Anger, Faith and Bewildered Fragments of Self: The Shaping of Ethos in an Argentinean Translation of Sarah Kane's 4.48 Psychosis
- Autores
- Spoturno, María Laura; Zucchi, Mariano Nicolás
- Año de publicación
- 2022
- Idioma
- inglés
- Tipo de recurso
- artículo
- Estado
- versión publicada
- Descripción
- 4.48 Psychosis is British playwright Sarah Kane's final play. Its opening took place at the Royal Court Theatre Upstairs in London in June 2000, only a few months after Kane's suicide. The initial reception of the play was surrounded by controversy in the United Kingdom, with some reviewers and critics interpreting the theatrical text as primarily autobiographical. Informed by a socio-discursive perspective, which specifically looks at the construction of ethos, this paper aims at contributing to the study of subjectivity in translated drama. Focusing on Rafael Spregelburd's Argentinean Spanish translation of 4.48 Psychosis, published by Losada in 2006, we explore the shaping of subjectivity in the translated dramatic text highlighting the way in which the persona of the translator builds within and beyond the translated text. While Spregelburd's translation uses dramatic strategies and techniques that successfully foster the image or ethos of a rupturist playwright, it still stresses the autobiographical character often attributed to the text. This is particularly evident in the female gender construction of the main voice in the play, which is ambiguous in the source text. Assessed within the framework of Spregelburd's whole production, our analysis also explores the construction of the translator's persona and positioning in the target dramatic text and system.
Fil: Spoturno, María Laura. Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación. Instituto de Investigaciones en Humanidades y Ciencias Sociales (UNLP-CONICET); Argentina.
Fil: Zucchi, Mariano Nicolás. Universidad Nacional de las Artes; Argentina. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina. - Fuente
- Cadernos de Traduçao, 42(1), e90303. (2022)
ISSN 1414-526X - Materia
-
Literatura
Sarah kane
4.48 pychosis/ 4.48 psicosis
Translator's ethos
Translated drama
Rafael spregelburd - Nivel de accesibilidad
- acceso abierto
- Condiciones de uso
- https://creativecommons.org/licenses/by/2.5/ar/
- Repositorio
- Institución
- Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación
- OAI Identificador
- oai:memoria.fahce.unlp.edu.ar:snrd:Jpr17882
Ver los metadatos del registro completo
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Anger, Faith and Bewildered Fragments of Self: The Shaping of Ethos in an Argentinean Translation of Sarah Kane's 4.48 PsychosisSpoturno, María LauraZucchi, Mariano NicolásLiteraturaSarah kane4.48 pychosis/ 4.48 psicosisTranslator's ethosTranslated dramaRafael spregelburd4.48 Psychosis is British playwright Sarah Kane's final play. Its opening took place at the Royal Court Theatre Upstairs in London in June 2000, only a few months after Kane's suicide. The initial reception of the play was surrounded by controversy in the United Kingdom, with some reviewers and critics interpreting the theatrical text as primarily autobiographical. Informed by a socio-discursive perspective, which specifically looks at the construction of ethos, this paper aims at contributing to the study of subjectivity in translated drama. Focusing on Rafael Spregelburd's Argentinean Spanish translation of 4.48 Psychosis, published by Losada in 2006, we explore the shaping of subjectivity in the translated dramatic text highlighting the way in which the persona of the translator builds within and beyond the translated text. While Spregelburd's translation uses dramatic strategies and techniques that successfully foster the image or ethos of a rupturist playwright, it still stresses the autobiographical character often attributed to the text. This is particularly evident in the female gender construction of the main voice in the play, which is ambiguous in the source text. Assessed within the framework of Spregelburd's whole production, our analysis also explores the construction of the translator's persona and positioning in the target dramatic text and system.Fil: Spoturno, María Laura. Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación. Instituto de Investigaciones en Humanidades y Ciencias Sociales (UNLP-CONICET); Argentina.Fil: Zucchi, Mariano Nicolás. Universidad Nacional de las Artes; Argentina. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina.2022info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionhttp://purl.org/coar/resource_type/c_6501info:ar-repo/semantics/articuloapplication/pdfhttps://www.memoria.fahce.unlp.edu.ar/art_revistas/pr.17882/pr.17882.pdfCadernos de Traduçao, 42(1), e90303. (2022)ISSN 1414-526Xreponame:Memoria Académica (UNLP-FAHCE)instname:Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educacióninstacron:UNLPenginfo:eu-repo/semantics/altIdentifier/hdl/11336/210254info:eu-repo/semantics/altIdentifier/doi/10.5007/2175-7968.2022.e90303info:eu-repo/semantics/openAccesshttps://creativecommons.org/licenses/by/2.5/ar/2025-09-03T12:07:10Zoai:memoria.fahce.unlp.edu.ar:snrd:Jpr17882Institucionalhttps://www.memoria.fahce.unlp.edu.ar/Universidad públicahttps://www.fahce.unlp.edu.ar/https://www.memoria.fahce.unlp.edu.ar/oaiserver.cgimemoria@fahce.unlp.edu.arArgentinaNo correspondeNo correspondeNo correspondeopendoar:13412025-09-03 12:07:11.252Memoria Académica (UNLP-FAHCE) - Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educaciónfalse |
dc.title.none.fl_str_mv |
Anger, Faith and Bewildered Fragments of Self: The Shaping of Ethos in an Argentinean Translation of Sarah Kane's 4.48 Psychosis |
title |
Anger, Faith and Bewildered Fragments of Self: The Shaping of Ethos in an Argentinean Translation of Sarah Kane's 4.48 Psychosis |
