• 25,00 kr

Publisher Description

IN 1965, Cuban wordsmith Guillermo Cabrera Infante wove a tale of diversion, deception, and disintegration entitled Tres tristes tigres. Cabrera Infante's novel detailing the nocturnal sojourns of four young men in pre-Revolutionary Havana questions the veracity and accuracy of translation in order to demonstrate its deconstructive nature and call into question the very integrity of the written word. (1) Keenly aware of translation's semiotic shortcomings, throughout TTT (2) Cabrera Infante exploits the rich communicative gaps found between a text and its reproduction in another language. Cabrera Infante understood the fundamental limitations of translation, namely that translation is almost always, by its nature, a reinterpretation of the original, and as such is subject to scrutiny. Like any semiotic representation, translations can never fully reflect what is translated, and as a result, can never be trusted as a faithful representation of the original. However, in spite of the imperfections inherent in the translation process, Cabrera Infante uses the space between the translated text and the translation as a place for creativity and originality. Furthermore, as a work infused with moments of linguistic and cultural translations, TTT is a product of a particularly Cuban sensitivity to the issues brought about by translation as well as the new creations that result from these processes, in the spirit of Fernando Ortiz and Gustavo Perez Firmat. Through an exploration of three key moments of deconstructive translation in TTT one will be able to see how Cabrera Infante consciously questions the authority of the written word itself, casting a shadow of doubt on the veracity of his text. In doing so, he allows for new "Cuban" creation through the process of translation. Throughout TTT, translation functions as a process of exclusion, explanation, transformation and creation that complicates the reading process while simultaneously creating new and original expressions. Three key moments of translation best demonstrate the difficulties that the deceptive yet creative process of translation presents. They include: 1) a spontaneous oral translation, as seen in the introduction to the show at the Tropicana night club at the start of the novel, 2) a literary translation, witnessed by the critique of Lino Novas Calvo's translation of Hemingway's The Old Man and the Sea, and 3) a proliferation of literal/ literary translations in the section entitled "Los visitantes."

Professional & Technical
March 22
University of North Carolina at Chapel Hill, Department of Romance Languages

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