Documents found
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381.More information
AbstractIn spite of the well-known importance of the marginal notes in Trou de mémoire, and in spite of the author's insistence on what he calls "writing in the margins", it is rare that the texts cited in the margins of Trou de mémoire are actually read. The reading of these texts, carried out in preparation of the critical edition of the novel, confirmed their importance: first of all, they constitute a kind of marginal novel where the fiction is prolonged and completed; secondly, they perform an autobiographical function by writing the reading history of the author, a kind of inscription of the authorial subject by means of this biolectography. By reading the documents quoted in the margins of Trou de mémoire in this double way, as both centripetal and centrifugal with respect to the novel, we propose, first of all, a rereading of the fiction, and secondly, a reading of the text as a kind of coded self-revelation, the autobiography that Aquin never wrote.
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382.More information
By adopting a pseudonym, writers can completely alter identity markers announced by their name, in terms of cultural origin, social class or gender. Many women have thus chosen male pseudonyms, whereas some men have also deployed female names. Yet these strategies differ considerably, not just in aim, but also in form, especially when they constitute a way of entering the literary field. While the pen names of female authors like Daniel Stern (Marie d'Agoult) and George Sand are immediately recognized as pseudonyms and continue to be used as such, male writers like Prosper Mérimée and Pierre Louÿs each adopted a female heteronym, Clara Gazul and Bilitis, for a specific work. The disparity in these aims and methods accentuate, however, a common trait: the literary recognition process, and access to publication, pass through a male figure, whether fictive or real, who enables entry into the literary field.
Keywords: Pseudonymie, genre, mystification, Mérimée, Sand, Sand, Louÿs, Daniel Stern, Pseudonym, gender, hoax, Mérimée, Sand, Louÿs, Daniel Stern
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383.More information
The aim of the present paper is to reflect upon the strategies of preserving global as well as specific or total ambiguity in a literary text (a poetic text in particular) when translated and therefore imported by another culture. It is a well-known fact that literary texts in general, and poetic texts in particular, sometimes make use of ambiguity, obscurity and plurivalence of meaning, which represent a real challenge for the translator, who is supposed to preserve them and ensure all potentialities. Starting from a series of Romanian versions of poems by Mallarmé, Valéry and Tzara as well as some of Luca's self-translations (from Romanian into French), we will identify the recurring difficulties the translator is faced with and the solutions he finds. While facing the traps of ambiguity, the translator is left to explore the potential of the target language, which sometimes implies resorting to rare, archaic terms or even “trouvailles” and a second-degree creativity restricted by what(ever) is imposed by the original.
Keywords: texte poétique, ambiguïté, obscurité, plurivalence des sens, lectures possibles, poetic text, ambiguity, obscurity, multivalence of meaning, multiple readings
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384.More information
This article examines the relations between comedy and gender in French cinema by taking as its case study the comedies of Brigitte Bardot. Its perspective is two-fold: that of Anglo-American genre studies, on the one hand, in particular the feminist and psychoanalytical studies carried out by Kathleen Rowe on comedy, and on the other hand the field of star studies inaugurated by Richard Dyer. Following a discussion of the relations between women's comic narratives and the star system, the article analyzes the evolution of Bardot's character in popular comedies, from the saucy young woman of her early films to characters which situate her in the realm of the sex comedy and then the “dumb blonde.” This study thus offers a perspective on the gendered aspect of French film comedy and on a central yet usually obscured element of Bardot's star persona.
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385.More information
As a translingual American writer, Julien Green (1900-1998) wrote a wide variety of novels, plays, short stories, and essays, as well as one of the longest recorded journals of the twentieth century. Among his bilingual texts Green published an important homoerotic play, Sud (1953), which he later translated into English as South (1959) in collaboration with his sister, Anne Green. Although the homoerotic nature of the characters of Green’s novels has been examined in certain critical texts, the evolution of this homoeroticism in Green’s self-translated play, Sud / South, has not yet been studied in detail. This article will, therefore, show how Green radically transformed the drama of homosexual love from his first play, Sud (1953), in his self-translation, South (1959), and the effects of these linguistic changes on the reader. More specifically, this critical analysis will demonstrate how Green used a translative approach of the moins-dit in order to conceal a substantial portion of his original French play’s central intrigue. Because of multiple omissions, revisions, and additions in self-translation, Ian Wiczewski’s love for the young Erik Mac Clure, as well as Édouard Broderick’s homosexual orientation, are less visible in South than in Sud. Consequently, Sud and South appear as two very disparate versions of the same text.
