Spanish Writers Research Articles

Memory and Utopia: The Poetry of José Ángel Valente by Manus O'Dwyer

Reviewed by: Memory and Utopia: The Poetry of José Ángel Valente by Manus O'Dwyer Ricardo Fernández Romero Memory and Utopia: The Poetry of José Ángel Valente. By Manus O'Dwyer. Cambridge: Legenda. 2020. x+ 142 pp. £75. ISBN 978-1-781883-65-5. Discussions of José Ángel Valente (1929–2000), one of the most important and original Spanish writers in the Spanish and Galician languages of the second half of the twentieth century, typically bring to mind a specific image: a modern mystic, a difficult and hermetic 'poet of silence'. This excellent monograph sails against the tide to, as Manus O'Dwyer himself writes, 'desvalentizar' the subject, 'making clear the political and social significance of his poetry' (p. 110). The challenge is considerable, especially given the fact that O'Dwyer identifies an ethical underpinning to the 'poetics of silence' (the questioning of lyrical language, absence, solitude, etc.), which requires a political approach to Valente's signature poetics. Even the title of the monograph points in this direction in its reference to the memory and testimony of the disappeared and those lacking a voice. Valente's desire to recuperate silenced figures indicates an openness to alterity, a poetic quest for a language that gestures towards a utopian future of radical social and political reform. This new vision of the poet is constructed through concise and precise analysis that does not shy away from issues of great philosophical and aesthetic complexity. Highlights include the examination of a fundamental philosophical tradition present in Valente that O'Dwyer connects with a specific religious culture: 'a discourse and understanding of Jewishness that develops in the works of post-war French thinkers—Sartre, Levinas, Derrida, Blanchot' (p. 75). In them, Valente finds '[a notion of community] that resists the atomistic conception of the individual of liberal tradition' and 'a utopian hopefulness': 'radically new forms of social relation and organisation that could be described as secularised versions of Jewish messianism' (p. 75). It is from this same perspective that O'Dwyer situates the importance of Ernst Bloch's utopian thought for understanding the poet. Such observations are complemented towards the end of book through reference to Valente's dialogue with the poets Edmond Jabès and Paul Celan. Of all these thinkers and writers, the relevance of Levinas, Bloch, and Celan comes to the fore in the political approach to Valente's poetry. The result is convincing as long as we understand the political dimension in general terms as opposed to being restricted to specific ideological labels and labelling. On repeated occasions, O'Dwyer reduces the historical backdrop for Valente's poetry to broad brushstrokes: 'the suffocating atmosphere of fascism', 'the intellectual and political mediocrity of the Communist Party', '[Valente's] historical experiences as an exile from a country that had borne the brunt of decades of fascist violence and repression' (p. 112). While O'Dwyer announces at the outset that '[Valente's] poetry and poetics imply a specific political stance' (p. 9), the reader, or at least this reader, is left at the end with the sensation that it is not so much specific as implicit. This, is however, a minor quibble to level at a ground-breaking and informative book that will change the way readers and scholars appreciate this towering figure of Spanish and Galician verse. [End Page 147] Ricardo Fernández Romero University of St Andrews Copyright © 2023 Modern Humanities Research Association

КОМПОЗИЦІЯ Й РИТОРИЧНІ СТРАТЕГІЇ ІСПАНСЬКОЇ АВТОРСЬКОЇ КОЛОНКИ: ¿RES NON VERBA?

This article examines the Spanish author's newspaper column in the key of the basic concepts of classical rhetoric as an interdisciplinary science, which at the present stage allows to combine the "linguistics of expressiveness" with the consideration of linguistic material in the light of the communicative-discursive paradigm. The author's column is an example of "journalism of opinions", where thematic diversity, stylistic originality, linguistic creativity is due to the figure of the journalist with his thoughts, ideas, positions and the ultimate goal, which determines the nature of the selection of rhetorical strategies, arguments, compositional organization in order to influence the reader's perception and create a discourse of persuasion. This time the illustrative material was short columns by Manuel Vicente, a famous contemporary Spanish writer and long-time journalist of "El País". It is revealed that in the production of an analytical text there is an interpenetration of intention, arguments inventio, the order of presentation of materials dispositio with the help of appropriate discursive-expressive means elocutio. Just as it is impossible to distinguish these three rhetorical operations as purely sequential in a linear creative process, so res and verba are not absolutely separate concepts, they can be variably combined, since discourse is built according to the coordinates of integration into a heterogeneous network of texts, where the planes of res and verba are often woven into one, common linguistic fabric. This is the nature of publications demanded by the modern demanding reader, who is no longer a "passive recipient" of information. The journalist has to appeal to his mind, emotions, feelings, memory in order to "surprise" him, which means that elocutio goes beyond the simple "decoration" of speech, and returns us to the words, the process of their logical, contextual selection, combination, merging in the context to create in its compositional integrity the strength, effectiveness and persuasiveness of the article.

