Interweaving literary threads and target languages such as Arabic, Croatian, Danish, Dutch, German, Italian, Serbian, Spanish, and Swedish, this volume traces the history of the translation and reception of Woolf’s fiction and feminist pamphlets. It investigates the strategies of translation of several of her works in different countries and cultural contexts through the contrastive analysis of one or more editions of the same Woolfian text. The final result is a symphony of languages, spreading the notes of Virginia Woolf’s modernist and feminist discourse across Europe and beyond.
Did Borges Translate Orlando? - PAOLA LAURA GORLA 85
PAOLA LAURA GORLA Did Borges Translate Orlando? The Spanish edition of Virginia Woolf’s Orlando – A Biography was published in Sur, Buenos Aires (Argentina) in 1937, in a translation by Jorge Luis Borges. Before taking into consideration the analysis of the translation and interpretative insights emerging from the Spanish version of the text, it is necessary to define three coordinates from which this study will proceed. Virginia Woolf wrote Orlando – A Biography in 1928. In that pe- riod, Woolf was a distinguished figure not only on the English literary scene, but also abroad. She had already published The Voyage Out (1913), Night and Day (1920), Jacob's Room (1922), Mrs Dalloway (1925) and To the Lighthouse (1927). By the time of the publication of the translation of Orlando in its Argentinian version, 1937, Jorge Luis Borges had already published three collections of poems, Fervor de Buenos Aires (1923), Luna de enfrente (1925), Cuaderno de San Martín (1929); a collection of short stories, Historia Universal de la Infamia (1935); and some of his essays, Inquisiciones (1925), Evaristo Carriego (1930), Discusión (1932), Historia Universal de la Eterni- dad (1936). Moreover, it is worth mentioning that in 1921 (on 24 January), Borges signed the first Ultraist Manifesto in Spain, the first issue of the Spanish avant-garde literary magazine Ultra, together with very important figures of the peninsular avant-garde panorama, such as Rafael Cansinos-Assens, Guillermo de Torre and Ramón Gómez de la Serna. After translating A Room of One’s Own (Un cuarto...
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