Teatro: Conferencia sobre la lluvia a partir del texto de Juan Villoro. con Roberto David Garcia Dirección Laura Iachetta Música original Manu. Conferencia sobre la obra Conferencia sobre la lluvia de Juan Villoro. Medios Audio Visuales. Loading. Bases Concurso Nacional de Proyectos de Arte Para La Transformacion Social. Bases Punto de Encuentro. Watanabe CONVOCATORIA FAE


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That's not what I wrote? Well, most of them are dead.

Sixty-Three Original Languages

It would be conferencias sobre la lluvia to deal with a living author. And I don't know what their reaction would be because I mainly translate from German into Spanish. It's very difficult to find a German author who speaks Spanish so well, so it would be hard for them to realize what I'm doing with their work, aside from them being dead.

Nonetheless, I think one of the most generous aspects of translations is the introduction into one's own language and into one's own cultural repertoire a voice that doesn't belong there but that is inevitably enriching.

That is conferencias sobre la lluvia of the most interesting things about translation.

Consider, for example, that we can, every twenty, thirty, or forty years, have a new version of Hamlet. We can renew our Hamlet. That's impossible for the English speaker because, of course, they always have the original.


Alternately, the English speaker can renew Cervantes, and that's of course impossble for us. This possibility to enhance the richness of a language through a conferencias sobre la lluvia voice is one of the main assets of translation.

That's why I keep on translating. It is also a wonderful exercise for writers, like shadowboxing: Sometimes you have this strange feeling.

"Conferencia sobre la lluvia". Un monólogo de Juan Villorio

You're looking at all the decisions the author took, and you're trying to follow every single decision. It's like going inside another's mind. It's fascinating that you work as a translator, especially given that, at least in the United States, only three percent of conferencias sobre la lluvia books published are translations; translation does not receive the recognition it deserves.

And this is despite conferencias sobre la lluvia promises of globalization- that we would communicate more frequently, and more effortlessly, between countries.

"Conferencia sobre la lluvia". Un monólogo de Juan Villorio

What conferencias sobre la lluvia been your experience as a Mexican writer trying to communicate to a different audience, in the U. We have a different reaction towards languages; I think it has to do with our knowledge that before the Spaniards came to the so-called "New World" there were many languages being spoken.

In Mexico today, we have some sixty-three original languages.

We are aware of a multitude of langauges living there right now- and all these languages preceded the Spanish. On the other hand, because we belong to the so-called "Third World", we have always had the sensation of being outcasts of progress conferencias sobre la lluvia live on the shore of culture, who are far away forom the real cultural decisions in the world.

Many Mexican writers and academics tend to learn languages in order to build bridges to other cultures. So it is only natural for us to think that our language is conferencias sobre la lluvia one of many different possibilities of speech.

Sixty-Three Original Languages - Gulf Coast: A Journal of Literature and Fine Arts

This is different than, for example, in Spain. When Conferencias sobre la lluvia speak with Spanish colleagues they tend to have a stronger authority toward their language because they know they are the founding fathers of the language.


If they speak in a particular way, that's the way we should speak. The use of the language is a sign of authority for them.

Conferencia sobre la lluvia JUAN VILLORO | diana martinez -

In Mexico, we have a weaker relationship toward the language because we know that Spanish is only one of many Mexican languages, and so we also have a conferencias sobre la lluvia tentative and experimental relationship toward speech.

I think this is better for literature becase if you are too certain in your use of language it becomes more difficult to find original ways of escaping from common speech.

I think it's better to have this weak sensation of the language. In several of your works, you talk about two forms of happiness.