencial y artística de Morton hacia el redescubrimiento y la reafi rmación de sus raíces mestizas. Esta negociación de una identidad multicultural afl ora claramente en los temas que caracterizan la obra del dramaturgo, así como en su estilo y en sus elecciones lingüísticas, que aprovechan los recursos del repertorio bilingüe inglés–español (p.e. préstamos, cambios de código, etc.). Debido a su naturaleza inherentemente cultural, la traducción de los textos híbridos es un gran reto. La segunda pregunta de investigación que planteo, partiendo del continuum extranjerización–domesticación de Venuti (1995) y de la perspectiva postcolonial aplicada a la traductología (Tymoczko 1999), es cómo la expresión de la diferencia a través de elementos culturales (conceptuales y lingüísticos) en los textos fuente de Morton se re-crea en las traducciones existentes al español y al inglés
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11567/891155
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