Traduction, le «Folk Process », et les chansons socialement engagées des années 1960
DOI :
https://doi.org/10.17533/udea.mut.14958Mots-clés :
traducción de canciones, adaptación de canciones, autenticidadRésumé
Edward Larkey décrit un « lien global- local» des flux dynamiques et des espaces perméables (2003, 149) pour que les langues, les cultures, les communautés et les identités soient forgées. Cette étude examinera des traductions de chansons en tant que produits internationaux qui souvent effacent leurs propres origines comme traductions. Le champ d'investigation s'étend à des versions enregistrées de chansons traduites et adaptées performance-à- performance, mais aussi à celles qui sont chantées à des manifestations, des grèves et autres rassemblements politiques, plutôt que ceux qui sont performance-à-pages (notes de pochette ou feuilles des paroles). Mayoral, Kelly, et Gallardo (1988, 356, QTD. Dans Pezza Cintrão, 2009) décrivent des systèmes de signification non linguistiques comme ceux qui potentiellement créent les conditions qui limitent la traduction, si les paroles des chansons politiques ont trouvé canaux de liberté lorsque l'on trouve de la nouvelle musique ou que celle-ci a été écrite pour paroles (par exemple Långbacka) ou lorsque de vieux airs sont placés au service de nouvelles significations lyriques par moyen de traduction/adaptation. Les chansons politiques considérés ici traitent sur des relations de travail, sur le pacifisme, les droits civils, le sexe et les politiques linguistiques à la manière locale et/ou globale. Finalement, on identifie six procédés de transfer que typifient ces adaptations.
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