Academic literature on the topic 'French-Canadian fiction – Translations into English'
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Journal articles on the topic "French-Canadian fiction – Translations into English"
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Frank, Helen. "Discovering Australia Through Fiction: French Translators as Aventuriers." Meta 51, no. 3 (September 21, 2006): 482–503. http://dx.doi.org/10.7202/013554ar.
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Abstract The translation into French of referents of Australia and Australianness in fiction necessitates a considerable variety of translational tendencies and interpretive choices. This study focuses on French translations of selected passages and blurbs from Australian fiction set in regional Australia to determine how referents of Australian flora, fauna, landscape and people are translated and interpreted in a non-English speaking cultural system. Guided by concerns for the target readers’ understanding of the text, French translators employ normative strategies and adaptive procedures common to translation to enhance reader orientation. There is, nonetheless, evidence of culture-specific appropriation of the text and systematic manipulation of Australian referents that goes beyond normative solutions. Such appropriation and manipulation stem from a desire to create and foster culture-specific suppositions about Australia consistent with French preoccupations with colonialism, the exotic, exploration and adventure.
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Stahl, Aletha. "Does Hortense Have a Hoo-Hoo? Gender, Consensus, and the Translation of Gisèle Pineau’s L’espérance-macadam." TTR : traduction, terminologie, rédaction 13, no. 2 (March 19, 2007): 127–48. http://dx.doi.org/10.7202/037414ar.
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Abstract Does Hortense Have a Hoo-Hoo? Gender, Consensus, and the Translation of Gisèle Pineau's L'espérance-macadam — This article uses an experiment in translating Guadeloupean writer Gisèle Pineau's novel L'espérance-macadam via consensus as a point of departure for analyzing the broader context of translating the French Caribbean for an English-speaking public. Previous efforts at translating recent French Caribbean fiction have focused on the challenge of representing the linguistic spectrum specific to the franco- and creolophone Caribbean. Here, it is suggested that Pineau's particular choices in inflecting French with Creole represent women in important ways, and that an awareness of this gendering of language is germane to translation into English. It is also acknowledged that desires on the part of English-speaking translators are not necessarily innocent but that an awareness of gender and local specificities can contribute to the consensus process entailed in publishing translations and should be part of ongoing debates concerning the French Caribbean in general.
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Bour, Isabelle. "What Happened to the ‘Truth Universally Acknowledged’? Translation as Reception of Jane Austen in France." Humanities 11, no. 4 (June 23, 2022): 77. http://dx.doi.org/10.3390/h11040077.
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There are now, in 2022, sixteen French translations of Jane Austen’s Pride and Prejudice. The incipit includes one of the most famous statements in the English language, as well as a modal auxiliary, the rendering of which constitutes a minor challenge for any translator. This essay will analyse all translations of the incipit, relating translation choices to historical circumstances, the contemporary status of British literature and attitudes to the translation of fiction as well as to the state of the book market.
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Pendharkar, Ashwinee. "The Twice Borne Fiction: French Translations of Indian English Literature." South Asian Review 35, no. 2 (October 2014): 213–27. http://dx.doi.org/10.1080/02759527.2014.11932979.
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Nádvorníková, Olga. "Contexts and Consequences of Sentence Splitting in Translation (English-French-Czech)." Research in Language 19, no. 3 (September 30, 2021): 229–50. http://dx.doi.org/10.18778/1731-7533.19.3.01.
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The present paper examines the contexts and consequences of sentence splitting in English, Czech and French translated fiction. In the data extracted from a parallel (multilingual) corpus, we analyze first a language-specific context of sentence splitting (sententialization of non-finite verb forms in translations from English and French into Czech), and second, contexts of splitting occurring in all directions of translation. We conclude that sentence boundaries are usually introduced at the point of a sentence entailing the fewest modifications in the target sentence, especially between two coordinate clauses; and that a systematic sentence splitting, deeply modifying the style of the source text, involves the effect of simplification and normalization.
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Bruffaerts, Natalia S., Valeria A. Labko, and Liudmila S. Sorokina. "Functions and properties of translation notes: comparative analysis: based on translations of Soboryane (the cathedral cleargy/Gens D`Eglise) by N. S. Leskov into French and English." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 59 (2021): 185–98. http://dx.doi.org/10.37816/2073-9567-2021-59-185-198.