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387.More information
Jacques Roubaud, like a good Oulipian, admires this literary Middle Ages that made topic and combinatorics the essential components of fiction writing. He does not hesitate, moreover, to borrow in his turn from the great narrative reservoirs already frequented by his contemporary peers. His entire work, in fact, is filled with echoes and recurrences of old motifs, which he works to dust off for the greater enjoyment of the informed reader. Among these almost forgotten motifs resurrected in the re-writing is of the hall of images, found in both the Tristan and Arthurian legends. Jacques Roubaud makes use of it on three occasions, in three different works, and thus offers a variation work that confirms the poetic affiliation of the Oulipian with the literary practices of the Middle Ages.
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388.More information
Inspired by the reappearance of the ogre in the works of modern French novelists (Tournier, Chessex, Pennac), this article examines the role of his traditional ally and counterpart : the ogress. Amorally and ambiguously depicted by Paul Morand, Gabrielle Wittkop and Dynah Psyché, the ogress brings us to question the aesthetic relevance of abjection.
Keywords: ogres et ogresses, cannibalisme, mort et sexualité, mal infligé aux enfants, ogres and ogresses, cannibalism, death and sexuality, harm inflicted on children
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389.More information
Translation Studies has recently engaged with microhistory, drawing on archival holdings. Though this is a welcome development, it runs the risk of slanting research into translatorship since such archives tend to entail a degree of cultural gatekeeping and therefore reflect an atypically high degree of literary capital on the translator's part, due to the translator's own participation in prestigious forms of authorship and/or their association with authors with high literary capital. Seeking to account for the more typical experience of translators with low agency and low literary capital, the article outlines an alternative historiographical approach: prosopography, or collective biography. It first draws on the author's research in archives devoted to other actors in the communications circuit, in which translators are a tangential presence. It studies nineteenth-century publishers' archives at the Institut Mémoires de l'édition contemporaine in Caen, France, focusing on the issue of translatorial agency in negotiating moral rights. The second approach reads an online translation community, the Emerging Translators' Network, as a non-custodial participatory archive. This offers translation historians an opportunity to study the ambitions of aspiring translators at the outset of their careers and provides insights into the successful career trajectories of those who eventually earn an archival presence in their own right.
Keywords: archivistique, prosopographie, microhistoire, historiographie, non-custodialité, archive studies, prosopography, microhistory, historiography, non-custodiality, archivística, prosopografía, microhistoria, historiografía, sin custodia
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390.More information
This is a study of a frequently occurring but seldom studied phenomenon: that of proposed translations, rejections and disruptions in translators' work. The study is based on the correspondence of 64 translators in the archive of the Werner Söderström (WSOY) publishing house in Finland between the 1880s and the 1940s. It deals with around 180 translator suggestions and an almost equal number of rejections discovered in translator–publisher correspondence. The research draws on actor-network theory and its focus is on emergent processes and controversies, exploring the events and decisions as they unfold in the archived interaction between translators and publishers. The large number of rejections, the various kinds of disrupted processes in the making of translations and the contingency of the translation event are set in high relief. Studying the way translations come into being – or do not come into being, as is often the case – shifts the focus from translations as products to the translation event: disruptions and impasses, it will be shown, constitute a significant share of translators' and editors' work and are crucial in understanding the translation process.
Keywords: archives, publishing, suggestions, rejection, ANT, archives, maison d'édition, suggestions, rejet, ANT, archivos, editoriales, sugerencias, rechazos, ANT