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“I had often thought that future historians of modern literaturewould find literary journals, mainly those of young writers, highlyuseful because historians could follow, month by month, the course of‘literature as it was being written',” wrote ValeryLarbaud in the early twentieth century. Despite the remarkabledevelopment of research on these journals, this history has not beenwritten. Since this idea is a favourite of mine, however, I wasmotivated to conduct a historical study of contemporary literature byeschewing the French literary journals of 1900 to 1920 to concentrateon literary journals in Québec during the last ten years.Skipping from one period and one literary field to another, far frombeing swept under the rug, serves as a point of departure for myinvestigation. Can we continue to underscore, as Larbaud did,“the capital importance of journals” in the literaturebeing written today? Do the journals still serve as a launching pad fornew works, an aesthetic catalyst for writers' organizations, aplace of comparison for writings of the same time period, even a vectorof “contemporaneity”? These questions on journals'historicity prompt, at the time, an investigation into the methods ofliterary history.
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AbstractThis paper analyzes the French concepts of faux sens and contresens, whose meaning is very similar. Their use in translation theory may lead to confusion and should therefore be avoided. Another translation quality assessment system is proposed. It is based on translational practices and discusses the quality of meaning transfer, accuracy and completeness as well as problems of style and language. This system takes both translational errors and successful solutions into account.
Keywords: faux ami, calque, transfert de sens, complétude du sens, précision
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Comparing the attitude of Pierre Desjardins with that of Goethe regarding musical tendancies considered in his time to be modern, the author critically examines each of their presuppositions about too much technique and not enough sentiment. He rejects the appeal for self criticism (in the manner of Jdanov) among young composers, and he refuses to accept that music be conceived with respect to the average expectations of a listening public.
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