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Freelance translator and/or interpreter, Verified site user
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English to Spanish: Caché: Or what the past hides / Caché: o lo que el pasado oculta General field: Social Sciences Detailed field: Social Science, Sociology, Ethics, etc.
Source text - English What might it mean to speak of the 'hidden'? If Michael Haneke's provocative and much commented upon film Caché/Hidden (2005) invites speculation on this theme, much of the film's criticism has responded by naming, locating, identifying the 'hidden' to which Caché is understood to refer. But can the 'hidden' be named? Can it be found? Can it be located? And if so, in what sense? These are questions that, if we descend from the abstract to the more concrete, can be seen to bear forcefully on those debates about history, memory and representation that have been inflecting humanities research for some time. Particularly in the field of trauma theory, the quest to find traces of lost and hidden past experiences—lost and hidden, on this account, because too terrible to be directly recalled—has animated much recent research. In film, literary and media studies, as well as in branches of history, sociology and elsewhere, research has been transformed into acts of bearing (secondary) witness to testimonies that only the dialogics of reading or spectating can begin to interpret (Felman and Laub 1992; Caruth 1992; Caruth 1995). This critical turn has radically altered understandings of what texts and criticism can and ought to do. At stake in these interpretative projects is a model of temporality in which past traumatic experiences are considered to belatedly make their presence felt, an epistemology that holds that past experiences of trauma can, if only with difficulty and to a degree, pass from the unknowable to the knowable, from the inchoate to the specifiable, and from the hidden to the light, and an ethics that deems it a critical duty to bear witness to the sufferings of the past. But, as I've already begun to ask, does 'the hidden' bear belated witness to the traumatic past? Can it be located, named, interpreted? And is the quest to bear witness and to speak of the hidden, understood in these terms, either fulfillable by, or a duty of criticism?
Translation - Spanish ¿Qué puede significar hablar de “lo escondido”? Si la comentada y provocativa película de Michael Haneke, Caché/Hidden (2005) invita a la especulación sobre esta temática, gran parte de la crítica ha respondido nombrando, localizando e identificando “lo escondido” a lo que Caché refiere. Pero, ¿puede “lo escondido” ser nombrado? ¿Puede ser encontrado? ¿Puede ser localizado? Y si así es, ¿con que sentido? Estas son preguntas que, si descendemos de lo abstracto a lo concreto, deben forzosamente relacionarse con debates sobre la historia, la memoria y la representación que han modulado la investigación humanística por algún tiempo. Particularmente en el campo de la “teoría del trauma” , la intención de buscar rastros de lo perdido y lo escondido en experiencias pasadas – perdido y escondido, bajo estos términos, porque son demasiado terribles para ser nombrados directamente – ha animado mucha de la investigación actual. En el cine, la literatura y los estudios de comunicación, así como también en diversas ramas de la historia, sociología y otras áreas; la investigación se ha transformado en actos de orientar (secundariamente) testigos a testimonios que solo las dialógicas de la lectura o la expectación pueden empezar a interpretar. (Felman y Laub, 1992; Caruth 1992; Caruth 1995). Este cambio crítico alteró radicalmente la comprensión de lo que los textos y la crítica pueden y deben hacer. En estos proyectos interpretativos están en juego un modelo de temporalidad en el cual las experiencias traumáticas pasadas se presentan tardíamente, una epistemología que sostiene que las experiencias pasadas del trauma pueden – con dificultad y hasta cierto punto – pasar de lo desconocido a lo conocido, de lo incipiente a lo especifico y de lo escondido a la luz; y una ética que considera un deber crítico ser testigo de los sufrimientos del pasado. Pero, como ya había comenzado a cuestionar, “lo escondido”, ¿conlleva un tardío testimonio de un pasado traumático? ¿Puede ser localizado, nombrado, interpretado? Y la búsqueda de atestiguar y de hablar de lo escondido, entendido en estos términos, ¿puede ser realizada por la crítica o es su deber?
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Translation education
Master's degree - Portsmouth University
Experience
Years of experience: 14. Registered at ProZ.com: Jan 2013.
I am a literature professional with a Licentiate in Literature & Linguistics from Argentina. My true love for literature, editing and languages has taken me to further develop with an MA in Translation from the University of Portsmouth (UK). I am highly organised, adaptable and an extremely resourceful person, with a precise eye for details and excellent social skills.
I am an excellent communicator, with vast experience in liaising both internally with other departments or organisations and externally with publishers, customers, freelancers and members of a community. I am hard-working and lively, I have a passion for different cultures that has taken me to travel the world and study different languages – English, French and Portuguese besides my native Spanish – to be able to read their literature and learn from them.
My experience in the freelance world includes the transcreation of taglines, translation and proofreading of academic papers, subtitling, transcription and proofreading of HBO series such as 'True Detective' and 'Ballers', and translation of scripts for several Turkish soap operas such as 'What's Fatmagul's fault?', 'Sila', 'Black money and Love', 'Broken Pieces' and many more.
My aim is always to improve performance in every possible level.
Expertise 