scholarly journals L’original bilingue, ou la traduction impossible : autour de « L’homme invisible / The Invisible Man » de Patrice Desbiens

2021 ◽  
Vol 68 ◽  
pp. 259-272
Author(s):  
Joanna Warmuzińska-Rogóż

Le récit/the story entitled Lʼhomme invisible / The Invisible Man (1981) by Patrice Desbiens, a bilingual Franco-Ontarian writer and poet, encourages us to reflect on a bilingual original and to rethink the relationship between the centre and the periphery in the translational context. Bilingualism is an integral part of the book: Patrice Desbiens builds his identities on “two mother tongues” by juxtaposing the two versions of his text. A detailed analysis of the story in French and English shows important differences between them. What is more, only a simultaneous reading of the two versions makes it possible to fully understand the idea of the story and the complicated relations between the two cultures. The article is a reflection on the impossibility of translating an original built on the presence of two languages, an inherent and specific feature of Desbiens’ text.

2019 ◽  
Vol 3 ◽  
pp. 00034
Author(s):  
Novi Kurniawati

<p class="MsoNormal" style="text-indent:0in">Learning a foreign language cannot be separated from literature and culture. One of the definitions of literature is a reflection of society; so through literature we can know the real image of society as well as the culture. Moreover, by knowing the foreign cultures of the countries from which we learn the language, we can not only read, but also understand the problems that appear in the texts studied. Similarly, French culture cannot be separated from Maghreb culture. The two cultures complement each other, later becoming the content of various literary, French literary and Francophone literary. The relationship between the two cultures is also part of the content of Virginie Despentes' novel <i>Apocalypse bébé</i>. Through this novel, we can see an image of the relationship between France and the Maghreb people in their social life. Thus, as a learner of French, we could know not only French culture through the textbooks published by French publishers, but also recognize the French culture associated with France both directly and indirectly. Therefore, the literary text entitled <i>Apocalypse bébé</i> can be an alternative source of learning French, not only in terms of language attached to vocabulary and grammar, but also to know French and Francophone culture so that students know the relationship for understanding and analyzing literary works.</p>


2020 ◽  
Vol 7 (1) ◽  
pp. 33-48
Author(s):  
Aniendya Christianna

ABSTRACTDamar Kurung is a typical lantern of Gresik, made in the 16th century. In 2017 Damar Kurung was declared an intangible cultural heritage by the Indonesian Ministry of Education and Culture. Masmundari (1904-2005) was a female artist who painted Damar Kurung based on skills learned from her ancestors. Among Masmundari's many paintings, Nyonya Muluk is the most frequently painted. Nyonya Muluk is described as a big woman wearing a dress and wings. Many people say that Nyonya Muluk is a picture of Queen Wilhemina that Masmundari has seen directly. To uncover Nyonya Muluk's identity, it is necessary to explain the image and meaning of this traditional art, the author uses Bahasa Rupa method (Tabrani, 2012), which analyzes the contents of the wimba, cara wimba, tata ungkapan and how to read wimba. Then, analyzed using postcolonial theory, specifically using the concepts of hybridity and mimicry to find out the identity of Nyonya Muluk. Finally, this research is to produce (1) A description of the relationship between the two cultures (East and West/invaders and colonized) which is manifested in the figure of Nyonya Muluk. (2) Nyonya Muluk is a representation of Javanese women's hybridity that illustrates the hopes and dreams of Masmundari (as an East representative) to be similar to the West.Hibriditas Perempuan Jawa: Studi Poskolonial Figur Nyonya Muluk Di Lukisan Damar KurungABSTRAKDamar Kurung adalah lentera khas Gresik, dibuat pada abad ke-16. Pada 2017 Damar Kurung dinyatakan sebagai warisan budaya tak bendawi oleh Kementerian Pendidikan dan Kebudayaan Indonesia. Masmundari (1904-2005) adalah seniman perempuan yang melukis Damar Kurung berdasarkan keterampilan yang diperolehnya secara turun temurun. Di antara banyak lukisan Masmundari, Nyonya Muluk adalah yang paling sering dilukis. Nyonya Muluk digambarkan sebagai perempuan berukuran besar yang mengenakan gaun dan memiliki sepasang sayap. Banyak orang mengatakan bahwa Nyonya Muluk adalah gambaran Ratu Wilhemina yang langsung dilihat Masmundari. Untuk mengungkap identitas Nyonya Muluk, perlu menjelaskan gambar dan makna seni lukis tradisi ini, penulis menggunakan metode Bahasa Rupa (Tabrani, 2012), yang menganalisis isi wimba, cara wimba, tata cara dan cara membaca wimba. Kemudian, dianalisis menggunakan teori postkolonial, khususnya menggunakan konsep hibriditas dan mimikri untuk mengetahui identitas Nyonya Muluk. Akhirnya, penelitian menghasilkan (1) Deskripsi hubungan antara dua budaya (Timur dan Barat/penjajah dan terjajah) yang dimanifestasikan dalam sosok Nyonya Muluk. (2) Nyonya Muluk adalah representasi dari hibriditas perempuan Jawa yang menggambarkan harapan dan impian Masmundari (sebagai perwakilan Timur) untuk menjadi serupa dengan Barat.


