by Santiago Barcaza S., MFA Student, Creative Writing in Spanish
Without wanting to dwell too much on certain aspects proposed by academia, I am surprised that there are two currents of thought: one that regards self-translation as an unusual phenomenon, a marginal activity and another one that supports the opposite. I will not use this space to delve into one or the other. I agree with the outstanding researcher of translation studies Julio César Santoyo, when he says:
“Seen the seen, one can not help but wonder: can we continue talking about the self-translation as a phenomenon ‘rather weird’ or ´exceptional´? We are not faced with rare exceptions but before an immense corpus, increasingly of texts translated by their own creators. Far from being a ‘marginal case’, the author’s translation has a long history and is today one of the most frequent and important cultural, linguistic and literary phenomena in our global village, and certainly deserves much more attention from which has been borrowed so far“.
In fact, the first known self-translator is the jewish historian Flavius Josephus, who in 75 AD wrote in Aramaic, his mother tongue, the seven books of his first work, The War of the Jews, to later revise it and translate it to the Greek. From then until today, self-translation is a common practice. They form a group so broad and so diverse that it is impossible to list them all. However, as a sample, I quote a short selection: Fray Luis de León, Sor Juana Ines de la Cruz, Stéphane Mallarmé, Samuel Beckett, Joseph Brodsky, Vladimir Nabokov, José María Arguedas, Milan Kundera, et cetera. However, addressing the self-translation in one of these authors runs the risk of falling into exceptional particularities and the preparation of a rather monographic study. Nobody doubts the fact that these authors are interesting, but that some are paradigmatic, as to help understand or illuminate the act of self-translation – for example, of poets of indigenous origin in southern America- is perhaps another issue. So, I wonder what is really the self-translation? Why? And for what?
Gerardo Huaracha Huaracha museoyoq kan Yanque llaqtapi, Valle del Colcapi, Arequipa, Peru. Gerardoq taytan wasichakuran, ña huk pachaq iskay chunka watakunamantaña. Chay wasipi museo kaq ichaqa qayna Agosto killapi, 2016pi, hatun pachakuyuy chayta thunichiran. Kay podcastpi, grabasqa qayna Mayopi, Jony Hernan Prudencio, wayna Tuti llaqtamanta, tayta Gerardowan parlashan museonmanta.
Tayta Gerardo takes Jony on a tour through his museum in Yanque.
Gerardo Huaracha Huaracha tiene un Museo en el Valle del Colca en Arequipa, Peru. El padre de Gerardo construyó la casa él mismo, hace más de ciento veinte años. En esta casa solía ser un museo pero el Agosto pasado, en el 2016, un terremoto la derrumbó. En este podcast, grabado en el mes de Mayo, Jony Hernan Prudencio, un joven del pueblo de Tuti, habla con el tayta Gerardo sobre el museo.
Gerardo Huaracha Huaracha has a Museum in the Town of Yanque, in the Colca Valley in Arequipa, Peru. Gerardo’s father built the house himself, more than a hundred and twenty years ago. This house used to be a Museum but last August, in 2016, an earthquake knocked it over. In this podcast, recorded in the month of May, Jony Hernan Prudencio, a young man from the town of Tuti, talks to tayta Gerardo about the museum.
Kay podcastpi, huk tayta paypa ususin ima runasimimanta rimashanku. Paykuna Perumanta kanku, ichaqa ña wakin watakunaña New Yorkpi tishanku. Tayta runasimita rimayta atin, ichaqa paypa ususin mana atinchu. Paykuna imaraykumanta rimashanku.
En este podcast, un padre y su hija hablan sobre su uso del idioma quechua. Son del Perú, pero ya desde hace unos años viven en Nueva York. El padre puede hablar en quechua, pero su hija no, y conversan sobre esta realidad que viven a diario.
In this podcast, a father and his daughter speak about Quechua language use in their family. They are from Peru, but have lived in New York for many years. The father can speak in Quechua, but the daughter cannot; together they reflect on this reality.
The Center for Latin American and Caribbean Studies (CLACS) at NYU would like to welcome back our students and faculty and wishes all our followers a happy Fall!
We kicked off the semester by enthusiastically welcoming our newest MA students at orientation. We are excited to have such a dynamic group begin a new academic year.
We would like to usher in the new semester with an amazing set of events at our center. Some of the events we have planned for the Fall include a talk with Peruvian activist Verónika Mendoza about the challenges of the Left in the new Latin American scenario; a POETEA showcase to celebrate Quechua & Kreyòl with a night of poetry and tea; a panel presentation of the book “Kalman Silvert: Engaging Latin America, Building Democracy,” to celebrate CLACS’s founding director and the center’s 50th anniversary; and and a presentation of the Chilean fantasy series “Trilogía del Malamor.”
Stay tuned for CLACS events this fall by joining the CLACS email list, liking CLACS at NYU on Facebook, and following us on Twitter at @clacs_nyu!
From June 17th to the 19th the Quechua/Kichwa film showcase May Sumak! (How Beautiful!) is going on the road to Washington, D.C. The showcase is a celebration of indigenous and community filmmaking in the Quechua languages spoken throughout the Andes and by immigrants in the United States. Created in 2015 by the CLACS student-led Runasimi Outreach Committee (ROC), May Sumak! will be part of the National Museum of the American Indian’s ongoing exhibition The Great Inka Road. The opening night will feature the film Killa and Q&A with its director Ecuadorian filmmaker Alberto Muenala. This conversation will be hosted by CLACS alum and former ROC member Charlie Uruchima. Click here for more details on the films, show times and venues.