Project 3A & B
3A
ES-EN
La Casa de los Espíritus was published in 1982. The work tells the story of the Trueba family over several generations in an unnamed Latin American country, reflecting the political and social history of Chile. Through memories, letters, and testimonies, the novel combines the intimate and the historical, showing how political events influence the private lives of the characters.
The author is Isabel Allende, an internationally renowned Chilean writer.
The novel belongs to the magical realism genre, a literary movement that blends fantastical elements with everyday reality.
The central theme is the relationship between memory, family, and history. The novel addresses love, power, political violence, social inequality, and the passage of time. Through several generations, it shows how personal and social conflicts intertwine, and how memory becomes a form of resistance.
(Párrafo 1, capitulo 2)
Doña Ester Trueba no acompañaba a sus hijos en la mesa. Pasaba las mañanas inmóvil en su silla mirando por la ventana el quehacer de la calle y viendo cómo el transcurso de los años iba deteriorando el barrio que en su juventud fue distinguido. Después del almuerzo la trasladaban a su cama, acomodándola para que pudiera estar medio sentada, única posición que le permitía la artritis, sin más compañía que las lecturas piadosas de sus libritos píos de vidas y milagros de los santos. Allí permanecía hasta el día siguiente, en que volvía a repetirse la misma rutina. Su única salida a la calle era para asistir a la misa del domingo en la iglesia de San Sebastián, a dos cuadras de la casa, donde la llevaban Férula y la empleada en su silla de ruedas.
(Paragraph 1, chapter 2)
Doña Ester Trueba did not join her children at the table. She spent her mornings motionless in her chair, gazing out the window at the activity on the street and watching as the passing years gradually wore down the neighborhood that had been distinguished in her youth. After lunch, she was taken to her bed and propped up so that she could remain half seated—the only position her arthritis allowed her—without any company other than the pious readings from her little devotional books about the lives and miracles of the saints. There she remained until the following day, when the same routine would begin again. Her only outing was to attend Sunday Mass at the Church of San Sebastián, two blocks from the house, where Férula and the maid would take her in her wheelchair.
Translation procedures:
Transposition
“el transcurso de los años iba deteriorando el barrio” → “the passing years gradually wore down the neighborhood”
The Spanish progressive structure (“iba deteriorando”) was rendered using a natural English construction (“gradually wore down”), adjusting the verb form for fluency.
Modulation (change of perspective or semantic angle)
“sin más compañía que…” → “without any company other than…”
The structure was slightly reformulated to sound natural in English while preserving meaning.
Adaptation (cultural adjustment)
“la misa del domingo” → “Sunday Mass”
Instead of a literal “the Mass of Sunday,” the culturally conventional English expression was used.
“a dos cuadras de la casa” → “two blocks from the house”
“Cuadras” was adapted to the equivalent urban unit used in English-speaking contexts.
(Párrafo 2, capitulo 3)
Nívea le prohibió que siguiera asustando a su hija. Se dio cuenta que el estado de turbación aumentaba sus poderes mentales y producía desorden entre los aparecidos que rondaban a la niña. Además, aquel desfile de personajes truculentos estaba destrozando el sistema nervioso a Barrabás; que nunca tuvo buen olfato y era incapaz de reconocer a la Nana debajo de sus disfraces. El perro comenzó a orinarse sentado, dejando a su alrededor un inmenso charco y con frecuencia le crujían los dientes. Pero la Nana aprovechaba cualquier descuido de la madre para persistir en sus intentos de curar la mudez con el mismo remedio con que se quita el hipo.
(Paragraph 2, chapter 3)
Nívea forbade her from continuing to frighten her daughter. She realized that Clara’s state of agitation heightened her mental powers and created disorder among the apparitions that hovered around the child. Moreover, that parade of grotesque figures was shattering Barrabás’s nervous system; he had never had a good sense of smell and was unable to recognize the Nana beneath her disguises. The dog began to urinate while sitting down, leaving an enormous puddle around him, and his teeth frequently chattered. But the Nana took advantage of any lapse in the mother’s vigilance to persist in her attempts to cure the girl’s muteness with the same remedy used to stop hiccups.
Translation procedures:
Modulation (change in perspective or expression)
“estado de turbación” → “state of agitation”
Instead of a literal “state of disturbance,” “agitation” conveys the emotional and psychological nuance more naturally in English.
“rondaban a la niña” → “hovered around the child”
“Hovered” adds a slightly supernatural nuance that fits the tone of the novel.
