![]() ![]() We take on a cultural perspective within the field of translation studies and it may be inserted within the theoretical and descriptive branch, being product-process oriented. ![]() More specifically, it looks at the circumstances of the translation of the fictional narratives Célanire cou-coupé (2000) by the Guadeloupian Maryse Condé and As mulheres de Tijucopapo (1982) by the Brazilian Marilene Felinto, as well as the publications of the versions in English: Who slashed Celanire's Throat? (2004) and The Women of Tijucopapo (1994), respectively. This paper is focused on the critical enterprise involved in the translation of Black female authorship from Afro-Caribbean and Latin American contexts into the English language. Beyond the beliefs of Condé’s characters prevails the universal language of art. Condé’s pictorial references recover the images of an individual history rooted in the insularity of the Caribbean and in ancestral Africa. Condé valorises the cathartic nature of art, coupled with the joy of procreation experienced by some heroines in their acts of creativity. The pictorial image, born from the depths of the unconscious, exerts a redeeming role on the figure of the painter, confused by contradictory feelings in the construction of his identity. ![]() The protagonists of Condé’s novels, indomitable as the ocean, struggle in their identity journeys against the constraints of an imposed destiny. The myth of the island nourishes a highly feminized imaginary where the woman, foster mother or lover, is identified with the land and the sea. The writer has a painter’s view of the world in her apprehension of nature. Maryse Condé’s writing focuses on the history of slavery, female identity and memory, maintaining a fruitful dialogue with pictorial imagery. ![]()
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