Дисертації з теми "Traductions françaises de la Bible"
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Taï-Masgnaud, Ting-Li. "Traductologie théorique et approche contrastive : recherches linguistiques et philologiques sur l'Evangile de Jean et ses traductions chinoises et françaises." Limoges, 2002. http://www.theses.fr/2002LIMO2006.
Повний текст джерелаBellenzier, Caterina. ""Bible anglo-normande" e "Bible de Jean de Sy" : volgarizzamenti biblici a confronto. Edizione e studio del libro del "Deuteronomio"." Electronic Thesis or Diss., Sorbonne université, 2024. http://www.theses.fr/2024SORUL048.
Повний текст джерелаThe Bible anglo-normande (B.a.n.) and the Bible de Jean de Sy (BJdS) are two 14th-century French biblical translations of considerable interest, but still largely unexplored. The B.a.n. is an anonymous translation of the Vulgate, of which three copies survive. In addition to being one of the earliest extant complete French biblical versions, the B.a.n. is probably the first full prose vernacular Bible produced in England. In recent years, a renewed interest in the B.a.n. has led to the edition of individual books, but the work remains largely unpublished.The BJdS was initially conceived as a full prose translation of the Bible, commissioned by the king of France Jean le Bon to the Dominican friar Jean de Sy. However, it was interrupted in 1356, with the capture of the sovereign at the Battle of Poitiers. The work is preserved in a single acephalous manuscript containing only the Pentateuch, the ms. Paris, Bibliothèque nationale de France, fr. 15397, a well-known masterpiece of medieval illumination. Only small parts of the text and of its rich exegetical gloss have been published so far.The debate on the relation between the two Bibles is a point of special interest: while at the end of the 19th century S. Berger considered the BJdS an excellent revision of the B.a.n., in 2007 P. Nobel suggests that the two translations descend from the same lost vernacular source. Other scholars, on the contrary, affirm the independence of the two works, without providing the support of sufficient evidence.The present study aims to provide a critical edition of the book of Deuteronomy of the B.a.n. and the BJdS and to clarify the relationship between the two Bibles through the comparative analysis of the two translations. The choice of Deuteronomy allows us to examine a book of the Bible which alternates short narrative passages with legal and religious prescriptions, unlike Leviticus, in which the legislative aspect predominates. Moreover, Deuteronomy does not present the reiteration of fixed phrases that turn entire chapters of Numbers into monotonous lists, perhaps less significant from the point of view of translation. The present study is therefore intended as a first step towards a more complete edition of two important medieval French translations of the Bible, as well as a starting point for future linguistic, translation and lexical studies.The first chapter proposes a cultural-historical background of the two Bibles, with a special focus on their circulation contexts: 14th-century England and the royal court of Jean le Bon. It will also explore the BJdS's exegetical gloss and the potential connection between the B.a.n. and a 13th-century translation made in the Holy Land, the so-called Bible d'Acre.The second chapter investigates the relations between the two translations and their respective Latin sources. Within the vast tradition of the Vulgate, we will try to identify to which Latin family the sources used for the redaction of the B.a.n. and the BJdS belong. We will analyse in detail the textual evidence suggesting a revision on the Latin Vulgate in the two branches of the B.a.n. tradition.The third chapter deals with the controversial relationship between the B.a.n. and the BJdS, also through comparison with other medieval translations (Bible d'Acre and Bible du XIIIe siècle).The fourth chapter is dedicated to the linguistic analysis: for the B.a.n., we will mainly examine the ms. L, manuscrit de surface of the edition; for the BJdS, a preliminary study of the most relevant features will be conducted, in the absence of other linguistic studies on the witness.The description of the manuscripts and the explanation of the criteria adopted for the constitutio textus (fifth chapter) precede the critical edition of the book of Deuteronomy in the B.a.n. and the BJdS (sixth chapter). Both editions are followed by commentary notes; after Jean de Sy's text we present a list of the sources mentioned in the gloss
La Bible anglo-normande e la Bible de Jean de Sy sono due volgarizzamenti biblici in lingua d’oïl del XIV secolo di considerevole interesse, ma tuttora scarsamente indagati. La Bible anglo-normande (d’ora in avanti B.a.n.) è una traduzione anonima della Vulgata, trasmessa da tre manoscritti.1 Oltre a costituire una delle prime versioni complete della Bibbia in francese esistenti, la B.a.n. è verosimilmente il più antico volgarizzamento biblico integrale in prosaprodotto in Inghilterra. Negli ultimi anni, un rinnovato interesse per la B.a.n. ha portato all’edizione di singoli libri, ma l’opera rimane in gran parte inedita. Di conseguenza, restano ancora da chiarire aspetti relativi alla collocazione culturale del testo, alle sue fonti e alla circolazione. La Bible de Jean de Sy (BJdS) rientra invece in un progetto di traduzione integrale della Bibbia in prosa commissionato dal re di Francia Jean le Bon al frate domenicano Jean de Sy. Il lavoro fu però interrotto nel 1356, con la cattura del sovrano nella battaglia di Poitiers. L’opera ci è pervenuta attraverso un unico manoscritto acefalo contenente solo il Pentateuco, il ms. Paris, Bibliothèque nationale de France, fr. 15397, conosciuto anche come capolavoro dell’arte libraria medievale. Nonostante la BJdS sia stata definita «la plus gigantesque tentative de traduction française et d'exégèse de la Bible qui ait vu le jour au Moyen Age» (AVRIL 1972, p. 123), ad oggi sono stati pubblicati solo brevi estratti del volgarizzamento e della ricca glossa esegetica che accompagna il testo. Il controverso rapporto tra le due traduzioni bibliche rappresenta un nodo di primario interesse: se alla fine dell’Ottocento Berger ritiene che la BJdS sia un’ottima riscrittura della B.a.n., nel 2007 Nobel avanza l’ipotesi che i due volgarizzamenti discendano dalla stessa fonte volgare andata perduta. Altri studiosi affermano invece l’indipendenza delle due opere, pur senza fornire il supporto di prove. Il presente studio mira a fornire un’edizione critica del libro del Deuteronomio della B.a.n. e della BJdS e a chiarire la relazione tra le due bibbie mediante l’analisi comparativa dei due volgarizzamenti. Il campo d’indagine è circoscritto al Deuteronomio, in quanto sezione completamente inesplorata di entrambe le traduzioni, al contrario della Genesi e dell’Esodo, dei quali sono disponibili per la B.a.n. l’edizione REVOL 2006 e il recente studio di SCHWALLER 2023. La scelta del Deuteronomio consentirà di esaminare un libro della Bibbia dal carattere eterogeneo, che alterna brevi brani narrativi a prescrizioni giuridico-religiose a cominciare dalla rievocazione dei Dieci comandamenti da parte di Mosè (Dt V, 1-21), diversamente dal Levitico, nel quale l’aspetto legislativo è nettamente predominante. Inoltre, il Deuteronomio è esente dalla reiterazione di formule fisse che riducono interi capitoli del libro dei Numeri a monotoni elenchi, forse meno significativi dal punto di vista della traduzione. Invitiamo dunque a considerare il presente lavoro come un primo passo verso un’edizione più completa di due importanti traduzioni medievali della Bibbia in francese, nonché come base per futuri studi traduttologici, linguistici e lessicali. Il capitolo 1 propone un inquadramento storico-culturale delle due traduzioni, con particolare attenzione ai rispettivi contesti di circolazione: l’Inghilterra del XIV secolo e la corte reale di Jean le Bon. Si approfondiranno inoltre l’esteso commento esegetico della BJdSe la potenziale relazione tra la B.a.n. e una traduzione duecentesca confezionata in Terra Santa, la cosiddetta Bible d’Acre (...)
