Abstract

This article focuses on the translation that Guy Debord made of the poem Coplas a la muerte de su padre, a work by fifteenth-century Castilian court poet Jorge Manrique. Despite the apparent distance between translator and translated, Debord’s interest is a product of his fascination with moments of historical crisis and their transformative possibilities. The Debordian way of confronting such moments and of considering Manrique’s work as a product of one of them is framed within a historical model that collapses the synchronic and the diachronic through textual montage, juxtaposing fragments in an associative way. Debord develops this form of montage in his best-known works, such as The Society of the Spectacle. In dialogue with this peculiar philosophy of history, the article argues that the translation is part of a moment of interest in Spanish culture post-May ’68 in Debord’s work and should be read as a part of the Champ Libre publishing project, financed by Debord’s film impresario, patron, and friend Gerard Lebovici. The ultimate reason for his interest in Spanish culture is the idealization of the political possibilities of a society that, between the seventies and the early eighties when Debord translates Manrique, is in the midst of the transition from dictatorship to democracy.