Mrs. Nonsense visits the Kingdom of Backwards
The work of María Elena Walsh belongs to the collective imagination of Argentina. Her poetry books Tutú Marambá (1960), El Reino del Revés (1963), and Zoo loco (1965); her children’s stories Cuentopos de Gulubú (1966) and El País de la Geometría (1974); the novel Dailan Kifki (1966); and her musical...
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Facultad de Filosofía y Letras, Universidad de Buenos Aires
2025
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| Acceso en línea: | https://revistascientificas.filo.uba.ar/index.php/filologia/article/view/17272 |
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I28-R253-article-172722025-12-19T20:20:48Z Mrs. Nonsense visits the Kingdom of Backwards Doña Disparate visita el Reino del Revés Origgi, Alicia Enriqueta nonsense nursery rhymes limerick folklore translation disparate o nonsense nursery rhymes limerick folclore traducción The work of María Elena Walsh belongs to the collective imagination of Argentina. Her poetry books Tutú Marambá (1960), El Reino del Revés (1963), and Zoo loco (1965); her children’s stories Cuentopos de Gulubú (1966) and El País de la Geometría (1974); the novel Dailan Kifki (1966); and her musical comedies for children Canciones para mirar (1962) and Doña Disparate y Bambuco (1963) played a transformative role in the literary system of the 1960s and helped to establish a new writing paradigm within the field of children’s and youth literature. In these works, nonsense is the core of the texts’ plot. This generative center, around which all of María Elena Walsh’s children’s poetry —and part of her prose— is shaped, has deep folkloric roots, both Spanish and English. Based on modern translation theories, this article examines the hermeneutic work carried out by María Elena Walsh as she rewrites, reformulates, and transmutes poetic traditions from other literatures into her own language. La obra de María Elena Walsh pertenece al imaginario colectivo de Argentina. Sus libros de poemas Tutú Marambá (1960), El Reino del Revés (1963), Zoo loco (1965); los cuentos infantiles Cuentopos de Gulubú (1966), El País de la geometría (1974), la novela Dailan Kifki (1966) y las comedias musicales para chicos, Canciones para mirar (1962) y Doña Disparate y Bambuco (1963), cumplieron un papel movilizador en el sistema literario de los años 60 y gestaron un nuevo paradigma escriturario dentro del campo de la literatura infantil y juvenil. En este corpus, el disparate (o nonsense) es el núcleo de la trama de los textos. Este centro generador alrededor del que se gesta toda la poesía infantil de María Elena Walsh, y una parte de su obra en prosa, tiene hondas raíces folclóricas, tanto españolas como inglesas. Sobre la base de teorías modernas de traducción, en este artículo se analiza el trabajo hermenéutico que realiza María Elena Walsh para reescribir, reformular y transmutar en su propia lengua tradiciones poéticas de otras literaturas. Facultad de Filosofía y Letras, Universidad de Buenos Aires 2025-12-19 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://revistascientificas.filo.uba.ar/index.php/filologia/article/view/17272 10.34096/filologia.n57.17272 Filología; Vol. 2 No. 57 (2025); 101-114 Filología; Vol. 2 Núm. 57 (2025); 101-114 2422-6009 0071-495X spa https://revistascientificas.filo.uba.ar/index.php/filologia/article/view/17272/15643 Derechos de autor 2025 Alicia Enriqueta Origgi https://creativecommons.org/licenses/by-sa/4.0 |
| institution |
Universidad de Buenos Aires |
| institution_str |
I-28 |
| repository_str |
R-253 |
| container_title_str |
Filología |
| language |
Español |
| format |
Artículo revista |
| topic |
nonsense nursery rhymes limerick folklore translation disparate o nonsense nursery rhymes limerick folclore traducción |
| spellingShingle |
nonsense nursery rhymes limerick folklore translation disparate o nonsense nursery rhymes limerick folclore traducción Origgi, Alicia Enriqueta Mrs. Nonsense visits the Kingdom of Backwards |
| topic_facet |
nonsense nursery rhymes limerick folklore translation disparate o nonsense nursery rhymes limerick folclore traducción |
| author |
Origgi, Alicia Enriqueta |
| author_facet |
Origgi, Alicia Enriqueta |
| author_sort |
Origgi, Alicia Enriqueta |
| title |
Mrs. Nonsense visits the Kingdom of Backwards |
| title_short |
Mrs. Nonsense visits the Kingdom of Backwards |
| title_full |
Mrs. Nonsense visits the Kingdom of Backwards |
| title_fullStr |
Mrs. Nonsense visits the Kingdom of Backwards |
| title_full_unstemmed |
Mrs. Nonsense visits the Kingdom of Backwards |
| title_sort |
mrs. nonsense visits the kingdom of backwards |
| description |
The work of María Elena Walsh belongs to the collective imagination of Argentina. Her poetry books Tutú Marambá (1960), El Reino del Revés (1963), and Zoo loco (1965); her children’s stories Cuentopos de Gulubú (1966) and El País de la Geometría (1974); the novel Dailan Kifki (1966); and her musical comedies for children Canciones para mirar (1962) and Doña Disparate y Bambuco (1963) played a transformative role in the literary system of the 1960s and helped to establish a new writing paradigm within the field of children’s and youth literature. In these works, nonsense is the core of the texts’ plot. This generative center, around which all of María Elena Walsh’s children’s poetry —and part of her prose— is shaped, has deep folkloric roots, both Spanish and English. Based on modern translation theories, this article examines the hermeneutic work carried out by María Elena Walsh as she rewrites, reformulates, and transmutes poetic traditions from other literatures into her own language. |
| publisher |
Facultad de Filosofía y Letras, Universidad de Buenos Aires |
| publishDate |
2025 |
| url |
https://revistascientificas.filo.uba.ar/index.php/filologia/article/view/17272 |
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AT origgialiciaenriqueta mrsnonsensevisitsthekingdomofbackwards AT origgialiciaenriqueta donadisparatevisitaelreinodelreves |
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2026-01-13T05:08:29Z |
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2026-01-13T05:08:29Z |
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