Wanono, Anne. "La Bible en "françois" : une traduction médiévale de la vulgate : édition critique des livres de 'Judith' et 'Esther' dans la Bible du XIIIe siècle." Paris 4, 2001. http://www.theses.fr/2001PA040181.
Повний текст джерелаHow can we study the Bible in François amidst other complete translations of the Vulgate made during the second half of the XIIIth century ? Thanks to a reevaluation of prior works and a study of codices of vol. I of that Bible, the literary study shows the specificity and aim of the translation of the whole Vulgate. The critical edition of the Judith and Esther books based on the manuscript Paris, BNF, fonds fr. 899 also synoptically gives a transcription of the manuscript Paris, Arsenal 5056 : confronting these two translations made at the same time allows us to analyse the work of a team of translators. The text in François is indeed mainly linked to the Vulgate. Without thinking that it is ruled by a Latin model, when it is compared with the Latin (source) and the François (aim), between the tradition of the Vulgate and the Bible in François, we can understand that particular specificity
Salvador, Xavier-Laurent. "Dire le vrai dans la Bible au Moyen Age : Les particules du discours dans les traductions en prose vernaculaire du livre de la Genèse : (Bible du XIIIe et Bible Historiale)." Paris 4, 2003. http://www.theses.fr/2003PA040099.
Повний текст джерелаThe work presented in this thesis attempts to define the system of discourse particle uses characterizing the argumentative rewriting, with an educational objective, of the books of Genesis found in the Bible Historiale of Guyart-des-Moulins and in the 13th Century Bible, intended to compensate for the weakening felt in the translation from Latin, the lingua sacra, to French prose, lingua vulgaris. This work, after having recalled the historic context of the appearance of the Bibles in vernacular prose, proposes an edition of the translation of the Vulgate in the Bible Historiale, then justifies the linguistic framework within which the analysis of the particles of speech takes place: these Bibles break with the tradition of Bibles in verse and venture into a prose which tries to grasp the fundamentals of their writing by submitting to the Old Testament message as read and translated by 13th Century Christians. The naming of the presence of the discourse particles, the indicators of subjective modality (derechief, or, lors, adecertes), jonctors and connectors (car, mais, ainz, donc) in both texts, but also with regard to the Latin of Jerome, emphasizes on the one hand the standardization of the speech the translators used, and on the other hand the emergence of an additional actor's voice, that of the translator, within the Biblical polyphony. The synthesis of these uses defines the educational nature of the medieval translations, which try to say that they state the truth, i. E. To demonstrate the verisimilitude of their efforts. This work concludes by defining the Bible of the XIIIth Century and the Bible Historiale as two authentic works of educational rewriting based on the resemblance between a text and its source. The text is ostentatious: it separates the form and the substance, the packaging from the content, and supports its demonstration of the Truth by the reading of a translated text, a proof made coherent with the Truth of the Christian teachings which are associated with it
Placial, Claire. "Pour une histoire rapprochée des traductions. Étude bibliographique, historique et linguistique des traductions en langue française du Cantique des cantiques publiées depuis la Renaissance." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040254.
Повний текст джерелаThe primary aim of this thesis is to identify and to give a bibliographical description of all the French translations of the Song of Songs that have been published in print since the Renaissance, regardless of their editorial support, date and place of publication. A close reading of these translations will then allow us to determine, following Antoine Berman’s method, the “translation project” and the “translator’s horizon”, by comparing them with their source texts (mostly in Hebrew and Latin) and by situating them in their historical, editorial and religious contexts. Accordingly, a number of case studies have been carried out : first, considering theoretical problems of translation, then by comparing a selection of key excerpts from the text, the entire text corpus has been analyzed from both a diachronic and a synchronic perspective. The entire study illustrates the extent to which each translation is the embodiment of a specific reading of the Song of Songs
Adam, Hamid Abdel Rahman. "Etude comparative des traductions françaises du Coran." Lyon 3, 1995. http://www.theses.fr/1995LYO3A002.
Повний текст джерелаVianès, Laurence. "La chaine monophysite sur Ezéchiel 36-48 : présentation, texte critique, traduction française, commentaire." Paris, EPHE, 1997. http://www.theses.fr/1997EPHE5002.
Повний текст джерелаBallestero, de Celis Carmen. "La construction avec aunque : définition, sélection modale, traductions françaises." Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2010. http://tel.archives-ouvertes.fr/tel-00911635.
Повний текст джерелаChyi, Songling. "Les traductions françaises et chinoises d'Ulysses de James Joyce." Paris 3, 2005. http://www.theses.fr/2005PA030049.
Повний текст джерелаThis research project compares French and Chinese translations of James Joyce's Ulysses, applying to the ethical and poetic approaches of Antoine Berman to translation criticism, and the arguments of Walter Benjamin in his article " The Task of the Translator ". Started with the foreign and strange elements raised in a detailed reading of Ulysses and its translations, we propose that the desire of communication is not necessarily the best way to deal with literature, since the dynamic writing of Joyce is open gradually to plurality, to otherness, which is the sign of its own survival. From that, could we still talk about a good translation of Ulysses with an absolute criterion, " the same meaning "? We see that the role of the translator is determinant if his desire to otherness is not already driven back by the dilemma of faithfulness/infidelity
Nilsson, Hugo. "Analyse des deux traductions françaises du roman Solstorm d’Åsa Larsson." Thesis, Högskolan Dalarna, Franska, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:du-34468.
Повний текст джерелаHaving a major success in France, the Swedish novelist Åsa Larsson has with her crime novels starring Rebecka Martinsson contributed to the intercultural comprehension between Sweden and France over the last 15 years. The first book in the Rebecka Martinsson saga, Solstorm, was translated into French in 2006 under the title Horreur Boréale and retranslated in 2020 under the title Les nouveaux prophètes. There are roughly two possible strategies of translation: foreignization (adaption to the translated language) and domestication (adaption to the target language). The hypothesis of Antione Berman states amongst others that translations move diachronically towards the strategy of foreignization. The aim of this thesis is to analyse the two translations of Solstorm, examining whether the hypothesis of Berman could be confirmed or rejected. The method used was choosing 28 extracts containing typical “Swedish” phenomena (for instance the cursing, the dialect and the Swedish gastronomy) from the original version and analysing their translation, respectively. Our analysis shows that a large majority of extracts are translated in a domesticating style, and no tendency towards an increased use of the foreignizing strategy over time could be observed. The hypothesis of Berman could then not be confirmed through this analysis, but further studies of the original version are needed to confirm the results.
Sütterlin-Aussedat, Mathilde. "Les chaînes exegétiques grecques sur le livre de Jerémie (Chap. 1-4) : présentation, édition critique, traduction française, commentaire." Paris 4, 2006. https://tel.archives-ouvertes.fr/tel-01590478.
Повний текст джерелаThe Exegetical Greek Catenae on the Book of Jeremiah (chap. 1-4). Presentation, Critical Edition, Translation and Commentary. Exegetical Catenae are collections of excerpts from the biblical commentaries of the Church Fathers. They were compiled between the 6th century A. D. And the end of the Byzantine period. Two types of Catenae to the Book of Jeremiah exist : the first one quotes many patristic commentators, while the second uses only John Chrysostom and Theodoret of Cyrrhus. There also is an abridged version of the first type. In the first chapter of my thesis, after a general survey of the literary genre, the extant Catenae to Jeremiah are introduced, with special focus on the manuscript tradition and the authors that are quoted. The second chapter provides, for each Catena to Jr 1-4, an edition of the Greek text with a critical apparatus and a French translation. It is followed by an index of Greek words and an index of biblical quotations. Through a comparative analysis of the different Catenae, the third and fourth chapters study how they were written and how they were to be read ; they also analyse the exegetical themes they highlight, in order to show the aim of each catenist. In the fifth chapter, the Catenae to Jeremiah are compared to other published Catenae in order to give insight into how they relate to the genre but also what is specific to the Jeremiah Catenae. Indices of the authors mentioned and of commented biblical quotations, as well as a bibliography, are found at the end of the volume
Gammel, Jean-Philippe. "Les traductions françaises de The Picture of Dorian Gray d'Oscar Wilde." Metz, 1997. http://docnum.univ-lorraine.fr/public/UPV-M/Theses/1997/Gammel.Jean_Philippe.LMZ9715_1.pdf.