КІНЕМАТОГРАФІЧНА ТРАНСПОЗИЦІЯ КОДУ СЕРВАНТЕСА У ФІЛЬМІ "ДОН КІХОТ" ОРСОНА ВЕЛЛСА

The article is dedicated to the problem of transposition of the Cervantes’s Code in the cinematographic adaptation of the novel Don Quixote by Orson Welles (1957-1992). The study focuses on identifying and revealing the aesthetic and ideological kinship of the film adaptation of the American director with the work of the Spanish writer, as well as on the analysis of methods and mechanisms of actualization of the main thematic, problematic, structural and narrative aspects of the novel of Cervantes at various levels of the Welles’s cinematic poetics. Welles retains the "intellectual" skepticism of Cervantes, but demostrates a greater affinity with the romantic tradition of reading this text, which at his time dominated the cinematic and scientific-critical discourse. The actualization of the anachronism of Don Quixote as one of the key thematic codes of Cervantes's novel is carried out by transferring the action of the novel to the Francoist Spain. The structure of the film reproduces the plot mostly on the basis of the first volume. Working in the "manner of Cervantes", the author of the cinematic adaptation uses a wide range of ludic, metatextual and metanarrative techniques that reveal the "auto-reflexivity" of his text. In addition, Welles' adaptation of Don Quixote transposes the linguistic and stylistic codes of the Spanish author's novel by using the cinematic montage techniques, oblique angle shots, and stylized mise-en-scène (in-depth). Those features, in turn, demonstrate the inherent kinship with the baroque style of the second volume. Welles stresses the ambivalence inherent in Cervantes's text: he criticizes modernity, but uses its achievements (especially the cinema) to implement his own utopian cultural program of the new knight of cinema. Welles's film chosen as the object of our study essentially and aesthetically remains "faithful" to the original and at the same time contributes to a deeper understanding of the Cervantes’s code in the modern media space and culture in particular. The film reveals the ability of Cervantes's code to adapt to modern communication technologies and changes in life (cinema, advertising, tourism) that not only present Don Quixote and Sancho Panza as anachronisms, but also ensure their immortality, proving the validity of Welles's idea who states that they are heroes for all ages.

ITALIJA U PUTOPISU „ORIJENT“ VISENTEA BLASKA IBANjESA

The paper analyzes the image of Italy in the travel texts Orient by Vicente Blasco Ibáñez, published after the journey of this Spanish writer from France to Istanbul in 1907. Although Blasco Ibáñez did not pass through Italy during this trip, there are references to Italian culturein many texts, since the author had already stayed in Italy in 1896, when he published a travelogue In the Land of Art, dedicated to this country. Using the principles of imagology, the current paper analyzes how Italy becomes a cultural reference and the basis for comparing the peoples and places the travel writer visited in 1907. The image of the other is interpreted as a construct, a con- vention, as a subjective product of Blasco Ibáñez, taking into account the entire cultural mate- rial that was used for writing, that is, what the author of the image knew and experienced. In addition to its informative character, we note the reality embodied in the travelogue as a poetic projection of subjectivity. Although the typical comparison in travelogues is between us and the other, it is evident that Blasco Ibáñez does not put the Spanish in the relationship with the Other, instead there are mutual comparisons of other peoples. We conclude that Italian referencesfunc- tion as mediating elements in depicting other nations. Many places gain their identity precisely by contrasting or alluding to reference places in Italian culture.