2020 ◽  
Vol 4 (8) ◽  
Author(s):  
Rongcai Wang

College should serve local economy closer, enterprise structure upgrading also improves requirements for personnel, so a collision and integration of college campus culture and corporate culture is accelerating. This paper starts from the relationship explication between the two cultures and the significance explication of their melange, in view of the problem of integration of this two culture, the paper propose five countermeasures: put the essence of enterprise culture into the "3-outlooks" and "3-styles" education, capture the key of two culture integration, establish the main line of integration, integrate college practice education resources, and promote  undergraduate  innovative and entrepreneurial ability.


2006 ◽  
Vol 86 ◽  
pp. 1-13 ◽  
Author(s):  
Richard Bradley

This paper was given at a meeting of the Society held on 12 January 2006 and it discusses the relationship between academic research and developer-funded archaeology in Britain today, highlighting the strengths and weaknesses of each. It considers the relationship between archaeological theory and practice and discusses the changing roles of academics, fieldworkers and managers. It argues that important issues need to be resolved, including the dissemination of information from recent archaeological fieldwork and the use of ‘grey literature’ in informing more ambitious interpretations of the past.


2015 ◽  
Vol 59 (3) ◽  
pp. 494-516
Author(s):  
Catherine Leclerc

Transfiguration de Jacques Brault et E. D. Blodgett (1998), et L’homme invisible/The Invisible Man (1981) de Patrice Desbiens se situent à la croisée des langues officielles canadiennes. L’un est un échange entre un poète québécois et un poète albertain ; l’autre, le récit de l’expérience entre les langues d’un protagoniste franco-ontarien. Ces textes poétiques empruntent – mais pour les détourner – les codes de l’édition bilingue. Ils ont tous deux été lus comme des parodies du bilinguisme symétrique promu par la Loi sur les langues officielles du Canada. Le présent article veut rendre compte de leur relation, à la fois idéologique et formelle, avec le bilinguisme officiel et avec les pratiques traductionnelles qui lui sont associées. Il s’intéresse autant au cadre commun que le bilinguisme officiel leur procure qu’aux manières, divergentes, dont il s’en démarque. En ce sens, il propose un comparatisme portant non seulement sur les imaginaires respectifs de l’anglais et du français au Canada et sur leurs zones de contact, mais surtout sur les enjeux des différents types de rapports à la traduction émanant de telles zones. D’une tension entre deux espaces sociolinguistiques à la fois séparés et en interaction, il invite à déplacer le regard vers l’hétérogénéité de leurs lieux de rencontre les plus intenses.


2012 ◽  
Vol 14 (2) ◽  
pp. 203-226 ◽  
Author(s):  
Katja Guenther

Freud's ‘Critical Introduction’ has many of the markers of a purely neuroanatomical text. But a comparison with contemporary anatomical writings as well as an analysis of the larger scientific, clinical and institutional context of Freud's work suggests important differences. Freud's manuscript was an ambitious enterprise to reform the brain sciences of the 1880s to open them up to nervous conditions that were only poorly accounted for by the predominant German model of a somatically informed psychiatry. It marks an attempt to bridge the two cultures of French and German-speaking neurology, as well as scientific and clinical medicine. By navigating these different contexts, the text provides a clue to the relationship between Freud's early scientific work and his developing psychoanalysis.


Author(s):  
Mathieu Simard

Dans L’Homme invisible / The Invisible Man de Patrice Desbiens, les figures féminines sont des intellectuelles, en ce sens qu’elles portent et transmettent le savoir fondamental de la communauté représentée : la langue. La transmission de cette connaissance au protagoniste masculin est traduite dans la structure du texte par des variations différentielles. Selon la femme que l’homme invisible côtoie, les fragments de l’ouvrage comptent davantage de vers sur la page de gauche (qui correspond à la version française) ou sur la page de droite (qui correspond à la version anglaise).


Author(s):  
Gary Goertz ◽  
James Mahoney

This chapter considers two fundamental differences between the quantitative and qualitative research traditions with respect to conceptualization and measurement: these differences are related to the relative emphasis placed on definitions versus indicators in the two cultures. The first difference concerns the relative importance assigned to issues of concept definition versus issues of concept measurement. Qualitative researchers are centrally concerned with definitional issues and the meaning of their concepts, whereas their quantitative counterparts are more interested in the quantitative measurement of latent variables. The second difference concerns error and the coding of cases. The chapter examines how characteristics versus indicators are defined in the qualitative and quantitative research paradigms. It also discusses the relationship between “error,” which is central to all statistics, and “fuzziness,” which is important in qualitative research.


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