Also, as with any story following multiple characters disseminated far and wide, there are some whose fate you're more interested in than others, though it is always heart-warming to see their paths crossed, as they all start the story as complete strangers, and as the story progresses slowly become a real family.
Now, as to the eponymous element which attracted me to this book to begin with, all the aspects of the Wandering Jew mythos feature here in parts, though really he and his equally benighted sister are background characters at best, and at worst a hack writer's all-powerful best friends: the perfect vehicle for extracting Sue from any corner in which he may have written himself. They have a vested interest in the fate of the heirs, and so, in spite of being damned to never stay in one place for any length of time, do their best to help them fight back against Rodin and his schemes.
Nevertheless, they do add a slightly mournful, magical tinge to the story. I've always appreciated a touch of the eldritch and a sprinkling of otherness in my literature, even if it only has a glancing connection to the main kernel of the plot.
El judío errante by Eugène Sue
Perhaps that may be what attracts me to Gothic Literature to begin with. That, and the fantastic, loquacious writing. Just reading a few chapters makes you feel like you've necked down an eloquence potion by sheer osmosis. If you can get past the plot-stretching devices and the b-lit tropes of the serial form which even Dickens fell prey to, a compulsively readable, and for some reason utterly neglected classic of Gothic Literature awaits you. This, along with another lengthy Sue serial novel, The Mysteries of Paris, used to be amongst the most popular books of its day.
Song of Aragorn
Like with so many works of its time, every single page is dripping with meaningful asides and cast-off sentences which seem to be more substantial than some entire novels written since. It can be frustrating at times, but unless you're a bitter old meanie like Rodin, you'll enjoy yourself in that edifying way only 18th and 19th Century literature can provide.
May 03, Mar Pisa rated it really liked it. Me ha dejado muchos sentimientos, pero sobretodo de rabia e impotencia por todas las desgracias que sufren los siete mienbros de la familia Rennepont a causa de los jesuitas, especialmente de uno muy cruel. Some of the most beautiful English written here by a French national. Written by a man with an extraordinary breadth of experience for his time, an epic romantic fantasy, and a stark portrayal of the commoner struggling for independence from the morass of religious and governmental autocracy.
Written in the dawning of French revolution, and full of interesting historical anthropological tidbits. Such an interesting read; full of intrigue. Highly recommended. I read this first in English, and later in French. It was one of the most popular novels in French of the 19th century, and the story is rewarding if you stick with it. As a rather violently anti-Catholic work, it was proscribed by the church, something that apparently made it even more popular.
The Jew in question is one who struck Jesus while on his way to crucifixion, then said "get going". Jesus then replied, "I am going, but do you remain until I return. His opposite number is Salome, likewise condemned for the beheading of John the Baptist. She circles the globe east to west, the opposite direction from the Jew. As the novel opens, they meet at the Bering Strait. In reality, neither of them figure as major characters. Rather than plot concentrates on the efforts of a group of Catholic priests and their adherents to get hold of an enormous treasure that the Jew has amassed during his wanderings and which is guarded by an elderly Jewish caretaker.
Finallement le juif errant presente un theorie de complot tout a fait meprisable. La compagnie survivait uniquement dans l'empire Russe qui refusait d'appliquer le bref apostolique abolissant la Compagnie des Jesuites. Diana Petrova rated it really liked it Apr 01, Marzie Shojaee mehr rated it it was amazing May 24, Antonia Yordanova rated it it was amazing Aug 20, Aurora Morgan rated it really liked it Jul 09, Anna Grace rated it really liked it Aug 22, Laetitia Van rated it really liked it Jan 10, John rated it it was amazing Jan 14, Kafkasfriend rated it liked it Dec 13, If words are different , search our dictionary to understand why and pick the right word.
If phrases are different , try searching our examples to help pick the right phrase. Log in Sign up. Log in. Currently unavailable. Use the three translators to create the most accurate translation. Learn how. Translation Tips. We've combined the most accurate English to Spanish translations, dictionary, verb conjugations, and Spanish to English translators into one very powerful search box. A third book, as yet untitled, is on the way. Meanwhile, writings by Chandra had, as of , been translated into eleven languages 2.
Love and Longing in Bombay, the text under discussion, is a more realist work than its predecessor, and is best viewed not as a novel proper but as a collection of interlinked short stories which, taken together, form a coherent whole. The five stories are linked by two characters: Shiv Subramaniam, who tells the stories, and Ranjit Sharma, who relays them to the reader. The imputed language — i. It is the job of the frame-narrator Ranjit, acting as stand-in for the author, to transmit the stories to the reader, again in English.
