@article{Petričić2015,
  author    = {Petričić, Mihaila},
  title     = {Traduciring Comedy. An Analysis of Two English Translations of Enrique Gaspar y Rimbau's El anacron{\´o}pete},
  series = {promptus - W{\"u}rzburger Beitr{\"a}ge zur Romanistik},
  volume    = {1},
  journal   = {promptus - W{\"u}rzburger Beitr{\"a}ge zur Romanistik},
  issn      = {2510-2613},
  url       = {http://nbn-resolving.de/urn:nbn:de:bvb:20-opus-139483},
  pages     = {145-160},
  year      = {2015},
  abstract  = {In Enrique Gaspar y Rimbau's 1887 science fiction novel El anacron{\´o}pete, comedy presents itself in a variety of guises. One of the central comic elements of the book is the playful way in which the lower class characters, namely the maid Juana and the soldier Pendencia, engage with language. This article will compare Gaspar's El anacron{\´o}pete with two of its official translations, Leyla Rouhi's The Anacron{\´o}pete and Yolanda Molina-Gavil{\´a}n and Andrea Bell's The Time Ship: A Chrononautical Journey, in order to ascertain to what extent the Spanish author's comic touch is preserved in the English translations of Juana's and Pendencia's speech. The maid's and the soldier's use of double meaning, the mondegreen, and code-switching will be the specific focus of our analysis. We will see that, as Salman Rushdie claims, although «[i]t is normally supposed that something always gets lost in translation […] something can also be gained» (1991: 17).},
  language  = {en}
}