Notas para un acercamiento teórico a la traducción desde la performatividad como parte de enfoques feministas y queer
Authors: Julia Constantino Reyes
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Since the 1970s translation theories have benefitted from their contact with social movements and theoretical and critical views from other disciplines. Such is the case of their links with different lines of feminist thought, gender studies, and queer theory, as well as feminist and LGBTIQ+ movements. Those links have reinvigorated the role and scope of translation in different social scenarios, and have supported self-reflection, the rise of other theoretical and critical ways of explaining the translation phenomenon in general, and its concrete outcomes. This article, as the beginning of a theoretical exploration, offers some views on translation as seen from performativity, particularly from repetition and difference—performativity taken as rising from speech acts and used in feminist and queer discussions that have provided them with immediate social, political, and theoretical meanings and uses as regards gender construction. Two elements are added to performativity—the body and emotions, which, taken from Douglas Robinson and Sara Ahmed’s work, turn out to be complementary just as they are crucial to approach gender and trans-lation. Putting these elements together points at the possibility of a more flexible theoretical view of translation, and the recognition of the active role of the reader and, more importantly, of the translator as agents in a performative process that can have an impact on social and cultural transformations. Likewise combining those terms and mechanisms allows for the resignification of traductological jargon and of concepts that define translation itself as a discipline and an activity, something that can lead to its redefinition as a field of knowledge, study, and practice.