Trinity (ISE) — Nivel C2 (ISE IV)

Elige la opción correcta para completar la frase.

Seldom ___ such unanimous praise from critics.

Elige la opción correcta para completar la frase.

She is nothing if not ___.

Elige la opción correcta para completar la frase.

The committee's decision was, to say the ___, controversial.

Lee el texto y responde. «Every era eventually discovers that its most celebrated originals were quietly assembling borrowed parts. The revelation rarely diminishes the work in question, though it does tend to embarrass whichever admirers had built their appreciation on the premise of pure invention. What gets described, often approvingly, as an artist's distinctive voice is, on closer inspection, usually a particular arrangement of influences absorbed so thoroughly that their sources become invisible even to the artist — a kind of forgetting that later scholarship treats as scandal rather than the ordinary mechanism by which culture actually advances. This is not an argument that imitation and originality are indistinguishable; a derivative work that merely repeats its sources remains, reasonably, judged more harshly than one that transforms them into something new. The harder question, which criticism tends to dodge in favour of tidy narratives about genius, is where exactly transformation begins and repetition ends — a line that shifts depending on who is drawing it, and that owes rather more to the drawer's taste than to any principle sturdy enough to survive contact with the actual history of art.»

What does the author suggest about how criticism typically treats artistic 'originality'?

Lee el texto y responde. «Translation is sometimes described, with a certain resigned affection, as the art of failing slightly less than one might expect. Every choice a translator makes forecloses some other reading that the original language held open simultaneously, and the resulting text is inevitably a new work shaped as much by the translator's judgment as by the author's intention. The most defensive translators insist on invisibility as an ideal, striving for a rendering so smooth that its constructed nature disappears; the more candid ones argue that this ideal is itself a kind of dishonesty, since no translation can be neutral, and pretending otherwise merely hides the interpretive choices rather than eliminating them. What both camps share, whether they admit it or not, is the knowledge that the original text, in the reader's own language, is a destination that was never actually reachable — only ever approached, from one angle or another, more or less gracefully, and that every published translation is best read as one visitor's account of a place the reader will never get to see unmediated.»

What do both types of translators described in the text ultimately share, according to the author?