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The paper deals with a comparative analysis of notes to the French and English translations of The Cathedral Clergy by N. S. Leskov. It involves analyzing the language of the notes which determines their function. The neutral lexical and grammatical composition of the notes to the English text ensures their referential function while the use of deictic elements in the French notes, namely first-person pronouns, informs the latter ones a phatic function. The paper examines the objects of the notes, most of which relate to the religious discourse sphere. The study reveals the specifics of commenting which is more detailed in the English text. Special attention is paid to the notes related to fiction. A wide range of works is covered by the notes in the French translation, including those indirectly related to the text of the novel. The author also dwells on the notes concerning names and historical events, which turn out to be more informative in English translation and more affective in the French one.
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Nádvorníková, Olga. "Differences in the lexical variation of reporting verbs in French, English and Czech fiction and their impact on translation." Languages in Contrast 20, no. 2 (October 6, 2020): 209–34. http://dx.doi.org/10.1075/lic.00016.nad.
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Abstract The aims of this paper are to analyse differences in the degree of lexical variation (type/token ratio and hapax/token ratio) of reporting verbs in reporting clauses placed medially or in postposition in English, French and Czech fiction and to evaluate their consequences in translation, especially in regard to explicitation/implicitation. We expect that, in translations from a language with a low degree of lexical variation of reporting verbs into a language with a high degree of lexical variation, the frequency and the degree of explicitation will be higher than in translations involving languages less different with respect to lexical variation. The analysis, relying on data extracted from the InterCorp multilingual corpus, proposes a classification of reporting verbs based on the type and amount of information conveyed, which allows evaluating the degree of explicitation operated in translations. The results show that most shifts involve only the neutral reporting verb say/dire, replaced by a stylistically more specific synonym or by a verb explicitating information obvious from the context. This suggests that modifications of reporting verbs in translation are motivated primarily by respect for the stylistic norm of the target language and the degree of acceptability of the repetition of the neutral reporting verb.
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Fernández Rodríguez, Carmen. "An Analysis of Octave Ségur’s Translation of Maria Edgeworth’s Belinda (1801) into French." Revista Alicantina de Estudios Ingleses, no. 29 (November 15, 2016): 91. http://dx.doi.org/10.14198/raei.2016.29.05.
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The Anglo-Irish author Maria Edgeworth (1768-1849) became very famous in Britain at the turn of the nineteenth century thanks to her pedagogical works, regionalist and feminocentric novels, whose translations were eagerly awaited on the Continent. This paper analyses a hitherto totally unexplored field of research within Edgeworth studies: the French translation of Edgeworth’s most important English society novel, Belinda (1801), from the point of view of gender and translation studies. For this purpose, we will take into account the particular context of the work, its main features in English and French, and the particular procedures adopted by the French translator to transform Edgeworth’s tale into moral fiction for women. Octave-Henri Gabriel, comte de Ségur, adapts Belinda to the taste of French readers by sacrificing both the macrostructural and microstructural features of the source text. Despite the success of the book in France, Bélinde (1802) is not comparable to the author’s original idea, as the textual history of Belinda reveals. Edgeworth’s book deals with controversial issues at that time and features her most memorable female character, which is distorted in the French text. Ultimately, this paper confirms that the publication of Ségur’s translation has consequences on the transmission of Edgeworth’s oeuvre in other European literatures and on her image as a feminist writer.
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Mallier, Clara. "Tenses in translation: Benveniste’s ‘discourse’ and ‘historical narration’ in the first-person novel." Language and Literature: International Journal of Stylistics 23, no. 3 (July 31, 2014): 244–54. http://dx.doi.org/10.1177/0963947014536507.
