Keywords
Hermenéutica textual, teoría de la recepción, procesos de lectura, traducción, reescritura y adaptación., Textual hermeneutics, reception theory, processes of reading, translation, rewriting and adaptation.
Écriture, traduction et adaptation: contre la solitude et contre loubli
Abstract
Este trabajo es una reflexión sobre la interpretación textual a partir de la tríada autor-texto lector (Compagnon), que pretende explicar la naturaleza de la génesis textual a partir de la lectura y de su correspondiente acción hermenéutica. Tras analizar lo dicho al respecto por Schleiermacher, se aborda el argumento desde la fenomenología propuesta por teóricos de la recepción como Ingarden e Iser, para llegar a las propuestas de Barthes, Génette y Eco sobre la relación entre los tres agentes arriba descritos, autor-texto-lector, desde una perspectiva rupturista. A partir de aquí, se establece una relación entre lectura y re-creación, que permite establecer una vinculación entre la traducción y la adaptación. Los ejemplos analizados se corresponden con diferentes tipos de palimpsesto cultural ⸺como la relación de continuidad entre Jane Eyre (Charlotte Bronte, 1847) y Ancho mar de los Sargazos (Jean Rhys, 1966)⸺, lo que permite establecer diferencias y similitudes con las diferentes versiones de Madame Bovary (Gustave Flaubert, 1856) en español. Estos fenómenos de reescritura y traducción se interrelacionan en función de la estética lectora y de la dimensión temporal, que marcan los rasgos del canon. Se concluye con un caso de adaptación concebido, según la terminología de Jakobson, como traducción intersemiótica: la adaptación cinematográfica de Éugenie Grandet, realizada por Marc Dugain en 2021, con notables cambios argumentales con respecto al original de Balzac (1833).
.This paper, based on the author-reader-text triad (Compagnon), aims to explain the nature of textual genesis based on reading and its corresponding hermeneutic action. After analysing what Schleiermacher has said in this respect, the argument is approached from the phenomenology proposed by reception theorists such as Ingarden and Iser, to arrive at the proposals of Barthes, Génette and Eco on the relationship between the three agents described above, author-text-reader, from a rupturist perspective. From here, a relationship between reading and re-creation is established, in order to establish a link between translation and adaptation. The examples analysed correspond to different types of cultural palimpsest ⸺such as the relationship of continuity between Jane Eyre (Charlotte Bronte, 1847) and Wide Sargasso Sea (Jean Rhys, 1966)⸺, which makes it possible to establish differences and similarities with the different versions of Madame Bovary (Gustave Flaubert, 1856) in Spanish. These phenomena of rewriting and translation are interrelated in terms of reading aesthetics and the temporal dimension, which mark the features of the canon. It concludes with a case of adaptation conceived, according to Jakobson's terminology, as an intersemiotic translation: the film adaptation of Éugenie Grandet, made by Marc Dugain in 2021, with notable plot changes with respect to Balzac's original (1833).
.This paper, based on the author-reader-text triad (Compagnon), aims to explain the nature of textual genesis based on reading and its corresponding hermeneutic action. After analysing what Schleiermacher has said in this respect, the argument is approached from the phenomenology proposed by reception theorists such as Ingarden and Iser, to arrive at the proposals of Barthes, Génette and Eco on the relationship between the three agents described above, author-text-reader, from a rupturist perspective. From here, a relationship between reading and re-creation is established, in order to establish a link between translation and adaptation. The examples analysed correspond to different types of cultural palimpsest ⸺such as the relationship of continuity between Jane Eyre (Charlotte Bronte, 1847) and Wide Sargasso Sea (Jean Rhys, 1966)⸺, which makes it possible to establish differences and similarities with the different versions of Madame Bovary (Gustave Flaubert, 1856) in Spanish. These phenomena of rewriting and translation are interrelated in terms of reading aesthetics and the temporal dimension, which mark the features of the canon. It concludes with a case of adaptation conceived, according to Jakobson's terminology, as an intersemiotic translation: the film adaptation of Éugenie Grandet, made by Marc Dugain in 2021, with notable plot changes with respect to Balzac's original (1833).
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