'Dile que le he escrito un blues'. Del texto como partitura a la partitura como traduction en la literatura latinoamericana

摘要

In From cultural turn to translational turn. A transnational journey, Bassnett (2014 [2011]) surveys the history of translation studies over the last 50 years. Bassnett reminds her readers that, after being a marginal area of research in the 1960s, this discipline gradually moved to the forefront of academia in the subsequent two decades, and experienced a so-called 'cultural turn' in the 1990s. Bassnett urges us to reconceptualize translation studies in the contemporary global context by means of a so-called 'translational turn', the term coined by Doris Bachmann-Medick (2009). Bassnett points to the fact that in the second decade of the third millennium, 'it is impossible to ignore the integral role of translation in all discursive fields' (2014, p. 236). Like Bassnett, today many theoreticians support the view of translation as 'an extensive social and political network of language relations, cultural practices, and perspectives', as Bella Brodzki put it (2007, p. 2). According to Brodzki, translation 'underwrites all cultural transactions, from the most benign to the most venal' (2007, p. 2).