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This article deals with Emile Benveniste’s theory of enunciation (see ‘Subjectivity in Language’ and ‘The Correlations of Tense in the French Verb’ in Problems in General Linguistics, 1971 [1966] and ‘L’appareil formel de l’énonciation’ in Problèmes de linguistique générale, tome 2, 1970), in particular his distinction between historical narration and discourse, and the way it applies to the translation of first-person fiction. In French narratives, the main tense of discourse is the passé composé, which is related to the time of enunciation, while the tense of historical narration is traditionally the passé simple, which is related to the moment of the events reported. The passé composé thus draws attention to the narrating I’s retrospective gaze, while the passé simple reflects the experiencing I’s perspective within the story. This raises complex issues of translation because the narrative use of the passé composé has no equivalent in English, so that the distinction between the perspectives of the retrospective narrator and of his former self are expressed differently in the two languages. This article explores the impact of this phenomenon on four different French translations of Fitzgerald’s The Great Gatsby (Llona, 1926; Tournier, 1996; Wolkenstein, 2011 and Jaworski, 2012).
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Edwards, Robert Roy. "“Lessons meete to be followed”: The European Reception of Boccaccio’s “Questioni d’amore”." Textual Cultures 10, no. 2 (October 18, 2018): 146–63. http://dx.doi.org/10.14434/textual.v10i2.1075.
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The “Questioni d’amore” from Giovanni Boccaccio’s Filocolo were both works of imagination and forms of cultural capital in medieval and early modern Europe. Translations into French, Spanish, and English resituated the Questioni into new contexts of reading, reception, and social use. Prefaces and paratexts give direct evidence of recontextualizations within political structures, cultural programs, and regimes of self-fashioning. These recontextualizations depend to a significant extent, however, on Boccaccio’s fiction itself. If the Questioni are stabilized into forms of exemplary meaning, their aesthetic tensions remain in both the mimetic narratives and the hermeneutic frames.
Dissertations / Theses on the topic "French-Canadian fiction – Translations into English"
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Wolfgang, Bonnie J. "The silence of the forest : a translation from French to English with analysis and literature review." Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1033635.
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The Central African Republic is a small country located in the center of Africa. It is a very young nation in terms of political independence, but as the CAR emerges as a nation, it has begun to produce valuable authors who write for the French speaking world. This thesis is an attempt to bring part of the CAR's literature to the United States.Le Silence de la Foret was written by Etienne Goyemide and not only describes the culture of the mainstream population of the CAR, but also that of Pygmies. Although the book is a novel, the cultural aspects are not fictitious. This thesis is a translation of Goyemide's novel into English so that it can be made accessible to the English speaking world.The process of translating such a literary work required and increased knowledge and understanding of both French and English. In attempting to capture the style and tone of the author, careful attention was given to such aspects as tense, syntactic structures, register and vocabulary. A chapter of the thesis is devoted to describing the problems encountered during translation and the reasoning for the translations chosen.Department of English
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Milanovic, Eva. "Reflections translating Camille Deslauriers into English and Angie Abdou into French." Mémoire, Université de Sherbrooke, 2012. http://hdl.handle.net/11143/5708.
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This thesis project involves the translation of a selection of short stories by Camille Deslauriers, a Québécois writer, from French into English, as well as the translation of a selection of short stories by Angie Abdou, a Western English-Canadian writer, from English into French. The thesis is divided into four chapters into which the translations have been inserted. The chapters provide an introduction and commentary to the translations. I begin by giving a brief overview of the importance of literary translation in Canada as well as a short description of Québécois and English-Canadian short fiction.This section introduces the two authors that have been chosen for this thesis, Camille Deslauriers and Angie Abdou, as well as their collections of short stories, Femme-Boa and Anything Boys Can Do respectively. I discuss various approaches to translation, literary translation, linguistic issues, the translation process, and the issue of mother tongue and directionality. Following the two introductory chapters are the translations. I have translated nine of Camille Deslauriers' short stories from Femme-Boa from French into English, and three of Angie Abdou's short stories from Anything Boys Can Do from English into French. In both cases, these are the first translations to be done of these authors' works. I then go on to describe certain challenges posed by the translations, giving examples of strategies adopted to resolve the problems. In the final chapter, I reflect upon the translation process as a whole, in light of the revisions done by both of my thesis advisors, in terms of vocabulary, syntax, bilingualism, and biculturalism.This reflection enables me to synthesize the knowledge that I acquired through the whole translation experience.