Повний текст джерелаThis study analyses the history of the french translations of oscar wilde's the picture of dorian gray. The seven translations of the novel tardieu (1895), jaloux et frapereau (1924), etienne (1951), hertz (1958), lack (1975), gattegno (1992), and crevier (1995) have been taken into account in order to determine their respective influence on the reception of wilde's work in france, as well as on the author's image. After a close examination of the original text that emphasizes the importance of wilde's revisions and discloses the multiplicity of the possible readings, the english and the french texts have been compared. This comparison exposes the many differences between the original text and its translations, as well as between the translations themselves: those are of uneven value. In order to determine the causes that led to those differences, i have tried to develop a method that does not only examine the texts of the translations and assess them according to clearly defined criteria, but that does also foreground each translator's personality, as well as the literary and cultural context in which he has worked. Even if this study should remain chiefly the analysis of a specific example, it offers an accurate view of the history of literary translation in france in the 19th and 20th century: on the one hand because several re-translations were necessary before the stage of a real satisfying translation of the novel was reached, on the other hand since translations aiming at adapting the text to the tastes and habits of french readers were required before translators could adhere more closely to the source language text. Finally, this study discloses that for most publishers a translation is primarily a commercial product and therefore its profitability prevails over its quality
Dueck, Evelyn. "L' étranger intime : les traductions françaises de l'oeuvre de Paul Celan." Aix-Marseille 1, 2010. http://www.theses.fr/2010AIX10084.
Повний текст джерелаGunasekera, Niroshini. "L'épreuve de l'étranger, traductions françaises d'écrivains sri lankais contemporains de langue anglaise." Thesis, Montpellier 3, 2017. http://www.theses.fr/2017MON30083/document.
Повний текст джерелаTranslation is a cultural matter. At first sight, it may appear as a search for equivalents in the transfer from one language to another. However, in depth translation analysis reveals much more than meets the eye. A literary text written in one language cannot be translated into another language without paying attention to its associated cultural background. It has become a truism today to say that individuals belonging to different cultures do not communicate in the same way; while the linguistic dimension is important, so is the cultural one, since cultural habits are at the root of all human actions.The title of this thesis, “The Trials of the Foreign: French Translations of Contemporary Sri Lankan Writers in English”, combines three key words: “culture”, “Sri Lanka” and “translation”. The broad research question we started out with is: how is it possible to convey Sri Lankan culture in French literary translation? The two countries are distant not only geographically but also in terms of practices and values. Therefore, a true encounter between East and West is at stake here, mediated by the English language, which the authors of the two Sri Lankan novels we study here chose as a medium of expression.In his or her attempt to identify viable equivalents of different cultural realities, the translator is confronted with decisions about whether differences should be mitigated or, on the contrary, preserved, in order to maintain the local colour. When cultural differences are smoothed over in translation and the target text contains very few traces, if any, of the source culture, the reader may have the impression of reading an original. On the other hand, when the source culture is given prominence, the translation has the potential to make the reader travel abroad, and gain new experience.The two literary works which make the object of our research, Michael Ondaatje’s Running in the Family (1982) and Shyam Selvadurai’s Funny Boy (1994), are imbued with Sri Lankan culture and pose significant challenges to translation. We draw on Lawrence Venuti’s (1995/2004) distinction between ethnocentric or domesticating translation (naturalisation) and foreignizing translation (dépaysement), while at the same time recognizing the importance of not taking this dichotomy for granted. And we assume, as Antoine Berman did, that translation is “openness, dialogue, blending and decentring” (1984: 16).We start by outlining a number of theoretical considerations about translation strategy, culture, and translating culture. We then carry out fine-grained analyses of the texts and endeavour to show how foreignization operates in Drôle de garçon (1998), the French translation by Frédéric Limare and Susan Fox-Limare of Selvadurai’s novel Funny Boy, and in Un air de famille (1991), the translation of Ondaatje’s Running in the Family by Marie-Odile Fortier-Masek. In the second part of our analysis, we focus on the strategy of domestication, which makes reading more fluent due to the mitigation of differences between cultures. Finally, we discuss some of the ways in which certain cultural facts remain untranslated, with implications for the integrity of the message, and the target readers’ experience of the text. We conclude that translation is indeed an encounter between cultures: a meeting that is fruitful and has the potential to enrich the literature of a new country, by allowing the reader to embark on a journey to a distant destination.Key words: culture, domestication, foreignization, Funny Boy, Michael Ondaatje, Running in the Family, Shyam Selvadurai, Sri Lanka, translation
Gao, Fang. "La traduction et la réception de la littérature chinoise moderne en France." Paris 8, 2008. https://acces.bibliotheque-diderot.fr/login?url=https://doi.org/10.15122/isbn.978-2-8124-4740-2.
Повний текст джерелаThis study aims to explore the translation and reception of modern Chinese literature in France. By placing the act of translation in the field of literary and cultural exchanges between France and China, this study tries to reflect on the role of the translation, and the way it works in the international exchanges between different nation’s literature, specifically in the Franco-Chinese literary exchanges. By means of focusing of translated modern Chinese literary works in France and conducting a phase-to-phase study on them, this thesis attempts to establish an overview of the translation and reception of modern Chinese literature in France within the theoretical framework of socio-criticism by Annie Brisset and the sociology by Pierre Bourdieu. The thoughts on three representative Chinese writers ― Lu Xun, Ba Jin and Lao She ― help to better understand the mechanism that operates in the translation and reception of modern Chinese literature in France unveil the influencing factors, and reveal the role of the translator, the editor and other mediators in the translation and reception of the literature in question in her host country
Shen, Shu. "Recherches sur les traductions françaises et chinoises des classiques grecs : étude comparative, linguistique et traductologique de versions françaises et chinoises d’Antigone de Sophocle." Limoges, 2014. http://aurore.unilim.fr/theses/nxfile/default/51490ecd-543a-40c6-9e9e-9e2aeb4d3be1/blobholder:0/2014LIMO2001.pdf.
Повний текст джерелаThis thesis is a theoretical and practical reflection on different versions of French and Chinese translation of Antigone - a Sophoclean tragedy of ancient Greek. It intends to discover the nature of translation, expose the problems in translation and show the distinctions between different language communities. The study is conducted on the basis of an old but rich literary corpus from the perspectives of translation studies and linguistics, by using interlinear and contrastive approaches. Principles and procedures that developed in the theoretical part are used in the commentary and practices of translation in order to remove doubts and expose the difficulties in translation. Moreover, both synchronic and diachronic methods are employed in the comparisons of the different versions of translation. As a result, the study firstly generalizes some methods of translating ancient literary texts, and then discovers the linguistic, textual and background problems in the translation of ancient Greek in French and Chinese; in the last part it identifies the universal solutions to literary translation as well as the particularities of translation activity in China. The study clarifies the spacio-temporal and lingo-cultural distances among these three civilizations and offers solutions to overcome the untranslatability according to the specific context. These results suggest that translation is an interdisciplinary science, which enriches the cultural heterogeneity and in which the translator plays the role of a mediator
Najari, Hossein. "Ard-Yašt de l'Avesta : texte, traduction, commentaire et glossaire." Paris, EPHE, 2008. http://www.theses.fr/2008EPHE5003.
