The West and East German authors and translators Hans Magnus Enzensberger and Erich Arendt both extensively contributed to the reception of foreign literatures after 1945 by translating Latin American poets. This article explores the asymmetrically intertwined literary conditions of the two authortranslator figures with regard to the poetics and politics of translating Pablo Neruda. In this context, the terms intertextuality and transculturality provide a promising methodological and theoretical framework with which to reveal the dialogic potential of translation, that is, the ways in which engaging with a foreign text on the one hand opens up a perspective on the author/translator's own poetology, and on the other hand on the literary discourse of post-war Germany. The article argues that Neruda translations by Enzensberger contain traces of the recontextualizing language of a postmodern condition, whereas Arendt's language evokes the notion of time-transcending totality. This gives rise to the image of a divided Neruda whose textual manifestation, as formed in the act of translation, transgressed existing styles, genres, and discourses. [ABSTRACT FROM AUTHOR]
Bulletin of Latin American Research. Jan2010, Vol. 29 Issue 1, p1-17. 17p.
TRANSLATIONS, MODERN literature -- Translations, PERIODICALS, POETRY (Literary form), COLD War, 1945-1991, LITERARY adaptations, and CHILEAN speeches, addresses, etc.
The article draws in relief how translators carry with them cultural and ideological horizons that necessarily imbue their literary production with distinctly situated historical, political, and personal dimensions. It does so first by examining how The New York Times's translation of Pablo Neruda's 1972 address to the PEN Club reframes (or distorts) his views on political and literary issues ranging from the negotiation of the Chilean national debt to his literary indebtedness to Walt Whitman, and then by examining how Neruda's 1955 translation of Whitman's ‘Salut Au Monde!’, refashions and relocates Whitman's work, imbuing it with a communist ethos consistent with Neruda's own. [ABSTRACT FROM AUTHOR]