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Sauble-Otto, Lorie Gwen. "Writing in subversive space: Language and the body in feminist science fiction in French and English." Diss., The University of Arizona, 2001. http://hdl.handle.net/10150/279786.
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This dissertation examines the themes of subversive language and representations of the body in an eclectic selection of feminist science fiction texts in French and English from a French materialist feminist point of view. The goal of this project is to bring together the theories of French materialist feminism and the theories and fictions of feminist science fiction. Chapter One of this dissertation seeks to clarify the main concepts that form the ideological core of French materialist feminism. Theoretical writings by Monique Wittig, Christine Delphy, Colette Guillaumin, Nicole-Claude Mathieu provide the methodological base for an analysis of the oppression of women. Works by American author Suzy McKee Charnas and Quebecois author Elisabeth Vonarburg provide fictional representations of what Wittig calls "the category of sex". Imagery that destabilizes our notions about sex is studied in Angela Carter's The Passion of New Eve. French materialist feminism maintains that the oppression of women consists of an economical exploitation and a physical appropriation. The second chapter of this dissertation looks at images of women working and images of (re)production in science fiction by Quebecois authors Esher Rochon, Louky Bersianik, Elisabeth Vonarburg, and American authors Ursula Le Guin, Joanna Russ, Marge Piercy, James Tiptree, Jr., Suzy McKee Charnas and Octavia Butler. The third chapter examines the theme of justified anger, as expressed in feminist science fiction, when women become aware of their own oppression. In addition to authors already mentioned above, I take examples from works in English by Kit Reed & Suzette Haden Elgin, and in French, by Marie Darrieussecq, Joelle Wintrebert and Jacqueline Harpman. Chapter Four seeks to show the importance of the act of writing and producing a text as a recurring theme in feminist science fiction. Highlighted examples from works by many authors including Elisabeth Vonarburg and Suzette Haden Elgin are representational of what Wittig calls "the mark of gender", the use of pronouns, marked speech and linguistic experimentation and invention.
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Veillette, Marie-Paule. "La représentation de la folie dans l'écriture féminine contemporaine des Amériques." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ57482.pdf.
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Toniolo, Giuditta. "Translating South Africa's transition : Ivan Vladislavi*c's Missing persons in French." Thesis, 2008. http://hdl.handle.net/10413/1125.
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This short dissertation is based on the comparative analysis of Ivan VladislaviC's short-story collection, Missing Persons (1989) and its French (Belgian) translation, Portes Disparus (1997). The thematic concerns of the source text - produced in South Africa at a time of "increasing socio-political upheaval and transition" (Wood 2001: 21) - add interest to such an investigation, providing insights into how South Africa's transition to democracy has been re-written for a Belgian Francophone audience. In line with recent debates in the field of Translation Studies, the study addresses the central problem of cross-cultural transfer, by embracing two essentially systemic approaches to the study of translated literature: Descriptive Translation Studies (or DTS), and Polysystem Theory. In addition, Lambert and Van Gorp's "Hypothetical Scheme for Describing Translations" is used to investigate and explain the strategies adopted by the translators to transfer concepts that are culturally and historically specific to a transitional South Africa. The initial hypothesis to be tested is that, while Portes Disparus is mainly the product of strategies of 'domestication', it also displays traces of 'foreignisation', which suggest broadly ideological, rather than purely linguistic, motivations on the part of the translators.Thesis (M.A.)-University of KwaZulu-Natal, Durban, 2008.
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Ladouceur, Louise. "Separate stages : la traduction du theatre dans le contexte Canada/Quebec." Thesis, 1997. http://hdl.handle.net/2429/6717.
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L'etude suivante porte sur la traduction du theatre dans le
contexte Canada/Quebec, de 1951 a 1994, et suit une methodologie
empruntee a l'Ecole de Tel-Aviv et a l a «critique productive»
d'Antoine Berman. Apres un survol des discours portant sur les
litteratures et les dramaturgies canadienne et quebecoise en
traduction, une analyse des douze pieces inscrites au corpus
permet d ' identifier la fonction attribuee au traduit dans le
contexte recepteur.