La imagen estereotipada de Hungría transmitida por Vicente Blasco Ibáñez

The stereotypical image of Hungary transmitted by Vicente Blasco Ibáñez. This study focuses on stereotyped images and topics relating to Hungary and the Hungarians, as presented by the Spanish writer Vicente Blasco Ibáñez in his travel book Oriente (The Orient), written in 1907 en route to the Ottoman Empire. Two chapters from part one of the book are about a stage in his journey that was a boat trip along the Danube, starting in Vienna and finishing in Budapest. This section of the book deals with the Hungarian Kingdom within the Austro-Hungarian Empire. In these chapters the author displays a rudimentary knowledge of Hungarian history, and interprets the political and social reality of the country in a simplistic, topical, distorted way. The author describes the landscape and the historic monuments, as well as making a political analysis of the ambitions of Hungarians within the Empire. He compensates for his his lack of knowledge by offering his readers stereotyped images of what, in his time, would be seen as typically Hungarian. Nevertheless, he succeeds in foretelling the collapse of the Austro-Hungarian Empire, and suggests this would happen as a consequence of an armed conflict, even though he cannot imagine how near in time it actually was, or the circumstances surrounding it.

The Membranes of Comprehension in Javier Marias’s Novels

The theme of understanding in a sense of comprehension is well illustrated in literature by Javier Marias – a Spanish writer born in 1951, son of the Spanish philosopher Julian Marias Aguilera (1914-2005), who lived a great deal of time abroad (America) and who also studied and taught in England. The paper is focused, from an inter- and multi-disciplinary approach of

Features of Literary Translation into Russian of the Story of Bernardo Atxaga “Memories of a Basque Cow”

: The article considers the translation and linguo-stylistic features of the story of the Spanish writer Bernardo Atxaga “Memories of a Basque Cow”, carried out by the author of the article. This story has been translated from Spanish into Russian for the first time. The difficulties of its translation into Russian are analyzed, and the elements of the Spanish and Basque texts of the story are compared. The research material was the work of B. Atxaga “Memorias de una vaca”, written in 1991 in Basque (entitled “Behi euskaldun baten memoriak”), and then translated into Spanish by Aránzazu Sabán. In 2020, according to the newspaper “The Guardian”, the story was included in the list of the best books of the year.

Geoffrey W. Ribbans (1927–2022)

This memoir evaluates the career of Geoffrey Ribbans, Gilmour Professor of Spanish and Editor of the Bulletin of Hispanic Studies at Liverpool University until 1978. He then moved to Brown University where he was William R. Kenan Jr Professor of Hispanic Studies until retiring in 1999. His monographs, editions and articles focused mainly on Pérez Galdós, Antonio Machado and Unamuno—arguably the three greatest Spanish writers of modern times. One of Hispanism's most profound literary critics, Geoffrey Ribbans' pioneering contributions to learning were justifiably recognized internationally: they will go on influencing researches into late nineteenth- and early twentieth-century Spanish literature and society for many decades to come.

Don Quixote: From Castilian Spanish to Mandarin and back again

In its four centuries of existence, Spanish writer Miguel de Cervantes’ Don Quixote has become one of the most read, translated and analyzed books in the world. With its experimental form and literary playfulness, it has been hailed as foundational in modern literature. It invites readers to follow Spanish gentleman Don Quixote who, fed by his own delusional fantasies, turns knight errant. In the company of his faithful squire, Sancho Panza, he embarks on picaresque adventures in seventeenth-century Spain, leaving behind them a legacy of humor, romance and sadness.

부끄러움과 자기검열의 극복: 후안 호세 미야스의 경우

Anyone has a feeling of shame. In effect this is a kind of fear of "how others think about myself". It is inevitable because we all make relationships with each other every day. If you become an author and start publishing, you can get into that fear. If the content is taboo or something private, the shame will increase more. In front of that fear, the authors separate the daily life and the life like writer using a pseudonym or even an anonymous one. And they also use the technique called ''found manuscript'' saying that its author is not himself but someone else. The Spanish writer Juan José Millás also says that he got that fear when he published his first novel, which was very autobiographical. But our author, paradoxically, with a feeling of escape published it and overcame it. Also in the novel Volver a casa we could find what is the secret. It is that José, who is the leading writer, says that when he writes a novel, he becomes a hated person, in this case, his twin brother Juan. Thus he overcame shame and could deal with a darker and forbidden subject. There we could deduce, although it is indirect, the most concrete way to overcome the shame of our author Juan José Millás.

El “Retrato de Su Majestad por Martínez Montañés, esculpido en barro” de Bocángel

This article analizes Gabriel Bocángel y Unzueta’s sonnet “Retrato de Su Majestad por Martínez Montañés, esculpido en barro” in light of the interplays between poetry and painting in Golden Age Spain. The sonnet’s relation to both Velázquez’s Portrait of Juan Martínez Montañés and the poetry of Juan de Jáuregui as well as to Spanish seventeenth-century theoretical writings on visual arts is discussed. Bocángel uses the trope of the competition between the arts in order to theorize how poetry, conceptualized as breath, addresses the challenges of portraying Philip IV.