Повний текст джерелаThe zoroastrian religion, allotted to Zoroastre, its prophet, comprises a sacred text: Avesta (: praise). This text is composed of five parts: Yasna; Visprad; Yašts; Xorda Avesta and Vidēvdād. The text which relates to our linguistic research belongs to the part of the Yašts. The Yašts are the collections of individual hymns, addressed to the divinities other than Ahura Mazdā. We have 21 Yašts which the 17e is called Ard Yašt. This Avestan text, in 61 stanzas, is devoted to Aú i: the goddess of the reward, the richness and the chance. Aú i is a very old goddess, who, after the appearance of the new faith, adapted to the religion of zoroastrianism. Ard Yašt carries a remarkable literary value. We will find there many beautiful images of the Iranian family, her ethics, its beautiful scented houses, as well, the catalogue of worshipers (:Haošiiaŋha, Yima, Θraētaona, Haoma, Kauui Haosrauuah, Zaraýuštra and Vīštāspa). Moreover, we find, the ancients unique myths, which give reference to the society, where Aúi was perhaps born. Then, complaints of Aúi against her enemies: people who are especially against the fertility and who do not comply with the rules of the legitimate family life. Also, there are strange religion rituals. It deserves to know that the meeting of Zaraýuštra with goddess Aúi , is one of the most romantic parts of Avesta. We tried here to treat the Avestan text and to give a translation, accompanied by the comments, concerning the difficulties of this Yašt and then, we would have the Avestan glossary
Parienté, Mickaël. "La littérature israélienne traduite en français et publiée entre 1948 et 2005 : étude bibliographique et sociolittéraire." Paris 8, 2006. http://www.theses.fr/2006PA083781.
Повний текст джерелаHammarstedt, Jenny. "Emil à Lonneberg ? : Une comparaison entre deux traductions françaises d’un livre d’enfant suédois." Thesis, Linnaeus University, School of Language and Literature, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-7004.
Повний текст джерелаAbstract
Literary translations can be done in different ways and from different principles. While some people are advocates of the free translation, others believe that a good translation should always be made as exact and as close to the original as possible. However, due to structural and cultural differences between the source language and the target language, it is not always possible to realize a translation that is altogether faithful to the original.
Changing translation principles can also be a reason to make a new, more exact translation of a novel that has already been translated. This was the case when the Swedish children’s book Pippi Långstrump, written by Astrid Lindgren, was the object of a new French translation. The first translation had been greatly criticised because of the many cuts and additions made by the French translator who had wanted to adapt the text to the presumed moral values of the French readers.
This essay is a comparison between the two French translations of another book by Astrid Lindgren: Emil i Lönneberga. The book is somewhat difficult to translate due to, for example, the cultural phenomena mentioned in the text and the dialect spoken by the main character. The comparison revealed several big differences between the two translations, inter alia the handling of the dialect, but also the translation of the proper nouns and the narrative technique. The conclusion of the comparison was that the new translation was more accurate and faithful to the original than the first translation.
Tarif, Julie. "Enjeux et défis du style dickensien : Analyse de quatre traductions françaises d'Oliver Twist." Phd thesis, Université d'Angers, 2011. http://tel.archives-ouvertes.fr/tel-00979108.
Повний текст джерелаFaubert, Samantha. "Les traductions françaises du théâtre de Ramón del Valle-Inclán : adaptation et interprétation." Grenoble 3, 2001. http://www.theses.fr/2001GRE39019.
Повний текст джерелаFourquet-Gracieux, Claire. "Les Psaumes tournés en français (1650-1715)." Thesis, Paris 4, 2011. http://ezproxy.normandie-univ.fr/login?url=https://www.classiques-garnier.com/numerique-bases/index.php?module=App&action=FrameMain&colname=ColGarnier&filename=CfxMS01.
Повний текст джерелаBetween 1650 and 1715, turning the Book of Psalms into French, whether in prose or verse, was very common while Catholic Church was still reluctant to translating Holy Bible. Moreover, these publications prioritised clarity and aesthetic appeal, alike popular mode of fairly free translation, known as belles infidèles. Biblical style, however, had always been considered separately from classical rhetoric, and held to be free from its structures. What form of elocutio, then, can be ascribed to the French versions of the psalms ? The definition of this distinctive elocutio relies on three elements. The first one consists of the constraints imposed by the Council of Trent upon translators and readers of the Bible, and upon the choice of source-text, since these restrictions governed every biblical translation. Secondly, a reflexion above biblical translation mechanism reveals some peculiarities. On the one hand, translators often borrowed from pre-existing French translations, especially those of Port-Royal, instead of dealing purely with Latin or Hebrew of the Scriptures. On the other hand, the traditional procedure of word-by-word rendering was abandoned in favour of a grammatical translation and of a paraphrase. This development reflected a growing confidence in French. Finally, French psalms explored the boundary between translation and rewriting, and between sacred and secular language. These texts made use of secular styles familiar to the reader in order to attract him, leaving biblical inventio to convert him afterwards. That is what we called the insinuatio thought
Agrigoroaei, Vladimir. "Histoire des traductions en français au XIIe siècle." Poitiers, 2011. http://www.theses.fr/2011POIT5002.
Повний текст джерелаThe thesis is a study of french translations dating back to the XIIth century. The first chapter deals with the basic principles of the research, outlining the chronological and linguistic limits of the corpus. The second chapter is dedicatd to the definition of a criterium which allows an inner description of the corpus such as it appears to a stranger's eye. The corpus has been compared to other corpora of medieval translations, in order to grasp its own properties. .
Hickel, Pascal. "Les préfaces de Luther à la Bible (1522-1546) : analyse et traduction annotée." Thesis, Strasbourg, 2019. https://publication-theses.unistra.fr/restreint/theses_doctorat/2019/HICKEL_Pascal_2019_ED270.pdf.
Повний текст джерелаThe present thesis is dedicated to the “Prefaces to the Bible” by Luther, a body that has rarely been studied thus far. The first part involves a chronological analysis of the former body, preface by preface.It shows how Luther interprets the Bible and how he appeals to his readers’ understanding of it. He offers hermeneutical keys and provides his prefaces with different functions that can serve as (for example “ a summary”, ”a controversy” or have a“pastoral function”) There by building a biblical knowledge of the Gospel that will allow the reader to get hold of the text. The prefaces supplement our insight of Luther as a translator and theologian, and reveal different aspects of his personality.The second part is the annotated translation of the Prefaces on the basis of the last edition of Luther’s Bible (1545), as well as of earlier prefaces (The Psalms, The Book of Revelation)Most of these texts had never been translated into French. The annotation deals with thevariations of the text as well as the issues of translation and history
Dejeumont, Catherine. "Etude comparative de traductions allemandes du Nouveau Testament au seizième siècle." Paris 10, 1989. http://www.theses.fr/1989PA100050.
