Towards an intersemiotic conception of Violeta Parra's artistic translation
DOI:
https://doi.org/10.35588/ayr.v2i1.4459Keywords:
translation, poetics, intersemiotic translation, Violeta Parra, Roman JakobsonAbstract
Violeta Parra's interdisciplinary work has had less scholarly attention than it deserves, being one of the first Chilean artists to paint her songs as shown in her painting Casamiento de negros. In fact, much of her artistic activity, of translating a text, shows a broad and surprising relationship with the regular practice of [linguistic] translation; from the act of ‘translating’ the ‘spoken text’ as G. Soublette calls Cantos Folklóricos Chilenos, to the practice of translating songs and texts into French during her European performances and exhibitions. This article aims to approach and analyse this interdisciplinary practice of Violeta Parra (VP) following some literary and linguistic studies, from the Aristotelian notion of poetics, a brief reference is made to Neruda's poetical translation whose influence could have had resonance in VP's work. Using the concept of ‘intersemiotic translation’, the main criticism of Umberto Eco in relation to the distinction between translator and interpreter is discussed to finally posit the concept of poetic transposition to understand and demonstrate this practice widely developed by the Chilean artist.
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References
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