spellingShingle |
Anger, Faith and Bewildered Fragments of Self: The Shaping of Ethos in an Argentinean Translation of Sarah Kane's 4.48 Psychosis Spoturno, María Laura Literatura Sarah kane 4.48 pychosis/ 4.48 psicosis Translator's ethos Translated drama Rafael spregelburd |
title_short |
Anger, Faith and Bewildered Fragments of Self: The Shaping of Ethos in an Argentinean Translation of Sarah Kane's 4.48 Psychosis |
title_full |
Anger, Faith and Bewildered Fragments of Self: The Shaping of Ethos in an Argentinean Translation of Sarah Kane's 4.48 Psychosis |
title_fullStr |
Anger, Faith and Bewildered Fragments of Self: The Shaping of Ethos in an Argentinean Translation of Sarah Kane's 4.48 Psychosis |
title_full_unstemmed |
Anger, Faith and Bewildered Fragments of Self: The Shaping of Ethos in an Argentinean Translation of Sarah Kane's 4.48 Psychosis |
title_sort |
Anger, Faith and Bewildered Fragments of Self: The Shaping of Ethos in an Argentinean Translation of Sarah Kane's 4.48 Psychosis |
dc.creator.none.fl_str_mv |
Spoturno, María Laura Zucchi, Mariano Nicolás |
author |
Spoturno, María Laura |
author_facet |
Spoturno, María Laura Zucchi, Mariano Nicolás |
author_role |
author |
author2 |
Zucchi, Mariano Nicolás |
author2_role |
author |
dc.subject.none.fl_str_mv |
Literatura Sarah kane 4.48 pychosis/ 4.48 psicosis Translator's ethos Translated drama Rafael spregelburd |
topic |
Literatura Sarah kane 4.48 pychosis/ 4.48 psicosis Translator's ethos Translated drama Rafael spregelburd |
dc.description.none.fl_txt_mv |
4.48 Psychosis is British playwright Sarah Kane's final play. Its opening took place at the Royal Court Theatre Upstairs in London in June 2000, only a few months after Kane's suicide. The initial reception of the play was surrounded by controversy in the United Kingdom, with some reviewers and critics interpreting the theatrical text as primarily autobiographical. Informed by a socio-discursive perspective, which specifically looks at the construction of ethos, this paper aims at contributing to the study of subjectivity in translated drama. Focusing on Rafael Spregelburd's Argentinean Spanish translation of 4.48 Psychosis, published by Losada in 2006, we explore the shaping of subjectivity in the translated dramatic text highlighting the way in which the persona of the translator builds within and beyond the translated text. While Spregelburd's translation uses dramatic strategies and techniques that successfully foster the image or ethos of a rupturist playwright, it still stresses the autobiographical character often attributed to the text. This is particularly evident in the female gender construction of the main voice in the play, which is ambiguous in the source text. Assessed within the framework of Spregelburd's whole production, our analysis also explores the construction of the translator's persona and positioning in the target dramatic text and system. Fil: Spoturno, María Laura. Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación. Instituto de Investigaciones en Humanidades y Ciencias Sociales (UNLP-CONICET); Argentina. Fil: Zucchi, Mariano Nicolás. Universidad Nacional de las Artes; Argentina. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina. |
description |
4.48 Psychosis is British playwright Sarah Kane's final play. Its opening took place at the Royal Court Theatre Upstairs in London in June 2000, only a few months after Kane's suicide. The initial reception of the play was surrounded by controversy in the United Kingdom, with some reviewers and critics interpreting the theatrical text as primarily autobiographical. Informed by a socio-discursive perspective, which specifically looks at the construction of ethos, this paper aims at contributing to the study of subjectivity in translated drama. Focusing on Rafael Spregelburd's Argentinean Spanish translation of 4.48 Psychosis, published by Losada in 2006, we explore the shaping of subjectivity in the translated dramatic text highlighting the way in which the persona of the translator builds within and beyond the translated text. While Spregelburd's translation uses dramatic strategies and techniques that successfully foster the image or ethos of a rupturist playwright, it still stresses the autobiographical character often attributed to the text. This is particularly evident in the female gender construction of the main voice in the play, which is ambiguous in the source text. Assessed within the framework of Spregelburd's whole production, our analysis also explores the construction of the translator's persona and positioning in the target dramatic text and system. |
publishDate |
2022 |
dc.date.none.fl_str_mv |
2022 |
dc.type.none.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion http://purl.org/coar/resource_type/c_6501 info:ar-repo/semantics/articulo |
format |
article |
status_str |
publishedVersion |
dc.identifier.none.fl_str_mv |
https://www.memoria.fahce.unlp.edu.ar/art_revistas/pr.17882/pr.17882.pdf |
url |
https://www.memoria.fahce.unlp.edu.ar/art_revistas/pr.17882/pr.17882.pdf |
dc.language.none.fl_str_mv |
eng |
language |
eng |
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info:eu-repo/semantics/altIdentifier/hdl/11336/210254 info:eu-repo/semantics/altIdentifier/doi/10.5007/2175-7968.2022.e90303 |
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info:eu-repo/semantics/openAccess https://creativecommons.org/licenses/by/2.5/ar/ |
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openAccess |
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application/pdf |
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Memoria Académica (UNLP-FAHCE) - Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación |
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