In Won in Translation Roger Chartier, one of the world's leading
historians of books, publishing, and reading, considers the
mobility of the early modern text and the plurality of circulating
versions of the same work. The agent for both is translation, for
through their lexical, aesthetic, and cultural decisions,
translators always assign new meaning or new status to what they
translate. Won in Translation proceeds by way of four case studies,
three dedicated to works originally in Spanish, the fourth to a
Portuguese dramatic adaptation of Don Quixote. Bartolome de Las
Casas' Brevisima relacion de la destruccion de las Indias, first
printed in 1552, was a powerful instrument for the construction of
what was later called the "black legend" of Spanish monarchy.
Baltasar Gracian's Oraculo Manual, published in 1647, became the
most famous courtier's manual in Europe. Both traveled more widely
and were translated more often than any other books of their era.
For Chartier they illustrate the great power of translation, which
allowed Las Casas' account to be placed in multiple and successive
contexts and enabled Gracian's book to take on a range of meanings
it had not originally had. Chartier's next two chapters are devoted
to plays, one by Lope de Vega, the other by Antonio Jose da Silva.
In the case of Lope's Fuente Ovejuna, the "translation" was one
from historical chronicle to dramatic performance. In Antonio Jose
da Silva's Vida do Grande D. Quixote, the textual migration is
twofold, as Cervantes' hero moves from Spanish to Portuguese and
from novel to play. In an Epilogue, Chartier moves three centuries
forward to consider the paradox that it is the absolute immobility
of the text, "reinvented" word for word, that creates its mobility
in Jorge Luis Borges' fiction "Pierre Menard, Author of the
Quixote." Works are transformed through changes of genre or
language, to be sure; but even when the texts remain fixed, their
readers give them different or inverted meaning.
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