Pub Date : 2021-09-17DOI: 10.31861/pytlit2021.103.219
Nataliia Yakubovska, Halyna Kutasevych, K. Balakhtar
The translation of children’s literature has certain specificities because it must be subject to several constraints: taking into account the double recipient in children’s literature (child and adult), the educational purpose, the diastratic variation, etc. Wonderful Neighbors (2016) by Hélène Lasserre is a children’s book about difference, tolerance and living together. The gap between French and Ukrainian cultures leads to problems with the perception of socio-cultural realia by readers of the target language who sometimes misunderstand or even reject them. In this intervention, we analyze the perception of the album by the readership of the source and target culture based on the comments of the readers which will allow understanding the editorial strategies and the choices of translation procedures made by the translators. In particular, we study the text-image relationships and the influence of extralinguistic factors on the lexical level. In a second step, it is necessary to analyze the role of the educational purpose which may provide for certain censorship of children’s text to which the translator must obey in order to meet the demands of a publisher and his/her readership.
{"title":"The Proper and Foreing: The Problem of French Children’s Literature Translation into Ukrainian","authors":"Nataliia Yakubovska, Halyna Kutasevych, K. Balakhtar","doi":"10.31861/pytlit2021.103.219","DOIUrl":"https://doi.org/10.31861/pytlit2021.103.219","url":null,"abstract":"The translation of children’s literature has certain specificities because it must be subject to several constraints: taking into account the double recipient in children’s literature (child and adult), the educational purpose, the diastratic variation, etc. Wonderful Neighbors (2016) by Hélène Lasserre is a children’s book about difference, tolerance and living together. The gap between French and Ukrainian cultures leads to problems with the perception of socio-cultural realia by readers of the target language who sometimes misunderstand or even reject them. In this intervention, we analyze the perception of the album by the readership of the source and target culture based on the comments of the readers which will allow understanding the editorial strategies and the choices of translation procedures made by the translators. In particular, we study the text-image relationships and the influence of extralinguistic factors on the lexical level. In a second step, it is necessary to analyze the role of the educational purpose which may provide for certain censorship of children’s text to which the translator must obey in order to meet the demands of a publisher and his/her readership.","PeriodicalId":351668,"journal":{"name":"Accueillir l’Autre dans sa langue. La traduction comme dispositif de médiation","volume":"98 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133708689","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-09-17DOI: 10.31861/pytlit2021.103.110
Ornella Tajani
In his book La Traduction et la Lettre ou l’auberge du lointain, Antoine Berman states that literary translation must respect the “Strangeness” of the source-text to produce an “ethical translation”. Using the expression of the troubadour poet Jaufré Rudel, the author proposes to consider the translational space as a place of welcome for the strangeness of the source-text; translating the “letter” of the text thus means respecting this strangeness. In order to achieve this goal, Berman outlines thirteen “deforming tendencies”, i.e. tendencies to be avoided because they would destroy the “letter” of the text: the Rationalisation; the Clarification; the Expansion; the Ennoblement and the Vulgarization; the Qualitative impoverishment; the Quantitative impoverishment; the Destruction of rhythms; the Destruction of underlying networks of signification; the Destruction of linguistic patternings; the Destruction of vernacular network or their exoticization; the Destruction of expressions and idioms; the Effacement of the superimposition of languages. In this article, we will focus on the analysis and discussion of three deforming tendencies – the rationalisation, the clarification, and the destruction of linguistic patternings – identified in Ivos Margoni’s Italian translation of Arthur Rimbaud’s poem Roman, and will try to show how this alters the “letter” of the text.