Weary Old Dogs: Ageing Masculinities in Arturo Pérez-Reverte’s Los perros duros no bailan

Arturo Pérez-Reverte’s short novel Los perros duros no bailan (2018) is the first of the prolific Spanish writer’s attempts at animal fable and allegory. This postmodern and highly intertextual novel explores the nature of masculinity and ageing in a hostile world of violence and conflict. The aim of this article is to analyse the role of the motif of the dog, and the way in which the author deploys it as mechanism through which to communicate issues around gender, age, history and Spanish identity.

Beaumont and Fletcher Rewrite Cervantes: Love’s Pilgrimage, a Farcical Representation of Spain and a Subversion of Jacobean Patriarchy

Abstract Co-authored by the English dramatists Beaumont and Fletcher, Love’s Pilgrimage (c. 1615–1616) is a stage adaptation of Las dos doncellas (The Novel of the Two Maidens) (1613), an exemplary novel penned by the renowned Spanish writer Miguel de Cervantes. Produced at a time when Anglo-Spanish relations were marked by an ambivalent state of religiopolitical hostility and cultural fascination, the play offers a bitterly farcical representation of the perceived ethos and social norms of the source culture. At the same time, it engages with the target culture’s political and ideological matrix, offering – oblique – commentary on the authors’ own society. This article provides a comparative study of both works, to assess both the playwrights’ representation of Spain and their stance on certain political and ideological contingencies that shaped Jacobean England.

Velázquez, ingenioso: Intertextuality and Biographical Artifice in Early Modern Spanish Artistic Writing

Focusing on the figure of Diego Velázquez, this article examines the significance of the notion of ingenio in early modern Spanish writings about painting. First, it considers its relevance to discussions about natural talent, including the links with treatises like Examen de ingenios. Second, it shows how the adoption of ingenio as a motif in two biographies of the young Velázquez contributed to the crafting of a contrived narrative on the artist, privileging his giftedness and independence. Third, it considers other articulations of this rhetoric of ingenio in relation to Velázquez’s art, particularly regarding matters of practice and skill.

Роман испанского писателя Р. Валье-Инклана «Тиран Бандерас» в свете интерсекционального анализа

Spanish writer R. del Valle Inclán wrote the novel Tirano Banderas (1926), when Spain was developing a new policy towards the Latin America after the definite loss of its overseas colonies in 1898. Valle Inclán advocated the restoration of indigenous peoples’ rights, political and economic sovereignty of the Latin American countries. The intersectional analysis clarifies the writer’s anticolonial concept. On the basis of racial identity, the novel’s characters form two groups: Spaniards and foreigners, and Indians and Creoles. Indians are an oppressed race, while the Spaniards and foreigners are oppressors. But General Santos Banderas, who tyrannizes his country, is an Indian too. Additional light is shed due to the analysis of gender and social role and its symbolic dimensions. The female characters in the novel forced to ask men for help but their demands are justified if they act in the interests of their children. Paternity also has the connotations of care and protection, and symbolically, care for the nation. The tyrant Banderas, who kills his insane daughter, fails both as father and as an Indian ruler since he appropriates the oppressor’s role imported from the metropolis.

The Melancholy Void: Lyric and Masculinity in the Age of Góngora by Felipe Valencia