De la fin des annees 60 jusqu'au milieu des annees 80, les
dramaturgies franco-quebecoise et canadienne-anglaise sont
marquees par la question identitaire . La traduction repond alors
a un desir de creer un repertoire national, specifiquement
quebecois d'une part et specifiquement canadien de l'autre.
Cette specificite repose sur la mise en valeur de la difference,
ressentie comme essentielle a L'elaboration d'une identite
nationale distincte. Commune a chaque groupe linguistique, cette
mise en valeur de la difference fait toutefois appel a des
procedes fort divergents. D'un cote, la traduction franco-quebecoise
met l'accent sur sa propre difference, au moyen
d'adaptations qui prennent l'apparence d'un produit local et
masquent l'origine du texte canadien-anglais. De l'autre, la
traduction canadienne-anglaise souligne l ' alterite du texte
quebecois en insistant sur son caractere non menacant et evite la
cruciale question de la representation anglaise du joual, langue
emblematique du nouveau theatre quebecois.
A la fin des annees 80, les deux groupes linguistiques
rorapent avec ce modele et affichent de nouvelles tendances. Au
Quebec, ou le theatre canadien-anglais connait une popularity
grandissante depuis 1990, l'obligation speculaire cede le pas au
spectaculaire oblige et a la theatralite provocante qui servent a
legitimer l'emprunt anglo-canadien. De son cote, la traduction
anglaise du texte quebecois n'est plus confronted au joual mais
au probleme que pose l'esthetique verbale hautement stylisee des
pieces franco-quebecoises plus recentes. La traduction doit
alors attenuer une exuberance langagiere qui heurte les normes en
vigueur dans la dramaturgie canadienne-anglaise.
La forte polarisation observee dans les strategies de
traduction deployees de part et d'autre reflete l'asymetrie des
positions occupees par les dramaturgies produites dans les
langues officielles du Canada, ou l'anglais constitue la langue
de la majorite et ou le francais demeure minoritaire.
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Cabajsky, Andrea. ""Transcolonial circuits" : historical fiction and national identities in Ireland, Scotland, and Canada." Thesis, 2002. http://hdl.handle.net/2429/13301.
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'"Transcolonial Circuits': Historical Fiction and National Identities in Ireland, Scotland,
and Canada" explores the intersections between gender, canon-formation, and literary
genre in order to argue that English- and French-Canadian historical fiction was
influenced, both in form and content, by the precedent-setting fictions o f Scotland and
Ireland in the early nineteenth century. Conceived in the spirit o f Katie Trumpener's
Bardic Nationalism: The Romantic Novel and the British Empire (1997), this dissertation
extends Trumpener's examination of nineteenth-century British and Canadian romantic
fiction by exploring in greater detail the flow of ideas and literary techniques between
Ireland, Scotland, and English and French Canada. It does so in order to revise critical
understandings of the formal and thematic origins and development of Canadian
historical fiction from the nineteenth century to the present.
Chapter One functions as a series of literary snapshots that examine historically
the critical and popular reception of novels by Maria Edgeworth and Sydney Owenson in
Ireland, Sir Walter Scott in Scotland, John Richardson, William Kirby, and Jean
Mcllwraith in English Canada, and Philippe Aubert de Gaspe and Napoleon Bourassa in
French Canada. I pay particular attention to the issues o f gender and political ideology as
inseparable from the history of the novel itself. In Chapter Two, by focussing on the
travel trope, I examine in detail how Irish, Scottish, and Canadian writers transformed the
investigative journeys of Samuel Johnson and Arthur Young into journeys of resistance
to the dictates of the metropolis. Chapter Three focuses on the complications of marriage
as a metaphor o f intercultural union. It pays particular attention to the intersections
between gender, sexuality, and colonial identity. The Conclusion extends the concerns
raised in the thesis about the relationship between historical writing and national identity
to the late-twentieth-century Canadian context, by examining the adaptation of literary
and historiographical conventions to the medium of television in the CBC/SRC television
series Canada: A People's History, which aired in 2001-02.
Books on the topic "French-Canadian fiction – Translations into English"
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Shek, Ben-Zion. French-Canadian & Québécois novels. Toronto: Oxford University Press, 1991.