{"title":"Against Deforming Tendencies: To Open the Italian Language to Rimbaud’s Poems","authors":"Ornella Tajani","doi":"10.31861/pytlit2021.103.110","DOIUrl":"https://doi.org/10.31861/pytlit2021.103.110","url":null,"abstract":"In his book La Traduction et la Lettre ou l’auberge du lointain, Antoine Berman states that literary translation must respect the “Strangeness” of the source-text to produce an “ethical translation”. Using the expression of the troubadour poet Jaufré Rudel, the author proposes to consider the translational space as a place of welcome for the strangeness of the source-text; translating the “letter” of the text thus means respecting this strangeness. In order to achieve this goal, Berman outlines thirteen “deforming tendencies”, i.e. tendencies to be avoided because they would destroy the “letter” of the text: the Rationalisation; the Clarification; the Expansion; the Ennoblement and the Vulgarization; the Qualitative impoverishment; the Quantitative impoverishment; the Destruction of rhythms; the Destruction of underlying networks of signification; the Destruction of linguistic patternings; the Destruction of vernacular network or their exoticization; the Destruction of expressions and idioms; the Effacement of the superimposition of languages. In this article, we will focus on the analysis and discussion of three deforming tendencies – the rationalisation, the clarification, and the destruction of linguistic patternings – identified in Ivos Margoni’s Italian translation of Arthur Rimbaud’s poem Roman, and will try to show how this alters the “letter” of the text.","PeriodicalId":351668,"journal":{"name":"Accueillir l’Autre dans sa langue. La traduction comme dispositif de médiation","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123358097","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-09-17DOI: 10.31861/pytlit2021.103.050
Lucie Kaennel
By welcoming the other in his language and thus opening the door to an unknown universe, the translation must take up the challenge of otherness which rests on the capacity, beyond words, to be received in a foreign culture. What happens, in this case, when the culture of the language in question is that of a world that one sought to annihilate in an unspeakable catastrophe? It is in the light of Yiddish that I will deploy the two axes of my reflection on what, beyond translation as a passage from one language and from one culture to another, can ultimately account for the impossibility of rendering the language of the other, of another world. In the case of Yiddish, it is important to consider the mental universe it represents, the Yiddishland and the yiddishkayt. It is to paint the portrait of this now disappeared world, which is not on any world map, that I will apply myself firstly. In a second step, it will be necessary to question the very impossibility of translating Yiddish. With Isaac Bashevis Singer, who “retranslates” his own texts from Yiddish into English, and makes this English translation the matrix of translations into other languages. What happens between the first Yiddish original and the second English original of Singer’s works? Why this need to correct the English versions of his Yiddish texts? These questions raise issues about what Yiddish and the universe it stages represent for Singer: a past world, impossible to render in any other language, the “other world” which has now disappeared? And with Elie Wiesel, whose mother tongue is Yiddish, but who chooses French as the “language of writing”. Wiesel’s “first” work, La nuit, will form the matrix of his novels, built like a fresco in which the works respond to each other, in a Midrashic “infinite reading”. However, at the start of those novels is a story written feverishly and published in Yiddish, … a di velt hot geshvign. This Yiddish text is a cry of revolt and a testimony that the French version will confine to silence, La nuit becoming the very expression of silence. Faced with the impossibility of translating Yiddish, of accounting for the world carried by Yiddish, Wiesel constructs a literary work that will tell a story strewn with clues of this destroyed culture. Could it be, in the last instance, the hidden treasure of Jewish tradition which, precisely out of loyalty to Judaism, cannot be translated? This world which belongs to the Jews and of which they are the only heirs, at the risk of this heritage being lost, for lack of transmission? This questioning could illustrate a reflection on the limits of translation in the light of its cultural and spiritual issues.
