英文摘要 |
The novel El club Dumas by Arturo Pérez-Reverte has two Chinese translations in Taiwan. They are two publications edited by different publishers and in collaboration with different translators. The first one, published in 2001, has 21 translator’s notes, while the second one, a ''retranslation'' of the work, published in 2009, has a much greater number of notes that reach 175. This Spanish narrative is characterized by its abundant intertextuality and also by the presence of many historical, artistic and literary references and allusions, which constitute “un entramado de cultura, de conocimiento y de pensamiento que podría llegar a impedir una lectura fluida por parte del gran público” (Gómez 124). Based on this statement of the cited author, we have formulated the hypothesis: due to the enormous cultural distance between the Spanish and Chinese languages, it would be necessary to include notes to help Taiwanese readers perceive those intertextual elements and cultural allusions so that readers of the receiving culture can enjoy a fluent reading of the work. For this reason, on the one hand our work aims to carry out a paratextual study based on the etiology and typology of the translator's notes proposed by Marrero (2001) in order to know the functions that this paratextual element is endowed with and the need of its existence. But on the other hand, on the concept of “retranslation”, proposed by Venuti (2012), our work also aims to account for the difference in relation to the number of translator's notes in the two translations mentioned above and also the values that can bring the retranslation. |