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La guerre, yes sir! Montréal: Stanké, 1996.
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La guerre, yes sir!: La trilogie de l'âge sombre 1. Montréal: Stanké, 1998.
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Am I disturbing you? Toronto: House of Anansi Press, 1999.
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Bissonnette, Lise. Affairs of art: A novel. Concord, ON: Anansi, 1996.
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Huston, Nancy. Instruments des ténèbres: Roman. [Arles]: Actes Sud, 1996.
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Instruments des ténèbres: Roman. Arles: Actes Sud, 2005.
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Huston, Nancy. Instruments of darkness. Toronto: McArthur & Co., 1999.
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Instruments of darkness. Boston: Little, Brown and Co., 1997.
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Huston, Nancy. Instrumente der Finsternis. München: Luchterhand, 1998.
Find full textBook chapters on the topic "French-Canadian fiction – Translations into English"
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Kimber, Gerri. "‘Among Wolves’ or ‘When in Rome’?: Translating Katherine Mansfield." In Katherine Mansfield and Translation. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9781474400381.003.0009.
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Following a brief discussion of what constitutes a ‘good’ translation, this chapter seeks to demonstrate how the translation of Katherine Mansfield’s fiction into French is a complex process, which has rarely been executed well. There are fundamental problems in translating fiction such as Mansfield’s, where literary nuances such as the use of free indirect discourse, her very precise punctuation, together with her particular brand of humour, which includes specific idiolects, seldom survive translation from English to French. An examination will also be made of more than one translation of the same text, where such translations exist, to determine whether these newer translations offer a more accurate rendering of Mansfield’s original texts.
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Moore, Helen. "Princely Reading or a Wanton Book?" In Amadis in English, 43–108. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198832423.003.0003.
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In sixteenth-century England Amadis was known to elite readers primarily through the French version published in the 1540s. A wider audience gained access at the end of the century, with the first English translations by Anthony Munday of book I (1590) and book II (1595), and the anonymous book V (1598). In this period Amadis was both applauded as the reading of ‘mighty potentates’ and condemned as a ‘wanton’ book, full of extreme fabulations. This dichotomy structures the chapter, which begins by examining Amadis as the favourite book of the Spanish and French courts, lauded as a repository of eloquence and a book of fine love. Amadis features widely in English poetry, fiction, and drama of this period, for example in the works of Sidney, Spenser, and Greene, as an exemplar of romance reading.
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Johnson, Rebecca C. "Fictions of Connectivity." In Stranger Fictions, 123–45. Cornell University Press, 2021. http://dx.doi.org/10.7591/cornell/9781501753060.003.0005.
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This chapter discusses the Arabic translation of Alexander Dumas's Count of Monte Crist. The Arabic translations of Cristo demonstrate that what Holt calls the “thick nexus of global finance and Arabic fiction” manifests itself above all as a problem of translation. Scenes of exchange necessarily invoke problems of translation, which in the context of nahḍa debates about the relative benefits of Arab and European cultures and economies puts special emphasis on what Lydia Liu has called “the meaning-value” of the sign. Especially in systems of exchange like global markets and literary translations, neither meaning nor value are intrinsic but are what Gayatri Spivak has called textual, in that they have no adequate literal referent. Fictions of connectivity like Monte Cristo, which focus on the global mobility of capital and bodies, are ideal places to see this instability in meaning-value. The Count is never only the Count, even in French. He is a vanishing semblance, always appearing in translation: Dantès, an English lord, and Sindbad the Sailor — himself an avatar of circulation — too. That Monte Cristo is a novel-length exploration of transnational circulation explains its singular popularity during the nahḍa's own world-making projects. The translations of Monte Cristo embed the economics of their literary relation with Europe into their techniques.
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Kukkonen, Karin. "Lennox: Repertoires of Embodiment." In 4E Cognition and Eighteenth-Century Fiction, 69–106. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190913045.003.0004.
