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The novels Vengeance du traducteur and Les Nègres du traducteur, by Brice Matthieussent and Claude Bleton respectively, play with the traditional hierarchies between author and translator, original and translation, thereby illustrating at the levels of both plot and narration a facet of translation that has often gone unrecognized, namely its deviant, subversive, and transgressive nature, which, in turn, is conducive to a questioning of translation's generic status as well as its relationship to the original.
Keywords: traducteur, auteur, subversion, transgression, métalepse, translator, author, subversion, transgression, metalepse
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392.More information
Drawing on a variety of archival sources, this paper aims to explore the dissonant and conflicting narratives that emerge from the surviving drafts of the Italian translation of Blooms of Dublin, a musical adaptation of James Joyce's Ulysses by Anthony Burgess (1986). I will investigate the genesis of this translation and the way it unfolds in the rich archival records held at the Anthony Burgess Foundation Archives, the Harry Ransom Center, and the Archives of Teatro Verdi in Trieste. By examining the surviving archival traces of this collaborative venture—an unfinished translation project that can be detected only in the archive—, the study aims not only to reconstruct the working methods that were adopted for this translation project, but also to lay the groundwork for further explorations into Burgess's approach to translation. In exploring the conflicting narratives that emerge in and out of the archive, this paper will attempt to provide some new insights into the dynamics that underlie collaborative (self-)translation (Hersant, 2017, 2020; Manterola Agirrezabalaga, 2017; Huss, 2019; Rulyova, 2020; Verhulst et al., 2021) by examining a case of failed collaboration. It will also show the challenges involved in studying translation-related materials that exist in split collections.
Keywords: diasporic archives, collaborative (self)translation, translation drafts, Anthony Burgess, archives dispersées, (auto)traduction collaborative, brouillons de traductions, Anthony Burgess
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In order to analyze the literary project of Sami Tchak, this article proposes to see in the genre of the art of love a heuristic model. Considered in three ways, the erotic didactic at work in Place des fêtes, Hermina, Le Paradis des chiots et Filles de Mexico is structured from resolutely emancipated female figures who, for some of them, are constituted as magister of love. In their confrontation with alienating logics, the words and trajectories of these characters configure a sum of reflections on the functions and uses of literature : these are the arts of love that the writer intends to transmit to us.
Keywords: Sami Tchak, art d'aimer, didactique, magistère érotique féminin, fiction, apologue, fonctions et usages de la littérature
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395.More information
This article relates the author's trip to Tulsa for a Bob Dylan conference, which led him to the Naipaul archives at the University of Tulsa, where he had a dazzling encounter with the ghostly figure of Patricia Hale. The latter becomes the starting point for a personal reflection on literary accompaniment and its vicissitudes when it comes to diminished narrative voices. Drawing on the photographs and journals of V.S. Naipaul's first wife, the author attempts to trace her voice in its absence and even its reticence, both in her husband's writing and even in her own, which took an autobiographical form. In doing so, the author continues to reflect on the notion of the dedicatee and the function of the Ideal in his relationship to care, topics already explored in his previous writings, and thus questions his own essayistic practice as well as the idea of ventriloquized speech.
Keywords: Voix, soin, accompagnement, maladie, ventriloquie, absence, dédicataire, voyage, Patricia Hale, V.S. Naipaul, Bob Dylan, Voice, care, accompaniment, illness, ventriloquism, absence, dedicatee, travel, Patricia Hale, V.S. Naipaul, Bob Dylan, Voz, cuidado, acompañamiento, enfermedad, ventriloquia, ausencia, dedicatario, viaje, Patricia Hale, V.S. Naipaul, Bob Dylan, 声音, 关心, 陪伴, 疾病, 腹语, 缺席, 受赠者, 旅行, 帕特里夏·黑尔, V.S. 奈保尔, 鲍勃·迪伦
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The plot of Menaud, maître-draveur is based on an act of reading, that of Menaud's daughter Marie, who reads Maria Chapdelaine to her father. The effect of this text is so great that Menaud, like Emma Bovary or Don Quixote, understands the story as if it were the historical truth. He identifies himself in such a way that he no longer recognizes the signs and their referents. He then becomes the “bad reader” as elucidated by Maxime Decout. In this complex “scène de lecture”, Menaud “loses his head” and all his bearings, revealing the unthinking of History and of his own history.
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Through the character of Jean-William Forestier, who is essentially mute, Hubert Aquin's L'antiphonaire gives body, paradoxically, to a poetics of silence. Here the novelist overcomes the chief aporia encountered by his theoretical thinking of the early 1960s: silence, which he had long seen as the political position dictated by Quebec's situation, might now lead to something else than withdrawal from literature. But the figure of Jean-William is also a way of thematizing in the diegesis a possession that the chief narrator, Christine Forestier, describes as the organizing principle of the “disorganized” writing. A connection is made between this figure and the zars of Gondar, studied by Michel Leiris, as well as the character of Hamlet. It is concluded that L'antiphonaire is an Apocalypse in the Derridean sense, and that it explicitly provides Aquin with a way of becoming reconciled with the possibility of writing.