Reviewed by: The Melancholy Void: Lyric and Masculinity in the Age of Góngora by Felipe Valencia Andrés Olmedo Orejuela Felipe Valencia, The Melancholy Void: Lyric and Masculinity in the Age of Góngora ( Lincoln: University of Nebraska Press, 2021), 335 pp. Lope de Vega (1562–1635), dramatic innovator, prolific poet, author of multiple epics, began a great controversy toward the end of his phenomenally productive career. Criticizing the style of poetry popularized by Luis de Góngora's Soledades (1613–17), Lope ridiculed it in one of the most extended and extraordinary contemplations on poetry in the early modern period. Lope had seen the writing on the wall: soon enough Góngora's imitators were legion, and in his final dramatic work, La Dorotea (1632), Lope himself imitates "the new poetry" in such poems as "A mis soledades voy" and "¡Pobre barquilla mía…!" Contrary to this longstanding crisis in the historiography of Spanish literature, Felipe Valencia's erudite and provocative The Melancholy Void: Lyric and Masculinity in the Age of Góngora tells another story that places Góngora not at the height of stylistic or poetic achievement, but at the crux of a quarrelsome literary competition between prestigious epic and lyric poetry, for which "melancholy is central" (19). Two main observations emerge: first, that the success of epic poetry swayed Spanish writers of lyric in the second half of the sixteenth and early seventeenth centuries, including Alonso de Ercilla, Fernando de Herrera, Miguel de Cervantes, Juan de Arguijo, and Góngora; and second, that theories of melancholy define lyric poetry as masculine by representing erotic love as an illness that exalts the violent and creative capacities of melancholic men who fail to consummate their erotic longings. Valencia's monograph is a first-rate contribution to the study of early modern lyric poetry, especially as it developed in Spain. This study builds upon important works in the field—Leah Middlebrook's Imperial Lyric: New Poetry and New Subjects in Early Modern Spain (2009) and Isabel Torres's Love Poetry in the Spanish Golden Age: Eros, Eris and Empire (2013)—through a novel emphasis on the relationship between epic and lyric, and an examination of the influence of melancholy. Valencia deploys a range of critical approaches, grounding close readings in philology, elucidating cultural developments in medicine, and explicating theories of lyric with clear references to critical theory and historical treatises. The theoretical arguments can be difficult, but specialists and non-specialists alike will discover in this monograph deft discussions of melancholy across historical periods, the development of ancient and modern theories of lyric, and the reception of the classics during the Renaissance. The Melancholy Void consists of an introduction and five chapters. Each chapter is divided into sections that separate its historical, ideological, and theoretical components. The introduction establishes the connection between the arrival of Italianate poetic forms in Spain and accusations of lyric effeminacy. Representations of "the suffering of a beautiful woman"—such as Daphne in Garcilaso de la Vega's sonnet "A Dafne ya los brazos le crecían" (1533) or Dido in his imperial sonnet "Boscán, las armas y el furor de Marte" (1535)—respond to accusations of lyric effeminacy by displaying the creative and violent power of the melancholic and masculine poetic speaker, shifting the focus of the poem [End Page 282] from the experience of the suffering woman to that of the suffering male. Valencia contends that silenced feminine voices, the perspectives of mythical heroes such as Apollo and Orpheus, and the "spoilation of symbolic practices traditionally associated with women and femininity" are masculinist practices through which male artistic prowess is shown (40), transforming women's suffering into great art and tending "to derive aesthetic pleasure from spectacles of female suffering" (14). The masculine speakers of the poems appear as frustrated melancholic lovers. Valencia traces their connection to the gendered theories of melancholy that attribute creativity and violence to frustrated male lovers in works by Marsilio Ficino (1433–99), Alonso de Santa Cruz (d. 1576), Juan Huarte de San Juan (1529–88), and others. Valencia charts the development of this "melancholy and masculinist poetics" (53). Alonso de Ercilla's epic, La Araucana...

Мотив взгляда в рассказе Х. Мариаса «Разбитый бинокль»

The article analyzes the functioning of the gaze motif in the story of the modern Spanish writer Javier Marias «Broken Binoculars» (1998). The narrative organization and the concept of the hero-narrator, who takes the position of an anonymous observer, is commented. It is concluded that the main function of the plot-forming motive of the look in the story is to express the attitude of the characters towards themselves and the world. The joint use of one optical device (symbolizes a point of view) contributes to dialogue and the establishment of mutual understanding between the characters. The gaze motif is involved in the implementation of the main existential themes of H. Marias' work: loneliness, a sense of insecurity, fears of being misunderstood, unnoticed, losing one's individuality.