Повний текст джерелаAt the beginning of the sixteenth century, the german language is characterised by its multiple varieties which reflect the fragmented structure of the empire. This century, however, is marked by the beginning of a movement leading to the emergence of a more homogenous written language. This evolution can be illustrated through a comparison of several texts, published quasi-simultaneously in several regions : the translation of the new testament by martin luther, first published in wittemberg in september 1522, was printed by melchior lotther, and reprinted numerous times in most german-speaking areas; a comparison of this text with a version published in basle in 1523 by adam petri (a text to which this printer added a glossary to facilitate the comprehension of approximately two hundred words unknown in high german) and the version published in strasburg in 1524 by johann knoblouch (also containing this glossary) reveals several variants between them, noted particularly in the lexicon. A study of these variants - and the observation these printers only modified the original text when it was not understandable to the targeted public - reveals a certain number of words in divergence and illustrates some of the linguistic areas. This first part allows us to evaluate the contribution of the diverse linguistic areas (east middle german, high german, alemanic) to the lexical system of the modern german language and to reinterpret luther's role, whose contribution has been traditionally overestimated. Finally, this study
Delattre, Alain. "Signification et nécessité : une étude de sémantique et de logique des modalités : traduction de : Meaning and necessity a study in semantics and modal logic [Rudolf Carnap]." Lille 3, 1988. http://www.theses.fr/1988LIL30011.
Повний текст джерелаLarzul, Sylvette. "Les Mille et une nuits dans les traductions de Galland et de Mardrus ou l'Orient revu et corrigé." Paris 3, 1992. http://www.theses.fr/1993PA030054.
Повний текст джерелаGalland's version of the thousand and one nights published in the beginning of the 18e century and mardrus' one carried two hundered years after, are not in any way translations in the present mean of the word, but rewritings built on particular visions of the east. Following the rules of the french classical aesthetics, galland takes off the local colour and drives away every thing ugly and rude. But, as a great orientalist, he seeks to preserve most of social and cultural specificities, in spite of a formal transposition, he also takes care to save the substance of a work which puts depiction of love and passion in a central place. Regarding mardrus' translation which wants to he "literal", it is not faithful at all. Using an exotic coloration and adding eroticies and burlesque, the translater given an image of the east which preceeds from a stereotyped idea of the orientale
Underhill, James William. "Voix, versification et traduction : une analyse des poèmes de T.S. Eliot et d'Ezra Pound et de leurs traductions en français." Paris 8, 1999. http://www.theses.fr/1999PA081707.
Повний текст джерелаLyazidi-Errachdi, Souâd. "Les contes des "Mille et une nuits" : étude comparative des traductions d'Antoine Galland et du Docteur Mardrus : narratologie, stylistique, thématique." Bordeaux 3, 1987. http://www.theses.fr/1987BOR30036.
Повний текст джерелаA comparative study of the thousand nights and one night in three ways : - comparaison of arabic sources for the two translators. - degree fidelity between translations and their arabic sources. - convergence, and or divergence between the two french translations of the thousand nights and one night
Zhang, Xiangyun. "Traduire le théâtre : application de la théorie interprétative à la traduction d'oeuvres dramatiques françaises en chinois." Paris 3, 2006. http://www.theses.fr/2006PA030050.
Повний текст джерелаThis thesis intends to clarify some aspects of the translation of dramatic works. Through studies of dramatic texts and analysis of translation theories, based on Chinese translations of two French plays, we try to present the problematics of theatrical translation. We conclude that the object of theatrical translation is to re-establish the original work's scene conception. Thus theatrical knowledge and a good translation method are indispensable for the translator. This study recapitulates the principles of the Interpretative Theory of translation, and proposes its application in the process of theatrical translation
Pascal, Caroline. "De l'appropriation en traduction : étude comparative des traductions françaises du Lazarillo de Tormes (1560-1994)." Paris 4, 1998. http://www.theses.fr/1997PA040244.
Повний текст джерелаAfter a great amount of research on translation, this thesis emphasizes a new approach of the process. It does not aim at assessing the mere possibility of translating or the correctness of a given translation. Its goal is to determine the mechanisms at work in the process of translating. The study is based on eight French translations, made over a huge period of time, of one original text, the Lazarillo de Tormes. In the translations, recurrent variations from the original, due neither to linguistic constraints nor to characteristics of the Spanish text, allow to describe the principles lying at the core of the translating process: correction, clarification, interpretation and understatement. These four principles form the basis of the "orthonymic" approach, which reconstructs such a text as might have been written in the target language, regardless of the characteristics of the source. In this way, the translator does not try to translate the text, but the representation it suggests, thus focusing on objects instead of words. One the one hand, this representation is seldom unique or all encompassing: on the other, it is also triggered by every reader's own experience. Thus, the translator often conveys his or her reading rather than the text itself. The representation suggested by the text, once translated, is in fact a combination of elements present in the original, and of elements added by the translator. Among the latter, some reflect the linguistic practices of his/her group, and others, his/her individual experience. According to the respective importance of the ones and the others, the translated text shows the various levels of appropriation by the translator. Eventually, the notion of appropriation is the cornerstone of the translating process: it makes it possible to differentiate what deserves the status of translation from what rather corresponds to adaptation
Alūsī, Muhammad Sālih al. "Le problème du mal : Textes sémitiques." Paris 3, 1992. http://www.theses.fr/1993PA030063.
Повний текст джерелаTranslation of the poem of the just suffering "ludlul bel nemeqi", a celebrated akkadian work. Translation and edition of the book of job, version of s'adya gaon nominated "the book of the justification". Index of the akkadian syllables, glossary of the akkadian words, concordance of job
Sardin, Pascale. "Pour une poétique de la traduction de soi : lecture bilingue et génétique des textes courts auto-traduits de Samuel Beckett (1946-1980)." Bordeaux 3, 1998. http://www.theses.fr/1998BOR30038.
Повний текст джерелаAt the juncture of several languages and idioms - french, english, anglo-irish - and of several domains of research and textual analysis: literature and translation theory on the one hand, stylistics, psychoanalysis and variorum study on the other, this thesis aims at delineating how samuel beckett rewrites his texts when he self-translates them. The corpus, comprising most of the + shorter; texts, both prose and drama, spans the years 1946-1980. The research, which relies mainly on a comparative reading of the twin versions, while revealing the modified topography of the self-translated text, also takes greatly into account the bilingual draft versions which are studied in detail in the annexed document (vol. Ii). After analysing the psychological issues linked to the fact of rewriting in another language, the focus is put on the evolution of beckett's style. As a self-translator, beckett works on the two axes of discourse, sensitive to the rhythmic and aural aspect of his texts. The art of self-translation is a parodic art, as is the author's style: a combinatory art, it is also a disjunctive art; an art of inflexion, it relies upon a droll humour as well as on a harsh pessimism; an art of lessening, it prefers to be laconic, while liking to create a rich discordant polyphonic language with foreign accents, keen on contradiction, word-play, and cliche. This paradoxical economy follows the lines of a schizomorph structure. It is that of the freudian unconscious which surfaces in the discourse of a psychotic subject. Thus, each text exists conjointly with its double, offering two displaced, de-centred visions of the ego and of its relationship to the outer world and to himself. That is why it is possible to say that this poetics of self-translation (meaning + way of doing ;) defines a poetics of translation of the self (meaning + motif ; and + operating programme ; of the writer). In a state of helplessness, beckett's narrators keep stumbling on the signifiers of madness and death. Even if they happen to approach them through repetition in the other language, they part from them inevitably, to and fro at each new version of the texts, experiencing the gist of tragedy
Jenn, Ronald. "La traduction de la rhétorique enfantine chez Mark Twain." Bordeaux 3, 2003. http://www.theses.fr/2004BOR30018.
