translator should therefore ‘transmit the aesthetics and artistic form’ of the text (Munday, 2008, p. 73). Levý also considers that literary translators should aim for ‘equivalent aesthetic effect’ and Miko suggests that they should retain ‘the expressive character or style of the ST’ (Munday, 2008, p. 62). Accordingly, I aimed to create an equivalent aesthetic effect, whether this be in terms of the poetic language and alliteration in ‘El legado’, the snappy dialogue in ‘Bzzz’, or the use of slang and dialect in ‘El apuntamiento’.

1.1. Readership and skopos
Reiss also argues that the translator of expressive texts should adopt the ST author’s standpoint (Munday, 2008). However, I believe that the translator requires a different standpoint because they cater for a different audience, and this in turn affects the skopos: ‘the aim or purpose of a translation’ (Vermeer, 2000, p. 221). Vermeer highlights that the Source Text (ST) and Target Text (TT) ‘may diverge from each other quite considerably […] as regards the goals which are set for each’ (p. 223). This rang true with my translation because the ST was written for Spanish-speakers, and perhaps even more specifically, a Chilean audience. The ST audience immediately notices that the text is Chilean, owing to the dialect employed, the turns of phrase used, and indeed the cultural references that are made. Whilst it is difficult to ‘gauge’ the effect of the ST on the audience (Hatim & Mason, 1990, p. 7), I believe that these techniques are likely to conjure up a sense of the ‘familiar’ for a Chilean audience. Non-Chilean Spanish speakers will also be immediately aware that it is a Chilean text. In contrast, I established that my TT could be aimed at anyone interested in Chilean literature, whether they be academics or members of the public. The readership might know a lot about Chilean culture, or nothing at all. Therefore, the effect on the TT audience will inevitably be different.

My skopos therefore needed to reflect this difference in readership. I firstly