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This chapter begins with a systematic comparison of seventeenth- and eighteenth-century styles of embodied language through versions of the same narrative in French and English. Lennox’s work as a cultural broker and translator aims not only to bring narratives rooted in the seventeenth century into her contemporary literary world but also to extend their repertoires of embodied language. In her translations, she integrates instances of inner and outer bodily perception and grounds direct speech in the characters’ bodies. With Lennox’s literary magazine The Lady’s Museum, it will be shown how the novel and its embodied style are embedded in a larger world of book learning. The relations that Lennox establishes between the serialised novel, short forms like the maxim, and educational treatises document an understanding of the role of the novel that differs from the indices and abridgements around Samuel Richardson’s Pamela and Clarissa.
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Davison, Claire. "Impressions of Translation: Ford Madox Ford’s Cosmopolitan Literary Crossings." In Cross-Channel Modernisms, edited by Derek Ryan and Jane A. Goldman, 50–68. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474441872.003.0004.
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The Channel crossings in Ford’s family history are complex. During the war, he wrote propaganda books triangulating English, French and German culture. After returning from the Western Front, he emigrated to France. His formative collaboration with Joseph Conrad instilled an ideal of the conscious artistry of French fiction (exemplified by Stendhal, Flaubert, and Maupassant). Ford was delighted when The Good Soldier was described as ‘the finest French novel in the English language’. His own work bears out his injunction to translate English sentences into French and then back into English as a means of clarifying and purifying them. However, Anglo-French crossings are only part of Ford’s story. The trans-Manche for him was always overlaid with the transatlantic. This is evident in the magazines he edited: the English Review, which published Tolstoy, James, and President Taft; and the transatlantic review, which was published in New York as well as London and Paris, and which increasingly gave space to the American expatriates in Paris. Ford’s cultural internationalism – his belief in a ‘Republic of Letters’ – foreshadows recent discussions of 'world literature' – nowhere more so than in his last and immense comparative study The March of Literature (1938).
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Stanley, Rachael. "‘Making a Stay in X’: Suppressing Translation in ‘An Indiscreet Journey’." In Katherine Mansfield and Translation. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9781474400381.003.0006.
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This chapter discusses Mansfield’s depiction in her diary and in the short story, ‘An Indiscreet Journey’, of her visit to the French town of Gray during the First World War to meet her newly taken lover, Francis Carco. Mansfield’s description of this event involves a slippage between English and French, revealing a degree of instability in her writing that deliberately undermines her omnipotence as narrator. By carefully locating those moments in her retelling of this journey where we find translation being silently undertaken, where phrases are rendered in ungrammatical or non-idiomatic English, we can open up where the fictional account of this event diverges from the ‘real’ event that took place on 19th February 1915. The French language is revealed to be a marker of Mansfield’s attempt to repress and make unreal the more troubling and upsetting realities not only of war, but of a doomed love affair.
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"Au Plaisir : Beckett and the neatness of identifications." In Samuel Beckett and Translation, edited by José Francisco Fernández, Mar Garre García, José Francisco Fernández, and Mar Garre García, 177–92. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474483827.003.0011.
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In this chapter, John Pilling explores the creative dualisms and parallels present in the bulk of Beckett’s writing, namely: two languages (English and French), at least two genres (prose fiction and plays with occasional poems) “and an almost continuous exercise in self-extension”. Pilling alludes to Beckett’s opportunities to address the apparent permanence of a priori conditions of possibility in his Proust essay, in which he claimed that “whoever lacks the capacity to destroy (‘uccidere’) reality will also lack the capacity to recreate it”. The essay uses concepts of representation and self-identity derived in part from philosophy (Leibniz, Kant), buttressed by contexts in Beckett’s personal writings (letters, the German Diaries), to estimate the conditions for the possibility of translation, finishing with specimen examples from Beckett’s French texts reaching notionally ‘impossible’ conclusions in order to demonstrate the kinds of ‘relation’ operative in instances of ‘non-coincidence’.
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Gelbart, Nina Rattner. "Chemist and Experimentalist." In Minerva's French Sisters, 212–55. Yale University Press, 2021. http://dx.doi.org/10.12987/yale/9780300252569.003.0012.