{"title":"Yiddish, Treasure from a Vanished World. The Impossibility to Translate Yiddish Or the Cultural Limits of Translation","authors":"Lucie Kaennel","doi":"10.31861/pytlit2021.103.050","DOIUrl":"https://doi.org/10.31861/pytlit2021.103.050","url":null,"abstract":"By welcoming the other in his language and thus opening the door to an unknown universe, the translation must take up the challenge of otherness which rests on the capacity, beyond words, to be received in a foreign culture. What happens, in this case, when the culture of the language in question is that of a world that one sought to annihilate in an unspeakable catastrophe? It is in the light of Yiddish that I will deploy the two axes of my reflection on what, beyond translation as a passage from one language and from one culture to another, can ultimately account for the impossibility of rendering the language of the other, of another world.\u0000In the case of Yiddish, it is important to consider the mental universe it represents, the Yiddishland and the yiddishkayt. It is to paint the portrait of this now disappeared world, which is not on any world map, that I will apply myself firstly.\u0000In a second step, it will be necessary to question the very impossibility of translating Yiddish. With Isaac Bashevis Singer, who “retranslates” his own texts from Yiddish into English, and makes this English translation the matrix of translations into other languages. What happens between the first Yiddish original and the second English original of Singer’s works? Why this need to correct the English versions of his Yiddish texts? These questions raise issues about what Yiddish and the universe it stages represent for Singer: a past world, impossible to render in any other language, the “other world” which has now disappeared?\u0000And with Elie Wiesel, whose mother tongue is Yiddish, but who chooses French as the “language of writing”. Wiesel’s “first” work, La nuit, will form the matrix of his novels, built like a fresco in which the works respond to each other, in a Midrashic “infinite reading”. However, at the start of those novels is a story written feverishly and published in Yiddish, … a di velt hot geshvign. This Yiddish text is a cry of revolt and a testimony that the French version will confine to silence, La nuit becoming the very expression of silence. Faced with the impossibility of translating Yiddish, of accounting for the world carried by Yiddish, Wiesel constructs a literary work that will tell a story strewn with clues of this destroyed culture.\u0000Could it be, in the last instance, the hidden treasure of Jewish tradition which, precisely out of loyalty to Judaism, cannot be translated? This world which belongs to the Jews and of which they are the only heirs, at the risk of this heritage being lost, for lack of transmission? This questioning could illustrate a reflection on the limits of translation in the light of its cultural and spiritual issues.","PeriodicalId":351668,"journal":{"name":"Accueillir l’Autre dans sa langue. La traduction comme dispositif de médiation","volume":"77 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123779743","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-09-17DOI: 10.31861/pytlit2021.103.085
I. Prushkovska
The proposed study focuses on identifying the processes of cooperation of cultural aspects on the border “West-East” and strategies of literary translation in the Turkish-speaking space. The use of methods of comparative and translational analysis of texts has effectively influenced the identification of vivid examples of the use of Turkish translators’ techniques of domestication and foreignization. The article presents factual material from the works of famous Western artists (W. Shakespeare, Moliere, D. Swift) in comparison with Turkish translations and interpretations, and for the first time presents a detailed analysis of excerpts from P. Zahrebelnyi’s novel “Roksolanа” in comparison with Turkish translation. As a result of the study, the fact of the advantage of domestication over foreignization and its causes was established, namely the desire of the Turks to maximize the preservation of national values and protect them from external influences. Turkish translators resort mainly to such methods of translation as omission, lexical substitution, substitution of realities, abbreviations, paraphrases, thus “domesticating” the foreign context. However, in some cases, when it is not a question of possible “encroachment” on national values, Turkish translators fully adhere to the translation rules and techniques. The originality of the revealed results lies first of all in the fact that there is clear evidence of systematic (from the second half of the XIX – to the beginning of the XXI century) partial resistance of the Turkish nation to cultural globalization in the religious and social spheres. This has been and continues to be the case in the Republic of Turkey through “protective modernization”, which allows it to keep pace with Western trends without fundamental changes in the traditional cultural space.
