Building TRACE (translations censored) theatre corpus: some methodological questions on text selection

Editores:Micaela Muñoz-Calvo; Carmen Buesa-Gómez

Diez años de investigación sobre teatro traducido en España: el proyecto TRACE y los archivos de censura

[EN] This contribution offers a brief overview of research undertaken for the last few years under the TRACE (translation and censorship, or censored translations) project with respect to theatre. The AGA (General Administration Archive in Alcala de Henares, Madrid), a unique source for information for translation scholars, has become the focus of TRACE-theatre investigations on Francoist Spain in the last few years. In Spain, these censorship archives have proved to be an essential source of information, and a rich reservoir of data that, when explored in depth, help draw a history of Spanish theatre in translation. Contrary to what one may think at first, the purpose of using censorship archives in TRACE is not only to check what got censored (banned, crossed out or modified) but rather to trace back all written evidence left by plays that underwent the bureaucratic censoring process which was applied to all cultural manifestations, national or foreign, theatrical as well as non-dramatic. And it is precisely when tracing back censorship records that one finds a way to uncover a history of Spanish theatre in translation that is yet to be written but can now be outlined.

Dámaso Alonso's translations of the passive voice in El retrato del artista adolescente: Further considerations

Eguíluz, Federico; Merino, Raquel; Olsen, Vickie; Pajares, Eterio; Santamaría, José Miguel (eds.)

From words to images and then to one image: the poster in Spielberg' s translations of literary works

Eterio Pajares, Raquel Merino y José Miguel Santamaría (eds.)

The Black Box of Mutual Fund Fees

This paper re-examines the determinants of mutual fund fees paid by mutual fund shareholders for management costs and other expenses. There are two novelties with respect to previous studies. First, each type of fee is explained separately. Second, the paper employs a new dataset consisting of Spanish mutual funds, making it the second paper to study mutual fund fees outside the US market. Furthermore, the Spanish market has three interesting characteristics: (i) both distribution and management are highly dominated by banks and savings banks, which points towards potential conflicts of interest; (ii) Spanish mutual fund law imposes caps on all types of fees; and (iii) Spain ranks first in terms of average mutual fund fees among similar countries. We find significant differences in mutual fund fees not explained by the fund’s investment objective. For instance, management companies owned by banks and savings banks charge higher management fees and redemption fees to nonguaranteed funds. Also, investors in older non-guaranteed funds and non-guaranteed funds with a lower average investment are more likely to end up paying higher management fees. Moreover, there is clear evidence that some mutual funds enjoy better conditions from custodial institutions than others. In contrast to evidence from the US market, larger funds are not associated with lower fees, but with higher custody fees for guaranteed funds and higher redemption fees for both types of funds. Finally, fee-setting by mutual funds is not related to fund before-fee performance.

Literaturaren zertarakoa, itzulpenak eta hizkuntzaren auzia Orixerengan

Ejemplar dedicado a: Beñat Oihartzabali gorazarre - Festchrift for Bernard Oyharçabal/ Ricardo Etxepare, Ricardo Gómez, Joseba Andoni Lakarra ( eds.)

Yves Bonnefoy and Translation into English: when poets, linguists and translators think alike

Santamaría, José Miguel; Pajares, Eterio; Olsen, Vickie; Merino, Raquel; Eguíluz, Federico (eds.)

The mimetic fallacy. Why adaptations disappoint

Santamaría, José Miguel; Pajares, Eterio; Olsen, Vickie; Merino, Raquel; Eguíluz, Federico (eds.)