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This chapter introduces chemist Marie Geneviève Charlotte Thiroux d'Arconville, who studied organic decomposition, echoing Newton's view, in Query #30 of the Opticks, that decay was a natural breakdown process in which substances were reduced to their component elements. The chapter then tracks her early life, in which she was born into a rich tax farmer family in 1720, and the rudimentary experiments she performed as a child. It also narrates her shift to intellectual pursuits after she contracted smallpox at twenty-two. Turning her energies to learning, d'Arconville taught herself languages starting with English and Italian, translating over the many next decades literary and scientific works that she admired, and publishing many original ones of her own on morality, history, fiction, and science. The chapter then presents the intellectuals with whom d'Arconville developed a close kinship: chemist Pierre-Joseph Macquer, doctor chemist François Paul Lyon Poulletier de la Salle, and surgeon Jean-Joseph Sue.
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Auger, Peter. "Curating the Protestant Imagination." In Du Bartas' Legacy in England and Scotland, 77–105. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198827818.003.0004.
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Even before a full translation existed, there were diverse English responses to Du Bartas’ insistence that divine verse should peg human creativity to the mind of the Creator. William Scott’s Model of Poesy sets this pessimistic view against more positive, socially engaged arguments closer to Sir Philip Sidney’s Defence of Poesy. Scott and Sidney both translated Du Bartas, as did Robert Barret, whose verse chronicle The Sacred Warr is an early poem that faithfully follows Du Bartas’ ‘paterne’. Despite Edmund Spenser’s reported interest in Du Bartas, his poems (especially The Faerie Queene) suggest that human ignorance requires poets to write about non-fictional truths using allegorical structures. Those who did not read French might have encountered Du Bartas in Elizabethan drama, as a character in Christopher Marlowe’s Massacre at Paris, or in paraphrased extracts in George Peele’s David and Bethsabe and the anonymous Taming of a Shrew.
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Li, Shuangyi. "A “Spiritual Journey” Through the “Middle” Kingdom: Travel and Translation in François Cheng’s Translingual Novel." In Narratives Crossing Borders: The Dynamics of Cultural Interaction, 429–54. Stockholm University Press, 2021. http://dx.doi.org/10.16993/bbj.s.
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The Franco-Chinese migrant writer François Cheng (Grand Prix de la francophonie de l’Académie française 2001) is the first French Academician of Asian origin. His French- language novel Le Dit de Tianyi (Prix Femina 1998, rather differently translated into English as The River Below) recounts the protagonist’s life trajectory across the turbulent twentieth century, from wartime China to France and back to a radically changed Communist China. The protagonist’s cross-cultural and often painful migrant experience largely mirrors that of the author, yet with the final part of the novel being completely fictional. The novel’s generic and stylistic hybridity demonstrates the author’s strenuous effort to investigate the literary possibilities of comparatively incorporating both Western and Eastern cultural heritages in the creative process. Although Le Dit is not formally categorized as a travelogue, travel motifs permeate the novel. The tripartite structure – ‘epic of departure’, ‘detouring journey’, ‘myth of return’ – is redolent of established models of travel since Odyssey. The characterization of the protagonist as a ‘wandering soul’ (âme errante) going on artistic pilgrimages as well as arduous quests for knowledge both in China and to the West, further complemented by the constant longing and attempt to be reunited with loved ones, is among the key features of travel writing largely shared by both Western and Chinese traditions. These travel motifs interact dynamically with the fundamental conception of the novel as both a Bildungsroman and Künstlerroman that linguistically translates, epistemically transforms, and spiritually transcends the individual’s experience of migrance (migration and errance). Such an interaction, then, inspires informed imagination and provokes lateral thinking about cultural representations, and entails a transcultural aesthetic that simultaneously revisits two great cultural heritages, engendering something ‘new’, or indeed, ‘old’. Drawing on theories of cultural translation (initiated notably by Homi Bhabha) and transculturality (Graham Huggan; Wolfgang Welsch), this article examines how the wide range of travel motifs function as a consistent structural and thematic frame and bring frictional qualities and effects to Cheng’s translingual novel. And I argue that these travel motifs ultimately create a liminal space where both European and Chinese literary and artistic traditions are set in motion towards a planetarian possibility of cultural ‘transcendence’ (Cheng’s own word).