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Pub Date : 2021-09-17DOI: 10.31861/pytlit2021.103.146
Iryna Shargay
Discussion of the translation process is complex and fraught with pitfalls, especially when it concerns the notions of translation equivalence and adequacy. This issue is of crucial importance concerning the translation of literary works. This article is dedicated to the study of the fundamental problem which translators of all times and all countries encounter, that is, to convey the creative idea of the author of the original work without perverting it, to preserve, throughout the translation process, all the semantic and stylistic nuances which form its content. This is the question around which our research problem revolves. We study here the approaches chosen by the Ukrainian translator Yarema Kravets, in order to recreate in his translation, the sound image that J. M. G. Le Clézio succeeded in creating in his novel Ritournelle de la faim. In order to render this research more usable, we have adopted the following methodological approach, founded on these two axes: the collection of lexical units from the source text which serve to create the sound image; and the comparative analysis of the original text with its translation, of the novel by J. M. G. Le Clézio, Ritournelle de la faim, with the goal of recreating the sound of the source text by identifying its means of transmission. The anticipated result of the given study, which is dedicated to the recreation of the sound effects in the translation of the J. M. G. Le Clézio’s novel Ritournelle de la faim, will be either to confirm or refute our primary hypothesis: that the translation proposed by Y. Kravets respects the spirit and the letter of the source text.
翻译过程的讨论是复杂的，充满了陷阱，特别是当涉及到翻译对等和充分性的概念时。这个问题对于文学作品的翻译是至关重要的。本文致力于研究古今中外的翻译工作者所面临的一个基本问题，即在不歪曲原作的前提下传达原作作者的创作思想，在翻译过程中保留构成原作内容的所有语义和文体上的细微差别。这是我们的研究问题所围绕的问题。我们在此研究乌克兰翻译家Yarema Kravets所选择的方法，以便在他的翻译中重新创造J. M. G. Le clacimzio在其小说《饥饿的歌》中成功创造的声音形象。为了使这项研究更有实用价值，我们采用了以下方法论方法，建立在这两个轴上:从源文本中收集用于创造声音图像的词汇单位;并对J. M. G. Le clacimzio, Ritournelle de la faaim的小说原作与译文进行对比分析，目的是通过识别其传播方式来重现源文本的声音。本文研究的目的是再现J. M. G. Le clacimzio的小说《饥魂》(Ritournelle de la faaim)翻译中的声音效果，其预期结果将证实或反驳我们的主要假设:克拉韦茨提出的翻译尊重了原文本的精神和文字。
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Pub Date : 2021-09-17DOI: 10.31861/pytlit2021.103.276
Naoufal El Bakali
Language learning is the foundation of any translation business, especially for students admitted to translation courses. In our case, mastering the French language, in order to carry out a translation, requires a perfect knowledge of the linguistic workings, likely to come to the aid of students who are learning translation techniques. In the current state of affairs, learning to translate at the graduate level suggests a perfect mastery of languages, both at the start and at the end. We would like to develop our study from a didactic and linguistic point of view, calling on other interdisciplinary parameters, since the question of learning to translate is at the crossroads of several cogitos. Therefore, teaching the language, in this case French represents a step, sine qua non, for the students of the King Fahd Superior School of Translation of Tangier, knowing that in Morocco, the French language still occupies the place. of the first foreign language. As a result, our students are required to translate from and into the French language alongside Arabic and English. As such, we have chosen to approach the didactics of translation, first of all, by looking over the language teaching which embodies an essential place for the success of the act of translating. All the axes that we develop in this article have a degree of analysis that oscillates between theory and practice, since language and translation are two activities which have two sides of the same coin.
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Pub Date : 2021-09-17DOI: 10.31861/pytlit2021.103.257
D. Rusnak, M. Smirnova, Olena Matvieieva
The article is dedicated to the mediation of advertising documents as authentic documents that make it possible to reconcile the teaching/learning of language and culture in the language classroom. First, the research is done on the (inter)cultural potential of French and Ukrainian media advertising. Secondly, mediation is examined as a language activity that allows for a better understanding of the text and concepts of the advertisement, thus making learners aware of the culture of the Other. Moreover, cultural mediation is studied as one of the components of intercultural communication competence being indispensable for effective communication between representatives of different cultures. Four stages of mediation aimed at the development of intercultural awareness of Ukrainian students are proposed. Following the announced steps and objectives, two tracks of mediation of two types of advertising documents, printed and televised, are presented, where the mediation is carried out at three levels: iconic, linguistic and symbolic. Thus, cultural mediation, being an indispensable component of intercultural communication competence, is an essential means of preparing the learner for effective communication with representatives of other cultures.
