Comparative analysis between translator and writer cognitive processes during a short story transfer stage.

Abstract

Not few people will notice various literary transgressions of literary conventions in Cortazar’s short stories. To give specific examples: In “62 a model kit” the Argentine characters switch from one familiar form to another whenever it suits the dialogue; a Londoner who is only starting to study French begins to speak it with amazing fluency (and even worse, in a Spanish version) as soon as he crosses the Channel; Geography, the order of subway stations, freedom, psychology, dolls and time cease having a typical conception. For those who might possibly be startled, I may point out that in the territory where “All fires the fire” takes place the transgressions cease to be such; the prefix is placed alongside the various others that spin about the root gressio: aggression, regression and progression. All these are also connatural to the intention of several other stories and thus giving leads to a fixed narrative structure. Hence, The framework referred to is a nature- sensitive on the writing level, where recurrences and displacements try to be free of all casual fixedness but specially on the level of meaning, where the opening for combinatory art is more insistent and imperative. Notwithstanding the intellectual and arbitrary somersault remorselessly pursued by Cortazar, there is logic beyond perception or I rather put it forth as cognitive perception from Cortazar as a writer so as the perception from translators as mean of rendered production.