Before entering on a detailed discussion of the translation, it is necessary to situate the two texts — original and translation — as, respectively, an instance of Indian Writing in English and a product for a Spanish-speaking readership. The second aspect, that of the recipient culture or cultures, will be looked at first. It is worth stressing the vital need for a translation of quality, on the Hispanophone market as on any other. The challenge is thus considerable, and should be borne in mind for the comments that follow. The present translation is published in Madrid and intended for a market located in the first place in Spain.
Appearing under the imprint of a major Spanish publisher, it is also exportable to up to eighteen Latin American republics plus, potentially, the Hispanic communities in the US including Puerto Rico , as well as expatriate Hispanophone communities in Europe and elsewhere. The Spanish deployed by the translators is the Spanish of Spain, but is of course fully comprehensible to Latin American and US Hispanic readers within the context of international standard Spanish.
This linguistic pluralism or particularism affects the translation market in Spain, especially in Catalonia, where the Spanish version of a foreign-language book often has to compete with the Catalan version, and it is not uncommon for both language versions to appear simultaneously. Where no Catalan translation exists of a book, Catalans who read the Spanish version could be considered as second- rather than first-language readers.
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Indigenous languages such as Quechua in Peru also, as in Spain, constitute some readers of a Spanish translation as second-language readers. What needs, though, to be stressed is that the cultural context which defines the readership of an Indian English-medium novel translated into Spanish is no less complex and discontinuous than that which produced the original: translation is never a neutral or transparent act.
Love and Longing in Bombay is here translated into Spanish from English, but the English-language status of the original is scarcely unproblematic. This formulation is famous enough, but it should be noted that Macaulay was not promoting English against Hindustani, Bengali and other vernacular languages, but, rather, against the more classical claims of Sanskrit, Persian and Arabic. The results are patent today: half a century and more after the departure of the British, India uses English not less but more than it did under the Raj — albeit voluntarily, and no longer precisely the same English.
At the same time, those who use English alongside Hindi, Urdu and the many regional languages remain a quantitatively large but proportionately small minority of the population. The high incidence of bilingualism and trilingualism in India is a factor that needs stressing.
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Meanwhile, English, the former colonial language, has over time been appropriated and adapted to specifically Indian ends of nationwide diffusion and communication, with a free admixture of terms from autochthonous languages. Its mastery has become, for better or worse, a badge of educatedness. At the same time, Indian English continues, vindicating Macaulay, to draw, to an often surprising extent, on a whole stock of British idioms not always current in the UK , and ends up as, all in all, a brand of second-language-speaker English that frequently seems, in its resourcefulness and raciness, quite as fully developed and internationally acceptable as any native-speaker variety.
The language used tends to be a variant of International Standard English with a marked tendency to hybridity, combining native Indianisms with eminently British, Raj-inherited idioms and, today, a rising number of Americanisms. It is the language of our intellectual make-up — like Sanskrit or Persian was before — but not of our emotional make-up.
We are all instinctively bilingual, many of us in our own language and in English. We cannot write like the English. We should not. Indian English continues to occupy an ambivalent space, placed somewhere between the native and the alien. The paradox, of course, is that, despite everything, Chandra in fact has said those things in English, and this applies too to Love and Longing in Bombay. The problems and challenges raised by the translation of such a text are multiple.
In view of the considerable amount of work published or to be published by Dora Sales in this field, the theoretical remarks that follow will be to a large extent sourced from her writings, which offer a particularly clear synthesis of key contemporary arguments in the field and may in many respects be seen as furnishing the conceptual articulation that underlies the present translation. It is today considered established that when one translates, it is not just between languages but between systems. By allowing for shifting boundaries between systems, this definition implicitly raises the question of the power-relations between systems: one system may, at a given moment in history, be stronger than another.
Traducir no es neutro. To translate is not a neutral act. The act of translation may, then, be viewed as a dialogue between systems. However, in the case of translating Indian Writing in English into Spanish, we are clearly not dealing with the simple interaction of two systems. An Indian text written in English is a reflection of an unequal power-relation between systems: a novel is produced for both the national and international market in view, inter alia, of its greater saleability and higher profile if written in English rather than an Indian language, thanks to the greater power and prestige of English.
A hybrid text of this nature may be usefully approached in terms not so much of multiculturalism as of transculturation. Some features are lost, and some others are gained, producing new forms even as older ones continue to exist. Transculturation is a hybrid process that is constantly reshaping and replenishing itself.