By Elisa Martí-López
Borrowed Words addresses the obvious paradox that underpins the methods of cultural construction and intake in mid-nineteenth-century Europe: the truth that countries at diverse narrative levels turn into contiguous literary markets. It makes a speciality of translations and imitations of international literary versions and on their function in constructing the bases of the bourgeois Spanish novel. whereas critics have seen translations and imitations as alien to Spanish tactics of cultural formation, the publication argues that those writing practices represent either a discourse on nationwide id and an autochthonous writing. The publication contends that the popularity of translation and imitation within the literary lifetime of a rustic doesn't suggest denying the explicit stipulations created via political borders within the structure of a countrywide literature, that's, the lifestyles of nationwide borders framing literary stay. What it does is realize new and diversified frontiers that destabilize the nationwide confines (as good because the nationalistic values) of literary historical past. In translation and imitation, borders are skilled now not because the demarcation of otherness, yet fairly as crossroads within the quest of identification. Martí-López explores those matters utilizing a gaggle of books whose life is in detail associated with the large exportation of French cultural paradigms (in specific, versions of novel writing) to Spain: the Spanish translations and imitations of Eugène Sue's Les Mystères de Paris (1842-1843). The research of those works exhibit the increase of the radical in mid-nineteenth-century Spain because the results of either a poetics of aesthetic displacement and advertising practices - booklet construction and the reception of international models.
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Extra resources for Borrowed words: translation, imitation, and the making of the nineteenth-century novel in Spain
I felt like we had been around the globe and, leaving behind the savages of Polynesia, were returning to the civilized world. 8 2: the preoccupation with autochthony 47 By mid nineteenth century, not only had Spain been constructed by the French as an exotic country, but its literature functioned as a repository for the fantastic imagination of the Orient. -F. ” 10 In fact, so many French Romantic productions had Spain as their subject, or its literary works and historical deeds as inspiration, that Aben Humeya by Martínez de la Rosa—whose première was in Paris in 1830—seems to be only another work in this Spanish-inspired wave of French literature, rather than the ﬁrst Spanish Romantic play.
Although she did her writing in her spare time, as others did, she distinguished herself from her peers, ﬁrst of all, by her resistance to allowing her novels to circulate as commodities. Her writing was conﬁned to the private home, and her readership was originally intended to be that of her family and friends (ﬁnancial problems forced her to actively seek a publisher for her works later on in her life). Thus, Fernán Caballero’s writing was done not on the fringes of the market—as is the case of the authors of the misterios—but rather outside the constraints and possibilities dictated by publishing houses (and readers).
9 36 borrowed words To secure the rights of mere intentions did not seem, however, to solve the many problems faced by Spanish publishers. The absence of international agreements regulating book imports and exports, as well as the inadequate Spanish copyright legislation, facilitated illicit competition among publishers and a proliferation of nonauthorized translations. 10 In this context of legal indeﬁnition, the simultaneous publication of a French novel in Spain gave its publisher a precarious temporal advantage over his competitors, even though it could not, in any case, secure him exclusive rights.
Borrowed words: translation, imitation, and the making of the nineteenth-century novel in Spain by Elisa Martí-López