Dialnet-LaVozDeLouiseLabeEnElContrapuntoDeSusTraducciones-4871645

8/18/2019 Dialnet-LaVozDeLouiseLabeEnElContrapuntoDeSusTraducciones-4871645

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les difcultés relatives à la compréhension et$Z*"D%.F.PD#D*+" (ZG" D%ND% (% 5SSS XG*0 D+GD %"PD#"D .%F.P&%"D#D*K (% $ZP/+$% F+PD*XG% (% >M+"0"Z%" %&D F#& E+*"& /#.#/DP.*&D*XG% (G /+G.#"D

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hace pertinentes, pero sin que necesariamente debamos conferirle los rasgos biográcos ―ylos que de ellos puedan deducirse― que se testimonian de la ciudadana lionesa Louise Labé.

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por orden cronológico y sin contar las que guran en antologías colectivas, las siguientes:

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de expresión y por un especíco repertorio de imágenes. Unos topos a los que precisamente

la obra de Labé dota de personalidad por ser la gura de la dama quien los reere, y a través(% B"+& F+%N#& JB% &% #(H*%.G%" F%.L%/G#N%"G% #"/$#(+& %" B"# (+D$% F%.&F%/G*H# G%NF+.#$V

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sino intensicar el dolor expresado por los versos, lo que le conere al poemario de Labé la

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náculo de poetas: ya procedan de la cción del proscenio, o de la realidad de las gradas, se esV

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entonces imperaba, ni del lugar ni época en el que vio la luz; contexto que le conere, por lo

tanto, parte de su sentido. Por consiguiente, a todas estas cuestiones, junto con las especícas

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griegos preere la traducción sensorial, es decir, no extrayendo el sentido de cada palabra,

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propósito de sus sonetos, y que les conere credibilidad emocional.


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términos lo hace. Parte del conicto se focaliza en la forma '2"13 !(')34 WO1 \Z0 AD%& #D"ED%

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poética lo reere mediante un 5/ WO1 ]Z A+. /D#"B+ &% B.#B# (% $# %"B*(#( # $# ED% &% (*.*,%0 $+

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17/21

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#//*R" (% fngir 0 N%.+ *,C#$J%"D% #&*,"#"(+ #$ $#_( $# /+JN%D%"/*# (% /#JE*#. (% D+"+0

$C%,+ (%&(+E$#"(+ $# Q+.J# !"%4-*-$ %" (+& G%.E+& N#.%L+&0 fngir F )*0(%*+ 0 F /+" (+&sujetos distintos. El sentido, además, también se modifca, pues lo que aquí se expresa es

BC% %$ &+"*(+ (%$%*D#E$% (%$ G1 U `BC% %$$# D.#(C/% /+J+ 07# !"#$%&') era en realidad fngido,

F BC% %$ $#_( $+ /#JE*# N#.# D+."#.$+0 &CN+"%J+&0 # &C "#DC.#$%H# +.*,*"#$J%"D% J%$#"/RM

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$+ BC%0 # "C%&D.+ N#.%/%.0 %&% goce fngido BC% N.+N+"% >CBC% %& %I/%&*G+X F "+ N+.BC% "+

pudiera pensarse que en verdad el sonido deleitable era fngido por parte de la voz lírica,

&*"+ N+.BC% %$ &CL%D+ BC% $$%G# # /#E+ #BC- $# #//*R" %& %$ $#_(0 F N+.BC% %$ G%.E+ 4'8*+


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"*(+ D.+D+&*/*+"#$ (% C" D+%F# "+ EC.# &C &%"E*(+0 %" O*.EC( (% BC% /*%.E+& %$%F%"E+& "+

lingüísticos ―como la rima― también lo conforman. La búsqueda de la equivalencia artístiQ

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autores ―que apelaban, por ejemplo, a la experiencia y a la imaginación del traductor, así

como a la importancia de su concepto de la vida (López García, 1996: 577)― se justicaría

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