Una madre…: a Judeo-Spanish Song and Its Resonances

2021 ◽  
Vol 23 ◽  
pp. 25-50
Author(s):  
Eleazar Gutwirth ◽  
Keyword(s):  
Spanish Song

scholarly journals “Quizás, quizás, quizás”. Translators’ dilemmas and solutions when translating spanish songs into english

2013 ◽  
pp. 139-151
Author(s):  
Jean Stephenson
Keyword(s):  
Popular Music ◽  
Spanish Literature ◽  
Original Work ◽  
Spanish Version ◽  
Main Topic ◽  
South American ◽  
General Sense ◽  
American Popular Music ◽  
Spanish Song ◽  
And Shifts

Rendering songs into another language poses numerous difficulties for translators. Songs may be considered as poems set to music, and in translating them, these professionals confront not only routine translation problems such as expressing the meaning, ambience and style of the original work, but they also have to attend to other requisites such as creating a new version of the song within the restrictions of rhythm and rhyme. In this article, I examine songs from Spanish literature and from Spanish and South American popular music, and explore translators’ ways of converting the original texts into English. We shall see that sometimes they have captured meaning by translating virtually word for word, while on other occasions translated songs manage to encapsulate only the general sense and atmosphere of the original Spanish song. In some cases, sounds from the original have acted as a catalyst for the topic of a new song, while in others the song’s main topic has been discarded altogether. As a result of these perhaps inevitable adjustments and shifts in topic and atmosphere there will nearly always be some kind of ‘loss’ in the translation of songs, but on rare occasions their rendition into English almost seems to ‘improve’ on the Spanish version. I will outline Low’s (Low, 2005) “Pentathlon Principle” which offers five criteria for assessing song translation, and examine specific translations from this persective. Song examined are María Josefa’s song “Ovejita, niño mío” from Federico García Lorca’s “La Casa de Barnada Alba”, Luis Aguilé’s “Cuando salí de Cuba”, Agustín Lara’s “Granada”, and Osvaldo Farrés’s “Quizás, quizás, quizás.”

Spanish Song of the Renaissance 1440-1600

1962 ◽  
Vol 103 (1431) ◽  
pp. 329
Author(s):  
Los Angeles ◽  
Ars Musicae ◽  
Lamana
Keyword(s):  
Spanish Song

The Spanish song companion

1993 ◽  
Vol 31 (03) ◽  
pp. 31-1435-31-1435
Keyword(s):  
Spanish Song

scholarly journals Women Watering Basil Plants: New Insights into a Spanish Moroccan Folktale

2019 ◽  
Vol 9 ◽  
pp. 143-158
Author(s):  
Adriano Duque
Keyword(s):  
Social Constraints ◽  
Folk Tale ◽  
Folk Traditions ◽  
Role Of Women ◽  
Las Mujeres ◽  
Spanish Song

This paper examines the Spanish song «Princesita que riega la albahaca» and compares it with other Moroccan versions of the folk tale. Although loosely based on the encounter between King Solomon and Queen Sheba, the story incorporates a series of elements from different folk traditions, while insisting on the motif of the husband-seeking maiden. Drawing on the motifs of the garden or the mother, the essay examines how the protagonist of the story uses the metaphor of the Basil plant to articulate relations of exogamy and to question social assumptions regarding the role of women and their social constraints.   El presente artículo examina la canción en español "Princesita que riega la albahaca" y la contrasta con otras versiones marroquíes del cuento. Aun basándose relativamente en el encuentro entre el rey Salomón y la reina de Saba, la historia incorpora una serie de elementos de diferentes tradiciones populares al tiempo que insiste en el motivo de la doncella que busca marido.A partir de los motivos del jardín o de la madre, el ensayo examina cómo el protagonista de la historia utiliza la metáfora de la planta de albahaca para articular relaciones de exogamia y para cuestionar los presupuestos sobre el papel de las mujeres y sus limitaciones en sociedad.

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