Повний текст джерелаThis study aims to analyse the translation of child rhetoric in Twain's novels Tom Sawyer and Huckleberry Finn. The approach is both descriptive and prescriptive. It is based on findings in the fields of translation studies, the history of book publishing, narratology, linguistics as applied to translation, stylistics, as well as over a century of critical discourse on Twain. The approach of the field is systemic, the different versions being analysed in relation to the original but also in relation to one another. Following Berman's precepts, the translators have been taken into account according to their 'position', 'project' and 'horizon'?these notions that encompass the historical, linguistic, literary and cultural elements that influence the translators' way of thinking and translating. A number of paratextual elements are analysed in order to assess the versions according to their readership. This aspect is crucial in the context of novels which have largely been considered as children's literature. The different publishing houses and translators are also defined in terms of political engagement or lack thereof. Child rhetoric is a 'literary sociolect' and one of the many voices which make up these American novels in their original version. It appears that this aspect has been overlooked by critics as well as by French translators. Child rhetoric has been defined as relying on several different types of discourse and a limited number of figures of speech: litotes (or any way of achieving understatement), simile and hyperbole (or any way of achieving overstatement)
Pereira-Ruivo, Albertina. "La poésie de Fernando Pessoa et ses traductions en français." Paris 3, 2008. http://www.theses.fr/2008PA030141.
Повний текст джерелаFirst, this research and analysis aimed at widening knowledge of - the poet Fernando Pessoa, also called “the poet with multiple masks” and his works, notably Mensagem and Álvaro de Campos’s Ode Marítima, a paradigmatic example of sensationalist poetry - the so numerous and varied theories concerning translation. After analysing the original poems of Fernando Pessoa, we compare them to their various translations so as to identify the problems faced by the translators and how they attempted to solve them. We develop the specific issues raised by translating poems in general such as recreating metrics, rhymes and rhythms, and, obviously, the actual meaning, often difficult to grasp. Later on, we detail the method used to analyse the translation problems regarding free verse, where rhythm is crucial. This method consists in two parts: first, identifying the specific features of the original poem (its meaning of the words, its versification, its accent and sound patterns), second, analysing the translators’ efforts to render them, as accurately as possible, in French language. Finally, we thought it was also of interest to report the translators’ opinions on this matter. Our study points out the fact that the task of a translator is not only about translating a text from one language to another, but is also about taking into account each and every feature of the poem to reach the level of excellence advocated by Meschonnic who did not hesitate to say that “translating a poem is writing a poem”
Raspanti, Giacomo, and Jérôme. "Il commentario sulla Lettera ai Galati di San Girolamo : introduzione, testo critico ed annotazioni." Paris 10, 2003. http://www.theses.fr/2003PA100010.
Повний текст джерелаThe main content of the Dissertation is the critical edition of Ad Galatas of St. Jerome: the text of the Commentary takes the central part of our work and it is followed by Notes in which we explain the choosing of some readings as well as the problems met during the constitution of the text and still open; we have also joined the Indexes of biblical quotations and of other ancient writers quoted. Ad Galatas is preceded by an Introduction by which the Commentary is presented and his historical and literary context is described, although we didn't consider all the problems of this exegetic work of Jerome; moreover, in order to make easier the critic opinion of readers about our text, we describe our philological work on the text, which has been the hardest side of the Dissertation, in a long part of the Introduction
Söderström, Mikael. "ÉTUDE COMPARATIVE SUR LES DEUX TRADUCTIONS FRANÇAISES DU ROMAN DOKTOR GLAS DE HJALMAR SÖDERBERG." Thesis, Växjö universitet, Institutionen för humaniora, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-5865.
Повний текст джерелаPiquard, Cécile. "Sur la traduction des sociolectes dans le théâtre américain : analyse comparative de traductions françaises et québécoises." Thesis, University of Ottawa (Canada), 1996. http://hdl.handle.net/10393/10157.
Повний текст джерелаWeltman-Aron, Brigitte. "Les procédés narratifs : étude contrastive de Bartleby et benito Cereno de Herman Melville et leurs traductions françaises." Paris 3, 1987. http://www.theses.fr/1987PA030169.
Повний текст джерелаIn the short stories, the narration sets forth the stories of bartleby and benito cereno while underlining a lack of information about the object of the narrative and the necessity, because of the story, to organize the elements of the narrative. The aim of this study is to analyze those devices whereby the narration assumes power at the expense of the main character and their impact in the french translations. For example, the alternation of types of discourse, sometimes not accounted for in the translations, makes it possible to attribute words to a character which are actually filtered by the enunciator (free indirect (or direct) speech). We shall also see how the narration perpetuates a structure of enigma which conceals weak or inexistent contents. More specifically, the many diegetic repetitions help to set up a circular structure and a paradoxical progression of the narrative. The co-existence in the narrative of a highly hypotactic mode with elliptical passages is not always rendered in the translations with accuracy. Two recurring devices, nominalizations and passive forms, stress the predominance of the enunciator in the utterance; out of necessity these devices are often readjusted in french. The study of thematic patterns makes it possible to observe a certain number of recurring themes which only further weaken the main character, at times calling into question his sanity or even his existence, or establish a paradoxical situation, as when a lexis of vision appears in an inappropriate context, which is no warrant of reality. We show that at times, recurrences fail to appear in tl. Finally the study of various stylistic or rhetorical devices shows a deliberate imprecision as well as the co-existence within one term of a concept, and an element which negates it. Both again express the indirect approach characteristic of the narrative attitude, sometimes not well rendered in the translations
Audigier, Émilie Geneviève. "Les traductions françaises de Machado de Assis et Guimarães Rosa : variations de huit nouvelles de 1910 à 2004." Aix-Marseille 1, 2010. http://www.theses.fr/2010AIX10102.
Повний текст джерелаCamara, André. "Parole et picturalité en Afrique noire : le cas du kpadokpili ou corde à proverbes chez les Kpèlè." Paris, INALCO, 2002. http://www.theses.fr/2002INAL0010.
Повний текст джерелаThis study entitled "words and pictures in black Africa : the case of the kpadokpili or the string of proverbs of Kpelle people" examines some essential fields of the research of paremiology, by scrutinizing some problems of sign language. Firstly, from a corpus of kpadokpili (also named proverbs string), collected from the speech of Kpelle people in Guinea. We place the proverbs in human context and bring out their specificities in relation to the other forms of oral communication. Secondly, we analyzed different types of syntax structures found the logic and functional values of the proverbs. The most original aspect of this work is the analysis of these proverbs in relation with the figurative objects. This aspect is particularly important to understand the organization and the arrangement of proverbs where the material support helps to fix the exact order of each image and to make its memorization easier
Merle, Denis. "Les traductions d’Horace en France, de Daru à Séguier (1797-1895)." Paris 4, 1996. http://www.theses.fr/1995PA040170.
Повний текст джерелаHorace is the favourite Latin poet in the 19th century, in franc. Besides, as the teaching of Latin is pre-eminent in secondary schools then, it favours such fervour. His works are tirelessly published, commented upon and above all translated: thirty complete translations and more than a hundred and fifty abridged ones can be found, among which the odes, the epodes and his ars poetica are in favour. Moreover, the defenders of classicism set up the Epistle to the pisons as the model of sound literary doctrine against the upheaval of romanticism. The translations of Horace, globally flagging in the preceding centuries, become an object of extraordinary literary competition, right from Daru's verse translation published in 1797. Only the passages considered as too licentious, as regards the prudishness of the time, are not much translated. The close scrutiny of the translations throughout the 19th century enables one to observe the progress achieved in lexical and syntactic accuracy: the fine but unfaithful translations vanish. In 1895, Séguier translates Horace’s verse works into an equal number of lines in French. Although their task is more exacting, the verse translators, who are more numerous, endeavour to be more faithful than the translators in prose by rendering also the specifically poetic aspect of Horace’s works. Three trends can be brought out: the academic translations which aim at faithfulness, others that strive for literary effects, and a middle-of-the-road translation approach that combines both accuracy and elegance, for a wide public. Yet, translating does have a negative consequence: from then on […]
Paquin, René. "La censure des traductions bibliques françaises au seizième siècle, étude de deux ouvrages anonymes mis à l'index." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1996. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq21809.pdf.