Lexical adaptation / stylistic equivalence
“personajes truculentos” → “grotesque figures”
“Truculentos” does not translate directly as “truculent” in natural English usage here; “grotesque” better conveys the disturbing, exaggerated quality.
Transposition (grammatical restructuring)
“dejando a su alrededor un inmenso charco” → “leaving an enormous puddle around him”
The participial phrase is maintained but slightly reorganized for fluency.
“con frecuencia le crujían los dientes” → “his teeth frequently chattered”
The indirect object structure in Spanish becomes a possessive construction in English.
3B
EN-ES
The Picture of Dorian Gray is the only novel written by Oscar Wilde, first published in 1890. The story follows Dorian Gray, a young man whose portrait ages and reflects the consequences of his immoral actions while he himself remains physically young and beautiful. As Dorian becomes increasingly influenced by Lord Henry Wotton’s hedonistic philosophy, he pursues pleasure without regard for morality, leading to corruption and tragedy.
Oscar Wilde (1854–1900) was an Irish writer, poet, and playwright, widely known for his wit, sharp social criticism, and aesthetic philosophy.
The novel is characterized by ornate, descriptive language and epigrammatic dialogue, especially in Lord Henry’s speeches. Wilde’s style is elegant, ironic, and philosophical
The central theme of the novel is the conflict between beauty and morality. It explores the dangers of vanity, the pursuit of pleasure without responsibility, and the duality between external appearance and inner corruption.
(Párrafo 1, capitulo 2)
For nearly ten minutes he stood there, motionless, with parted lips and eyes strangely bright. He was dimly conscious that entirely fresh influences were at work within him. Yet they seemed to him to have come really from himself. The few words that Basil's friend had said to him—words spoken by chance, no doubt, and with wilful paradox in them—had touched some secret chord that had never been touched before, but that he felt was now vibrating and throbbing to curious pulses.
(Paragraph 1, chapter 2)
Durante casi diez minutos permaneció allí, inmóvil, con los labios entreabiertos y los ojos extrañamente brillantes. Era apenas consciente de que influencias completamente nuevas obraban en su interior. Sin embargo, le parecía que en realidad provenían de sí mismo. Las pocas palabras que el amigo de Basil le había dicho—palabras pronunciadas sin duda por casualidad y con deliberada paradoja—habían tocado una cuerda secreta que nunca antes había sido alcanzada, pero que ahora sentía vibrar y palpitar con curiosos impulsos.
Translation procedures:
Modulation (change in grammatical category)
“He was dimly conscious” → “Era apenas consciente”
English uses a verb phrase, Spanish uses an adjective with era, adapting to Spanish syntax.
Modulation (grammar shift)
“They seemed to him to have come really from himself” → “le parecía que en realidad provenían de sí mismo”
Adjusted the perspective to a more natural Spanish phrasing, avoiding literal awkwardness.
Literal translation
“Touched some secret chord” → “tocado una cuerda secreta”
Preserved the metaphor but used a culturally recognizable Spanish expression that conveys the same figurative resonance
(Párrafo 2, capitulo 2)
Dorian Gray lifted his golden head from the pillow, and with pallid face and tear-stained eyes, looked at him as he walked over to the deal paintingtable that was set beneath the high curtained window. What was he doing there? His fingers were straying about among the litter of tin tubes and dry brushes, seeking for something. Yes, it was for the long palette-knife, with its thin blade of lithe steel. He had found it at last. He was going to rip up the canvas.
(Paragraph 2, chapter 2)
Dorian Gray levantó su dorada cabeza de la almohada y, con el rostro pálido y los ojos enrojecidos por las lágrimas, lo miró mientras él se acercaba a la mesa de madera colocada bajo la alta ventana con cortinas. ¿Qué estaba haciendo allí? Sus dedos se movían entre el desorden de tubos de estaño y pinceles secos, buscando algo. Sí, era el largo cuchillo de paleta, con su delgada hoja de acero flexible. Al fin lo había encontrado. Iba a desgarrar el lienzo.
Translation procedures:
Transposition – changed grammatical form:
“looked at him” → “lo miró” (verb phrase simplified in Spanish).
Modulation – shifted perspective for naturalness:
“tear-stained eyes” → “ojos enrojecidos por las lágrimas” (different but equivalent viewpoint).
Equivalence – idiomatic adaptation:
“rip up the canvas” → “desgarrar el lienzo” (keeps metaphorical force in Spanish).