Abstract
In recent years, there has been a renewed interest for French female poets as it has been proved by the translations workflow in Spain. The aim of this study is to define the Belle Époque translations as well as the main channels of reception emphasizing on Anna de Noailles’ translations. Some of the work of this wellknown poet was translated by famous Spanish authors such as Fortún, Marquina or Maristany. Nowadays, two poetry books have been published: Las pasiones y las tumbas, translated by Mireia Alonso Ribeiro (2011 [2020]), and El honor de sufrir, by Julio Pollino Tamayo (2018). By means of a diachronic study of Noailles’ translations, we will analyse the reception of her poetry throughout a study of some of her poems from a translation studies point of view
Highlights
En los últimos años se ha producido un renovado interés por las poetas en lengua francesa de la Belle Époque como muestra el flujo de traducciones en España con la llegada del siglo XXI
a renewed interest for French female poets as it has been proved by the translations
well as the main channels of reception emphasizing on Anna
Summary
En los últimos años se ha producido un renovado interés por las poetas en lengua francesa de la Belle Époque como muestra el flujo de traducciones en España con la llegada del siglo XXI. Una de las traductoras más dedicadas a esta labor, Aurora Luque (2006: 22), reclama haber «traducido solamente a poetas que necesitaba [...]. Izquierdo (2010: 128) asegura que la condesa de Noailles es un ejemplo ideal de musa romántica en perfecta alineación para ser reconocida en la esfera literaria como femme de lettres, pues su poesía satisfacía a la élite masculina de su tiempo con la que mantuvo excelentes relaciones literarias y personales, y, además, conjugaba una belleza exótica tan alabada por figuras como Colette en su dicurso de recepción en la Académie de Belgique.
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