Повний текст джерелаPaquin, René. "La censure des traductions bibliques françaises au XVIe siècle : étude de deux ouvrages anonymes mis à l'index." Mémoire, Université de Sherbrooke, 1996. http://savoirs.usherbrooke.ca/handle/11143/2012.
Повний текст джерелаHuang, Chunli. "Les traductions françaises du Jingu qiguan et leurs influences sur la création littéraire en France (1735-1996)." Thesis, Aix-Marseille, 2015. http://www.theses.fr/2015AIXM3085.
Повний текст джерелаAt the end of the Ming Dynasty, Baoweng laoren has selected forty tales of the three collections of Feng Menglong and two collections of Ling Mengchu to compile another anthology entitled Jingu qiguan 今古奇觀 (curious spectacles of today and of the past). This anthology was a huge success at the time of its publication, and is constantly reprinted for centuries until today. Today it is considered as a main representative work of Chinese literature in vernacular language. The reputation of Jingu qiguan has already exceeded the Chinese border since a long time. Since the 18th century, three tales of the Jingu qiguan were translated for the first time in Europe by a French Jesuit. Therefore, throughout the centuries, the Jingu qiguan has experienced a lot of partial translations, retranslations and adaptation across Europe. Only in French, there are about thirty translations, retranslations and rewrite of Jingu qiguan. So that leads us to wonder why these stories have constantly been translated and retranslated, or even rewritten. Who have translated them and how they have been translated? How these translations did had some influence in the local literature? This study is intended to cover all these issues
Schoenecker, Aurore. "Les traductions françaises de l'espagnol et le marché du livre (1600-1660) : enquête sur une pratique d'écriture." Thesis, Paris Sciences et Lettres (ComUE), 2017. http://www.theses.fr/2017PSLEE090.
Повний текст джерелаThe literary influence exercised by Golden Age Spain on France in the first half of the 17th century is related to a very considerable mass of editorial activity. This thesis, which combines the history of the book and literary history, studies French translations of Spanish texts which circulated in France between 1600 and 1660 - translations concerning texts of all kinds (religious, literary, scientific, technical, etc.).In order to evaluate this editorial activity, a bibliometric enquiry must first be carried out. This enquiry allows us to reconstitute the history of of the circulation of this material in print. The principal centres of production are identified and the production of the workshops of the booksellers’ operating in this market are examined. The analysis then shifts to the activity of translation itself, in all its diversity. The profiles of the different principal translators from Spanish to French are laid out: the professional translator, the enlightened amateur, the printer, the cleric, the physician, etc. Particular attention is paid to men of letters who attempt to conciliate what is perceived as lowly hackwork with their literary ambitions. Finally, the translators’ practices themselves are the object of study, through comparison, using textual analysis as well as examining questions of format and layout, of different (concurrent or successive) translations of the same text. Account is thus made of the diverse motivations of these versions and the specificity of each writing project and publication. Taking as its base a large swathe of writing produced in French often neglected by literary history, this study of the penetration of Spanish culture in France and of the world of translators looks anew at the relation between writing and publication, as well as at the editorial role in the construction of literary legitimacy
Féasson, Vivien. "La retraduction comme outil de légitimation du genre : le cas de la fantasy en langue française." Thesis, Université de Paris (2019-....), 2019. https://wo.app.u-paris.fr/cgi-bin/WebObjects/TheseWeb.woa/wa/show?t=4374&f=28859.
Повний текст джерелаAt the turn of the 21st century, the arrival on screens of several fantasy adaptations and their tremendous success seem to have been a turning point in the reception of the genre in France, especially in the book market where the production of new novels – mostly of Anglo-Saxon origin – is reaching new heights every year. As they kept looking toward the future, many publishers have also been investing more and more in the past of the genre, publishing reissues and revisions but also first translations and retranslations of old titles, now considered as indisputable classics.This thesis aims to question the realities behind such a vision of abundance, by placing at the heart of its approach a careful examination of those retranslations that are slowly creating what could be considered the heritage of the fantasy genre. First, it will examine the editorial side of the phenomenon – the transition of the genre from the Anglo-Saxon cultural world to the French, the changes in its reception and the evolution of the working conditions of translators. Then it will turn to the textual level, opposing statements to acts by comparing what first and second translations have chosen to do with books such as The Lord of the Rings, Conan, The Wheel of Time and the Dragonlance Chronicles
Ruane, Aileen, and Aileen Ruane. "Entre performativité et altérité : les traductions québécoises du théâtre irlandais." Doctoral thesis, Université Laval, 2020. http://hdl.handle.net/20.500.11794/39090.
Повний текст джерелаLe rapport entre le Québec et l’Irlande constitue la base d’une enquête sur la manière dont les stratégies et les pratiques de traduction ont filtré l’irlandicité vis-à-vis d’une sensibilité québécoise. Cette thèse analyse le rapport entre la performativité, l’identité, et l’appropriation dans le théâtre québécois. Comme constructions, l’identité et la traduction exigent de repenser la façon dont l’idéologie que nous attachons à l’identité, à la traduction, et au langage sur scène influence les moyens par lesquels nous comprenons les rapports culturels en Irlande et au Québec. La présence performative de l’altérité, construite au moyen du français québécois offre une opportunité pour interroger l’imaginaire québécois filtré à travers le théâtre irlandais. La force performative des traductions de Pygmalion de Bernard Shaw, La Reine de beauté de Leenane de Martin McDonagh, Howie le Rookie de Mark O’Rowe, et Limbes (Purgatoire, Calvaire et La Résurrection) de W.B. Yeats, témoigne de l’attraction et l’affinité des traducteurs québécois pour un large éventail de sujets qui, dans la culture de départ, interroge directement ou indirectement l’irlandicité tout au long du XXe siècle. Chaque chapitre analyse des textes sources par rapport à leurs traductions mais examine également les facteurs atténuants de la réception de ces pièces par des spécialistes du théâtre au Québec et en Irlande, en offrant une perspective culturelle transnationale et comparative. Les questions critiques abordées dans cette thèse incluent le rapport de Bernard Shaw avec son lieu de naissance irlandais, la relation souvent tendue de Martin McDonagh avec l’Irlande qui résulte de la réception internationale de ses pièces, de la subversion de la forme narrative par Mark O’Rowe à travers la pièce monologue, et de l’appropriation du théâtre Noh par Yeats. Cette thèse place ces oeuvres dans un nouveau contexte analytique en examinant les processus et les moyens par lesquels les oeuvres sont situées de façon linguistique et dramaturgique dans la traduction québécoise. Le théâtre irlandais en traduction au Québec met en scène l’agencement potentiel de l’altérité irlandaise par une mise en parallèle du français québécois et de l’hibernoanglais, car elles subvertissent les normes linguistiques. Ce rapport aide à combler le vide dans le discours traductologique et théâtral. Comparer les traductions québécoises aux textes sources ne constitue pas une mise en valeur des traductions ; toutefois, celles-ci ne représentent pas non plus une version diminuée de l’originalité du champ littéraire québécois. Les traductions québécoises du théâtre irlandais ne fonctionnent pas en tant que monolithe culturel; elles ne représentent pas une version figée de l’irlandicité ou de la québécité. Chacune traite le français québécois en fonction des stratégies de traduction proactives afin de souligner les perspectives différentes qui parlent de l’expérience francophone en Amérique du Nord. En problématisant la notion de performativité en ce qui concerne l’identité et sa performance, nous pouvons voir comment l’objectif ultime de la mise en scène, la performance, suggère un processus d’authentification plutôt que celui d’une représentation intrinsèquement inférieure au texte source parce que le premier offre une version figée et potentiellement stéréotypée d’identités qui sont le produit d’influences culturelles et linguistiques qui se chevauchent et se superposent. Dans le cadre de cette thèse, j’analyse, à partir de la traduction québécoise d'oeuvres irlandaises, le rapport à l’irlandicité et à l’esthétique du champ théâtral irlandais qui reflète le même genre d’évolution d’une société ayant expérimenté des changements à grande échelle par rapport à l’identité culturelle et linguistique.
