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251.More information
Going beyhond the accepted given concerning the radical transformation of metatextual practices, as well as the irreversible hybridization fo commentary and fiction, we ask ourselves the following question : to what extent is modern criticism affected by formal mutations ? This article studies the transfers between postmodern narratives and metatexts by analyzing the modalities and strategies of critical texts and, conversely, the critical dimensions appropriated by metafiction, of which Borges's works were the wouldbe prototype. While establishing a comparison between a transnational corpus and Québécois discursive practices, this study leads us to wonder if rearrangements of metatextual space are not fundamentally limited to changes of an axiological type.
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Based on the analysis of self-translation done by Álvaro Cunqueiro, a recognized author in both Galician and Spanish literature, possible implications of endogenous bilingualism in self-translation are studied. One observes increased tension between the trend of literal and literacy preservation of heterolingualism and the desire to be accepted in the target language. These two competing forces, taken to the extreme by an author-translator freed from the spectre of invisibility, ultimately offer an excessively heterogeneous text, marked by expository strategies of a diverse nature which, at the same time, clearly show the “unique” voice of the self-translator as a second interlocutor.
Keywords: autotraducción, bilingüismo endógeno, heterolingüismo, biliterariedad, enunciación, autotraduction, bilinguisme endogène, hétérolinguisme, bilittéralité, énonciation, self-translation, endogenous bilingualism, heterolingualism, interliterary process, enunciation
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AbstractInteractive forms are more and more present in our culture (video games, fictional hypertexts, combinatory literary works), and they call into question our usual assumptions and interpretative habits regarding narratives. Facing this situation, several theorists have opposed in a radical fashion interactivity and narrativity, as one would oppose the experience of action and its representation. While recognizing that such a position is operative, we want to envision the relationship between interactive and narrative forms beyond a simple antagonism. Using narrative semiotics as a cornerstone, we will reconsider recent new media criticism, reexamine concepts of interactivity, simulation and fictional world, and try to bring together, using the practice of reading as a critical perspective, represented action, simulated action and interpretative action.
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Following Dollerup's (2000) classification of indirect and relay translation (here “T2”), this study locates both practices as translation taboos disparaged or tolerated depending upon cultural variables, shows its codification in translation organizations, and traces part of its aura of substandard practice to the doctrine of untranslatability; compiles the main reasons the phenomena have occurred, including extralinguistic factors; outlines some subclasses in a typology of ‘second-hand' or intermediate translations (factoring in abridgements, adaptations, modernizations, lost originals, pseudotranslations, self-translations, triangulations, and transcreations); proposes ‘translative' and ‘terminal' relay, and overt and covert possibilities within retranslation, interlinear translation, plagiarism by translation, and support translation; considers the special case of sacred texts; and weighs new and future directions for study. The key factors of oral intermediation (the role of informants and collaborative translation) and the ‘intuiting' of source languages without a working knowledge of them are brought into the equation. The work attempts to contribute a descriptive study to an area of research that has attracted visceral rejections of anything but source-to-target direct translation without such studies making allowances for the socio-historical conditions of production surrounding intermediary translation.
Keywords: indirect translation, relay translation, intermediate translation, support translation, overt translation, covert translation, traduction indirecte, traduction relais, traduction intermédiaire, traduction assistée, traduction directe, traduction indirecte
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Ap. J.-C., the second most recent novel by the Greek Francophone writer Vassilis Alexakis, is an important example of the issue of self-translation. Unlike Francophone writers for whom the French language was imposed during colonization, Alexakis was not predisposed to write in French. What led him to use a language other than his mother tongue in his career? Why does he write in two languages? This is not the first time that Alexakis' work has been analyzed through the lens of what is known as self-translation. However, we are currently witnessing Alexakis' return to Greek, as the novel Ap. J-C. was also written in Greek and self-translated into French. What are the operational choices made by the author in such a remote context as Mount Athos, also known as the Holy Mountain, in Ap. J-C., in order to create such different imaginaries? After an overview of the novel's characters and theme, we will first try to answer this question through a thematic analysis of his work. Secondly, we will address socio-linguistic and cultural issues that arise from passing from one language to another, specifically through self-translation.
Keywords: traduction, autotraduction, francophonie, sémantique, lexicologie, translation, self-translation, Francophonie, semantics, lexicology
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This article explores the difficulty of translating local expressions and value systems generated by a war-torn society. As a case in point, we shall focus on two Northern Irish novels and their German, Spanish and French translations. Robert McLiam Wilson's Eureka Street (1996) and Colin Bateman's Divorcing Jack (1995) belong to the so-called “Troubles novels” (Kennedy-Andrews, 2003), that is Northern Irish prose dealing with the consequences of political violence. Working with Northern Irish literature, the translator is confronted with the difficulty of transposing specific perceptions and world views into a different cultural environment, very often an environment in which many Northern Irish concepts do not mean anything at all. This task becomes particularly challenging if the members of the target culture did not experience long periods of political turmoil. Our argument shall be based on Lawrence Venuti's concept of foreignisation and domestication, as well as on Marianne Lederer's and Danica Seleskovich's Théorie interprétative. We attempt to demonstrate how insufficient knowledge of the local situation might lead to mistranslation.
Keywords: marqueurs régionaux, littérature nord-irlandaise, Lawrence Venuti, Marianne Lederer, Danica Seleskovitch, local concepts, Northern Irish fiction, Lawrence Venuti, Marianne Lederer, Danica Seleskovitch