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Ashley D. There have been many editions of the novel in Latin America and in Spain. According to Zuluaga , p. On the cover no mention is made of Gregory Rabassa. At the bottom of the third page, in rather small letters, it reads: Translated from the Spanish by Gregory Rabassa.
On the fourth page there is the copyright information; and next to it, on the sixth page, a dedication: Then, on the next page is a family tree a paratext which does not appear in the original. The text of the novel finishes on page On pages there is a commentary a metatext on One Hundred Years of Solitude. The back cover is split into two columns. In all their loves, madness and wars, their alliances, compromises, dreams and deaths The characters rear up large and rippling with life against the green pressure of nature itself.
Translated by Gregory Rabassa. All paratexts and metatexts included in the translation seem to have a clear commercial purpose. They help to sell the book by convincing potential buyers of the literary quality of the book. In the English editions there is something which calls for particular attention: Translation and Its Dyscontents. A Memoir , where he writes about his long translation experience with works of the best known Latin American and Brazilian authors, he comments on the episode of the family tree:. Thus, there was an initial agreement between the initiator's translation instruction about including a family tree and the translator's view, even though later on Rabassa had second thoughts about it.
Interestingly enough, Rabassa tells us about the inclusion of this family tree in a Spanish edition: This could be a case of a phenomenon we could call back intertextuality. But a family tree is easier than it seems to be And, in another interview, this time with Elena Poniatowska, he clarified the fate of the family tree: What is clear here is that the English editors of the novel had a patronizing attitude towards the TL readership.
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By including the tree they would impose a certain reading of the novel which would 'make it easier' to comprehend who the different characters were, thereby avoiding the possibility of getting confused. I am using in this analysis the edition. His extraordinarily extensive and high-quality translation activity can be likened to that of Gregory Rabassa in the English speaking world. However, unlike Rabassa, unfortunately he has not written about his translation work.
This additional information which is not in the original is aimed at helping potential readers, not well-acquainted with Latin American literature, to identify the book's genre. On the third page there appears again the author's name and the book's title, followed by the word 'novel' Roman and by the translator's name: Aus dem Spanischen von Curt Meyer-Clason. On page 5 there is the dedication we also saw on the original and on English edition: On page 7 the text of the novel begins.
The novel finishes on page On the back cover it reads that One Hundred Years of Solitude has sold over million copies worldwide and belongs to the great novels of the 20th century. Just like in the English translation, there is an extremely laudatory commentary by Jochen Hieber from Frankfurter Allgemeine Zeitung: It was the first translation of the novel into a foreign language. I am using the edition in this analysis. On the third page the names of the author and the novel are included. Just like in the German translation, in the French translation the word 'novel' has been added above the name of the translators with an additional remark on the Spanish from Colombia: Traduit de l'espagnol Colombie par Claude et Carmen Durand.
However, unlike in the German translation, the word 'novel' does not appear on the cover, but on the back cover of the French translation. The text of the novel begins on page 9 and finishes on page On pages there is a list of books which appeared in the Collection Points. On the back cover, as said above, the word 'novel' has been included, followed by the names of the author and the novel and information that the text was translated by Claude and Carmen Durand.
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There are three footnotes included in the text. The first one, at the end of chapter 6, refers to the last name of captain Roque Carnicero 'butcher': As the captain's last name ' Carnicero ' was not translated and its meaning is not transparent in French, an explanatory footnote was added carnicero: Rabassa solved this problem by adding an explanation directly in the English text:. Free download.
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