The relationship between Quebec and Ireland forms the basis for an inquiry into how translation strategies and practices have filtered Irishness through a Québécois sensibility. This thesis analyses the relationship between performativity, identity, and appropriation in Quebec theatre. As constructions, identity and translation require rethinking how the ideology attached to identity, translation, and language on stage influences the cultural power relationships in and between Ireland and Quebec. The performative presence of alterity on stage, in this case, of Irishness, as constructed through Québécois-French offers an opportunity through which I question Quebec’s literary imaginary as it is filtered through modern Irish theatre. The performative and linguistic forms of the Québécois translations of Pygmalion by Bernard Shaw, The Beauty Queen of Leenane by Martin McDonagh, Howie the Rookie by Mark O’Rowe, as well as Calvary, The Resurrection, and Purgatory by W.B. Yeats, demonstrate the attraction to and affinity for a wide range of subjects felt by Québécois translators that directly and indirectly question Irishness in the source culture throughout the twentieth century. Each chapter features an analysis of the source texts against their translations, but also studies the mitigating factors in the reception of these plays by theatrical scholars in Quebec and Ireland, offering a transnational and comparative cultural perspective. The critical questions addressed in this thesis include Bernard Shaw’s complex relationship with his Irish birthplace, Martin McDonagh’s often strained relationship with Ireland resulting from how his plays are received internationally, Mark O’Rowe’s subversion of the storytelling form through the monologue play, and Yeats’s appropriation of Noh theatre. This thesis places these works in a new analytical context by examining the processes and means through which the plays and the translations are linguistically and dramaturgically situated within the Québécois theatrical field. Translated Irish theatre performed in Quebec reveals the potential agency of Irish alterity through a comparison of Québécois-French and the English language as it is spoken in Ireland, and as both languages subvert linguistic norms. This relationship helps to fill a void in the discourse surrounding translation and theatre studies. Comparing Québécois translations to their source texts does not constitute an attempt to privilege the translations over the source texts; however, these translations also do not represent a vilification of the originality of the Québécois literary field. Québécois translations of Irish theatre do not function as cultural monoliths, which is to say, they do not represent fixed versions of Irishness or Québécité. Instead, each harnesses Québécois-French via proactive translation strategies to highlight the different perspectives that speak to the Francophone experience in North America. In problematising the notion of performativity, as it relates to identity and the performance thereof, we can see how the ultimate goal of staged performance, the mise en scène, suggests a process of authentication rather than a representation that is inherently inferior to the source text, owing to a perception that the former offers a fixed and potentially stereotypical version of identities that are products of overlapping and layering cultural and linguistic influences. Within this thesis, I explore the relationship to Irishness and aesthetics of the Irish theatrical field as it reflects a similar evolution within a Quebec society that has also experienced large-scale changes in cultural and linguistic identity in modern times.
The relationship between Quebec and Ireland forms the basis for an inquiry into how translation strategies and practices have filtered Irishness through a Québécois sensibility. This thesis analyses the relationship between performativity, identity, and appropriation in Quebec theatre. As constructions, identity and translation require rethinking how the ideology attached to identity, translation, and language on stage influences the cultural power relationships in and between Ireland and Quebec. The performative presence of alterity on stage, in this case, of Irishness, as constructed through Québécois-French offers an opportunity through which I question Quebec’s literary imaginary as it is filtered through modern Irish theatre. The performative and linguistic forms of the Québécois translations of Pygmalion by Bernard Shaw, The Beauty Queen of Leenane by Martin McDonagh, Howie the Rookie by Mark O’Rowe, as well as Calvary, The Resurrection, and Purgatory by W.B. Yeats, demonstrate the attraction to and affinity for a wide range of subjects felt by Québécois translators that directly and indirectly question Irishness in the source culture throughout the twentieth century. Each chapter features an analysis of the source texts against their translations, but also studies the mitigating factors in the reception of these plays by theatrical scholars in Quebec and Ireland, offering a transnational and comparative cultural perspective. The critical questions addressed in this thesis include Bernard Shaw’s complex relationship with his Irish birthplace, Martin McDonagh’s often strained relationship with Ireland resulting from how his plays are received internationally, Mark O’Rowe’s subversion of the storytelling form through the monologue play, and Yeats’s appropriation of Noh theatre. This thesis places these works in a new analytical context by examining the processes and means through which the plays and the translations are linguistically and dramaturgically situated within the Québécois theatrical field. Translated Irish theatre performed in Quebec reveals the potential agency of Irish alterity through a comparison of Québécois-French and the English language as it is spoken in Ireland, and as both languages subvert linguistic norms. This relationship helps to fill a void in the discourse surrounding translation and theatre studies. Comparing Québécois translations to their source texts does not constitute an attempt to privilege the translations over the source texts; however, these translations also do not represent a vilification of the originality of the Québécois literary field. Québécois translations of Irish theatre do not function as cultural monoliths, which is to say, they do not represent fixed versions of Irishness or Québécité. Instead, each harnesses Québécois-French via proactive translation strategies to highlight the different perspectives that speak to the Francophone experience in North America. In problematising the notion of performativity, as it relates to identity and the performance thereof, we can see how the ultimate goal of staged performance, the mise en scène, suggests a process of authentication rather than a representation that is inherently inferior to the source text, owing to a perception that the former offers a fixed and potentially stereotypical version of identities that are products of overlapping and layering cultural and linguistic influences. Within this thesis, I explore the relationship to Irishness and aesthetics of the Irish theatrical field as it reflects a similar evolution within a Quebec society that has also experienced large-scale changes in cultural and linguistic identity in modern times.
Carlsén, Desirée. "Vic le Victorieux ou Karlsson sur le toit? : Analyse comparative entre deux traductions françaises d'un livre d'enfant suédois." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-26898.
Повний текст джерелаGuo, Yanna. "Lu Xun en France (1926-2015) : étude historique et critique des traductions françaises de l'œuvre de Lu Xun." Nantes, 2016. http://www.theses.fr/2016NANT3018.
Повний текст джерелаAt the dawn of the twentieth century, turning point in the intellectual and literary history to the Middle Kingdom, Lu Xun (1881-1936) is clearly the iconic Chinese writer: he is the modern author most translated outside borders, and particularly in France. Therefore it seems interesting to study, through a historical and translatological review, the almost century-old course of the work of this author in France. First, the textual and contextual research allows to open a new access road to his work and to shed a new light on the question of translation of his work. In a second step, it is to establish the panorama of French translations from 1926 to the present. Since then and still today, translations appear with the joint efforts of Chinese and French translators and, in various media publications and in a rhythm different. The reasons that these ferrymen of languages and cultures are interested in the work of Lu Xun differ greatly, mainly because of the politicization then the call for the depoliticization of the writer. Indeed, we will see that the "translators-introducers", the official interpreters, the supporters of political ideology and those who stick are far from aim the same translation purposes. Moreover, their translation projects differ from one another due to the evolution of translative thought and literary exchanges during near a century. Finally, the different trends will be highlighted through the comparative analysis of translations that update the issues and challenges of the style of Lu Xun. We ask, in this regard, to what extent and by what strategy the dynamism of textuality can be transmitted in the target text