<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>0807-8967</journal-id>
<journal-title><![CDATA[Revista Diacrítica]]></journal-title>
<abbrev-journal-title><![CDATA[Diacrítica]]></abbrev-journal-title>
<issn>0807-8967</issn>
<publisher>
<publisher-name><![CDATA[Centro de Estudos Humanísticos da Universidade do Minho]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S0807-89672023000300079</article-id>
<article-id pub-id-type="doi">10.21814/diacritica.4953</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[EL ASESINATO Y LA TRADUCCIÓN CONSIDERADAS COMO DOS BELLAS ARTES]]></article-title>
<article-title xml:lang="pt"><![CDATA[O ASSASSINATO E A TRADUÇÃO CONSIDERADOS COMO DUAS BELAS-ARTES]]></article-title>
<article-title xml:lang="en"><![CDATA[MURDER AND TRANSLATION CONSIDERED AS TWO OF THE FINE ARTS]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Zarandona]]></surname>
<given-names><![CDATA[Juan Miguel]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidad de Valladolid Facultad de Traducción e Interpretación. Campus Duques de Soria Grupo de Investigación TRADHUC (Traducción Humanística y Cultural)]]></institution>
<addr-line><![CDATA[Soria ]]></addr-line>
<country>Spain</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>12</month>
<year>2023</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>12</month>
<year>2023</year>
</pub-date>
<volume>37</volume>
<numero>3</numero>
<fpage>79</fpage>
<lpage>93</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_arttext&amp;pid=S0807-89672023000300079&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_abstract&amp;pid=S0807-89672023000300079&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_pdf&amp;pid=S0807-89672023000300079&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumo Thomas de Quincey (1785-1859), foi um escritor inglês do início do século xix e o mais provocador génio do humor que o brilhante Romantismo da sua nação ofereceu à República Universal das Letras. Em espanhol, por serem os mais populares, os seus dois pequenos livros mais escandalosos têm os seguintes títulos: Los Placeres y las Tormentas del Opio, do original de 1821 (Confessions of an English Opium Eater), e El Asesinato, Considerado Como Una de las Bellas Artes, do original de 1832 (On Murder Considered as One of the Fine Arts). Se, nas Ilhas Britânicas, o assassínio pode ser considerado uma das belas-artes, tal como a sua compatriota e sucessora Agatha Christie (1890-1976) viria a demonstrar anos mais tarde, como não utilizar a mesma metáfora para as traduções espanholas: a receção do humor e dos duplos sentidos, a crítica social, a abordagem estético-revolucionária do empreendimento livresco nas suas mãos, a manipulação das regras de tradução, das intenções e inclusive das leis da tradução, a mudança de funções, etc. Talvez seja impossível procurar um texto mais exato do que aquele que propomos para este artigo, que nos permita descobrir uma vez mais que certas traduções são, pelo menos, um produto artístico, já que, tal como não existe a tradução perfeita, conforme alguns dizem, também não existe o crime perfeito, por mais belo e macabro que seja.]]></p></abstract>
<abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen Thomas de Quincey (1785-1859) fue un escritor inglés de principios del siglo xix y genio del humor más provocador que el brillante romanticismo de su nación ha ofrecido a la República Universal de las Letras. En español, sus dos libritos más escandalosos, por ser los más populares, recibieron los títulos siguientes: Los Placeres y las Tormentas del Opio, del original de 1821 (Confessions of an English Opium Eater), y El Asesinato, Considerado Como Una de las Bellas Artes, del original de 1832 (On Murder Considered as One of the Fine Arts). Si el asesinato en las Islas Británicas podría considerarse una de las bellas artes, como años más tarde tal vez terminara de demostrar su paisana y sucesora Dame Agatha Christie (1890-1976), cómo no utilizar la misma metáfora para las traducciones españolas: la recepción del humor y de los dobles sentidos, la crítica social, el enfoque estético-revolucionario de la empresa libresca que se encuentra entre sus manos, la manipulación de las normas de traducción, intenciones y hasta leyes de traducción, el cambio de funciones, etc. Tal vez no sea posible rebuscar entre un texto más acertado que el que proponemos para este artículo, para descubrir una vez más que ciertas traducciones, al menos, son un producto artístico, aunque la traducción perfecta no exista, como, según dicen algunos, el crimen perfecto tampoco, por muy bello y macabro que sea este.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract Thomas de Quincey (1785-1859) was an early 19th century English writer and a genius of the most provocative humour that the brilliant romanticism of his nation has offered to the Universal Republic of Letters. In Spanish, his two most scandalous little books, because they were the most popular, were given the following titles: Los Placeres y las Tormentas del Opio, from the original of 1821 (Confessions of an English Opium Eater), and El Asesinato, Considerado Como Una de las Bellas Artes, from the original of 1832 (On Murder Considered as One of the Fine Arts). If murder in the British Isles could be considered one of the fine arts, as his fellow countrywoman and successor Dame Agatha Christie (1890-1976) would perhaps demonstrate years later, how could we not use the same metaphor for the Spanish translations: the reception of humour and double entendres, the social criticism, the aesthetic-revolutionary approach, the manipulation of the rules of translation, intentions and even laws of translation, the change of functions, etc. Perhaps it is not possible to search for a more accurate text than the one we propose for this article to discover once again that certain translations, at least, are an artistic product, even if the perfect translation does not exist, as, some say, neither does the perfect crime, no matter how beautiful and macabre it may be.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[Asesinato]]></kwd>
<kwd lng="es"><![CDATA[Traducción]]></kwd>
<kwd lng="es"><![CDATA[Bellas artes]]></kwd>
<kwd lng="es"><![CDATA[Thomas de Quincey]]></kwd>
<kwd lng="es"><![CDATA[Robert Southey]]></kwd>
<kwd lng="es"><![CDATA[Frank Drake.]]></kwd>
<kwd lng="pt"><![CDATA[Homicídio]]></kwd>
<kwd lng="pt"><![CDATA[Tradução]]></kwd>
<kwd lng="pt"><![CDATA[Belas-artes]]></kwd>
<kwd lng="pt"><![CDATA[Thomas de Quincey]]></kwd>
<kwd lng="pt"><![CDATA[Robert Southey]]></kwd>
<kwd lng="pt"><![CDATA[Frank Drake.]]></kwd>
<kwd lng="en"><![CDATA[Murder]]></kwd>
<kwd lng="en"><![CDATA[Translation]]></kwd>
<kwd lng="en"><![CDATA[Fine arts]]></kwd>
<kwd lng="en"><![CDATA[Thomas de Quincey]]></kwd>
<kwd lng="en"><![CDATA[Robert Southey]]></kwd>
<kwd lng="en"><![CDATA[Frank Drake.]]></kwd>
</kwd-group>
</article-meta>
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