Spain as a Reference in Wine Culture

The culture of wine as a traditional drink in the countries of Southern Europe is determined by the geographical, ethnographic, and historical context, at the same time it is associated with national identification. In the case of Spain, wine plays the role of a friendly union, an element of active communication, is a sociocultural behavioral norm. Through the history of wine-making, the key stages of the country’s development can be traced: from ancient settlements to the European Union, variety of backgrounds, traditions and religions, etc. adding to the long history of wine on the territory of today’s Spain. The theme of wine is reflected in the works of famous Spanish philosophers, writers and artists as a stable tradition, a symbol of community, celebration, creativity, at the same time melancholy and sadness, as a typical Spanish dualism of attitude to life. It is noted that wine was not only viewed as a means of recreation, but also a powerful double-edged social factor, both pacifying and disorganizing. Taverns became people’s universities, and cafes with their tertulias became the center of intellectual life. Wine is an important economic component, the vineyard zones cover the whole country, with its main wine-making regions — from Rioja to Jerez — renowned around the world. Hundreds of varieties of wines are produced, which differ in denomination, aging, reputation, and popularity on the world market and with tourists. Spain has a leading position in this area. At present, bars, restaurants, and taverns, as public spaces suitable for big parties and family gatherings alike, have become not only a place of spending one’s pastime, but also a platform for political discussions, a place where certain political forces manipulate their influence, where polar views on the current and future agenda are in confrontation: the globalization of the society and cultural unification, or the preservation of unique customs and traditions. Wine culture is dynamic, it manifests itself in a new form in the younger generation, the latest gender andprogressivenorms appear, the simple, down-to-earth consumption characteristic of thebar culturedisplaces the spiritual component. The loss of traditions, including the wine culture, is dangerous for the society. It will have negative consequences for the country, will cause damage to its attractiveness for investors and tourists, and hurt the very image of their motherland the Spanish hold dear. Wine remains an important part of the national heritage, material, and spiritual culture of Spain.

La exposición de arte visual novelada por Enrique Vila-Matas

The Art Exhibition as a Novel by Enrique Vila-Matas. I set out to analyze, using the New Rhetoric methods, the book entitled Cabinet d`amateur, an oblique novel published by the contemporary Spanish writer Enrique Vila-Matas in 2019, at the same time as the opening of an exhibition whose curator he was in the Whitechapel Gallery in east London. Choosing the six visual art works, different in nature, concept, and aesthetics, from the collection of the “laCaixa” Foundation represents an occasion for the writer, led by curiosity, to investigate the works of art and to make a personal, purely subjective selection, on which he reflects in his heterogenic work as a genre: the catalogue of an exhibition, memoirs, essay (auto)biography, the skeleton of an oblique novel of the future. The selected works of art (I.G., the mysterious portrait of a woman by the painter Gerhard Richter; an installation, Petite, by Dominique Gonzalez-Foerster; a videoclip, La lección respiratoria, belonging to the artist Dora García; Milonga, Carlos Pazos’s self-portrait; a detailed scenery, Une poignée de terre, by Miquel Barceló and a photography of Theban by Andreas Gursky, in an overlap of an aerial view with one detailed figure) are included in the text as a starting point for meditations and reflections upon the nature of the art in general, because the metaphor of the literary work, the novel of the future, is precisely the building of Rem Koolhass, the library in Seattle, in which different styles overlap and whose shapes are imprecise, undetermined, incongruent, disharmonic and lacking in logic. Literature, visual arts, music, and architecture are associated, and different figures are used to point out the aesthetic of the negative and the idea that form and content are interchangeable. Keywords: Enrique Vila-Matas, Cabinet d´amateur, an oblique novel, general-rhetoric analysis, the exhibition as a novel, literary biography

An analytical translation study of social linguistic aspects in Dominiga's Arabic version

The aim of our current research is to analyze the socio – linguistic aspects such as (age, gender, place, time, race, proper names, food names, moral and educational values) in the translation of Dominiga's novel by the Spanish writer Gonthaloa Torrenta Payster (1999). The translator's way of conveying those values to readers of young ages and youth. In this analysis, we have relied on the classification of the humanities and English translation, Andrew Chesterman. This classification includes sixteen variables, and each of these variables has a default value that has been classified into 4 groups which are (balance variables, language variables, translator variables and finally structural frame variables for the translated text). We raise several questions, including:
 - What are the considerations that the translator should take into account when translating for children and youth?
 - What knowledge and sciences must a translator possess in order to convey the main idea of the original text to readers of young ages and youth?
 - Is it possible for anyone with sufficient linguistic knowledge to translate a work directed at children and youth, or does he need to be familiar with the psychological, mental and social aspects of this category of readers?
 Each society has its own customs, traditions, ideas and beliefs that distinguish it from other societies. Here , the translating must take into account these aspects when translating any literary work from one language to another , especially if this work is intended for children , adolescents and youth , due to the importance and danger of these age stages and their impact on the formation of the personality of the child and young person , and directing it towards the right direction and avoiding all stories and novels that carry ideas that contradict the concepts and beliefs of the society in which the young reader lives . Therefore, the researcher wants to present through this research information, observations, analysis and strategies that the translator used when translating these aspects, and whether he used the correct method in translation or not.