Mitos cubanos en el taller narrativo de Alba de Céspedes

González, Iledys

doi:10.5565/rev/mitologias.610

Cited by 1 publication

(2 citation statements)

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“…He too, like Fidel Castro in the recent past, was left with few men.) (p. 59) Vertical comparisons that established a relation between the actions of Castro and her grandfather, although daring and, in calling attention to the role of wealthy elites in the revolutionary process, 27 decisively awkward, were nevertheless in line with Castro's rhetoric.…”

Section: Paris and Havana 1968: First Comparisonsmentioning

confidence: 99%

“…58 De Céspedes moved again against the grain and, instead of joining Calvino and Tutino in the protest, translated into Italian and French the statement that Haidée Santamaria, in her capacity of director of Casa de las Américas, had written in defence of the Revolution with the aim of obtaining international support for the Cuban government. 59 As the granddaughter of a revolutionary hero, De Céspedes was welcome in Cuba, but she was also a Cuban citizen who had chosen to live in a capitalist country, a choice that Castro sharply condemned. Moreover, the years spend in the United States during her husband's appointment at the Italian Embassy in Washington in the 1950s cast a shadow on her biography.…”

Section: Cuba October 1968: In/comparabilitymentioning

confidence: 99%

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Comparability and Translatability in the Making of Historical Narratives: Alba de Céspedes’ Comparative Method

Segnini

2023

Comparative Critical Studies

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This article examines the comparative method used by Italian writer Alba de Céspedes in relation to questions of translatability, and in connection to the role of censorship in the production of historical narratives. It draws on two case studies: an article written on the Cuban Revolution for the magazine Epoca in 1959, and a series of poems portraying the Parisian May 1968, and it examines the history of translation of these poems in the Italian and Cuban contexts. Two types of comparisons emerge from the analysis of these texts: ‘vertical comparisons’, that is, comparisons that establish a relation between events positioned at different historical times, and ‘horizontal comparisons’, which connect contemporary, geographically distant events. While horizontal comparisons are necessarily transnational, vertical comparison can involve comparanda based within or beyond the nation. In de Céspedes’ works, transnational comparisons issue a desire for translation, but at the same time prevent the translation from taking place, due, in part, to the contentious relationship between comparison and censorship evoked by the text in the target context. In fact, it is precisely the hyper-comparability of the poems themselves that limits their circulation in translation. In turn, untranslatability makes such texts significant for the comparatist precisely because it prompts a reflection on the socio-political factors that limit comparability.

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Section: Paris and Havana 1968: First Comparisonsmentioning

confidence: 99%

Section: Cuba October 1968: In/comparabilitymentioning

confidence: 99%