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Pub Date : 2021-09-17DOI: 10.31861/pytlit2021.103.238
Amal Arrame
Translation is not simple transpositions operations or transcoding processes from one language to another, it involves complex mental processes where linguistics alone cannot be sufficient. It is a communication situation between two languages, Arabic and French in this case, where the objective of the translator is the transmission of his final product in a clear way, respecting the meaning and the author intention of the original version. Translation of phrases is a real dilemma for translators; however, it turns out that it is a necessity in order to discover the other, and to try to keep the same effect as the source text by giving it a stylistic touch typical to the target language. To this end, we have carefully chosen the corpus that we have translated. A corpus that reflects the originality of the Arabic language and the possibility of reducing the linguistic, cultural and discursive gaps between Arabic and French through translation. The translation processes we have chosen, take into account the target language, French in this case, its idioms, phrases and proverbs inventory, its particularity and, finally, its ability to comprehend the idea contained in the idioms of the source language.
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Pub Date : 2021-09-17DOI: 10.31861/pytlit2021.103.124
Hanae Abdelouahed
Marguerite Yourcenar is the first woman to sit at the French Academy. His writings are prolific and polymorphous, offering very rich material for analysis. Critics were unanimous that his work is complex; a complexity likely to be justified by the journey of a learned intellectual who has crisscrossed the centuries through the practice of reading, translating and also rewriting. translation is a real passion for him, another way of writing. Rewriting is the result of the act of translating. In the case of Yourcenar it is recasting, literary exercise and hermeneutics which offers him the opportunity on the one hand, to question his ideas and the ideas of others, on the other hand to self-analyze, to affirm his freedom and to reinvent his life, in short to translate himself. To rewrite is also to re-construct a character, a destiny, a History, it is also to re-construct oneself, to overcome one’s shortcomings, to remake what is wrong and to authenticate one’s emotions. The translation-re-writing bi-polarity is at this stage an aesthetic that allows the writer to complete her Great Work and rediscover the unity of her method. This is the problematic that we will try to deepen through some examples that we consider relevant from the work of Marguerite Yourcenar while relying on studies of modern poetics and comparative literature which are interested in this interaction. between the two instances; works (first writing) to translation (second writing).
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Pub Date : 2021-09-17DOI: 10.31861/pytlit2021.103.169
Jun Mita
This study examines the problem of the translation of the concepts of “étrange” in the theory of the fantastic in literature by Tzvetan Todorov (1939–2017) and of Unheimliche by Sigmund Freud (1856–1939). Todorov defines clearly the realm of “fantastique” as an intermediary genre situated between two poles: “merveilleux” (lit. marvellous) and “étranger” (lit. strange, odd). The latter term is translated by the substantive adjective “uncanny” in English and Unheimliche in German. However, Unheimliche is also used by Freud to designate a psychoanalytical notion, and the common English translation is “uncanny”. This comparative analysis reveals that, on the contrary, the Freudian notion of Unheimliche and the Todorovian notion of “fantastique” are equivalent and that they both refer to a temporary nature. This comparison makes it possible to clarify the mechanisms of the fantastic in literature. Todorov indeed does not explain where the “hesitation” in the face of an apparently supernatural event comes from, even though this uncertainty is the pivot of his theory. However, Freud’s considerations lead us to understand that it is because such an event shakes our modern rational convictions, and because the old superstitious beliefs convictions that we should have “overcome” return in the form of the Unheimliche.
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