This article focuses on the Spanish poet Pablo García Baena’s first Italian anthology, Rumore occulto, published by Passigli Editori in 2018. It demonstrates how audio recordings can inform translation process especially when dealing with poetry. By collecting and examining specific recordings where García Baena reads aloud some of his poems, the study shows in what way this author uses prosodic tools as caesura and enjambment to modify the versification of his poems. In these specific recordings, the translator can listen to how the author’s voice rearranges the printed poem and uses these variations to reproduce specific metrics and rhythm in the target language too. This type of recordings also helps with semantics; in fact, interpreting the poem following the author’s vocal action on the original text can be beneficial to make a better lexical choice.

Escuchando a Pablo García Baena. Notas sobre la traducción de Rumore occulto

Mistrorigo, Alessandro
2020

Abstract

This article focuses on the Spanish poet Pablo García Baena’s first Italian anthology, Rumore occulto, published by Passigli Editori in 2018. It demonstrates how audio recordings can inform translation process especially when dealing with poetry. By collecting and examining specific recordings where García Baena reads aloud some of his poems, the study shows in what way this author uses prosodic tools as caesura and enjambment to modify the versification of his poems. In these specific recordings, the translator can listen to how the author’s voice rearranges the printed poem and uses these variations to reproduce specific metrics and rhythm in the target language too. This type of recordings also helps with semantics; in fact, interpreting the poem following the author’s vocal action on the original text can be beneficial to make a better lexical choice.
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/10278/3732617
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