scholarly journals Le traducteur comme médiateur-créateur : sociologie d’une profession polymorphe à partir du cas d’Elmar Tophoven

2021 ◽  
Vol 15 (1) ◽  
pp. 100-113
Author(s):  
Solange Arber ◽  
Victor Collard
Keyword(s):  

Pouvant être définie comme un art de la médiation, la traduction nous invite à considérer la productivité et la créativité du travail de médiateur. Que ce soit sur le plan linguistique, culturel ou sociologique, les traducteurs et traductrices littéraires transmettent les œuvres en influant sur leur forme, leur signification et leur réception dans la culture cible. À travers l’étude du cas d’Elmar Tophoven, traducteur allemand de Samuel Beckett et du Nouveau Roman, il est possible d’éclairer les multiples facettes composant l’activité de traduction en tant qu’acte de médiation qui se révèle posséder une dimension créative.

2011 ◽  
pp. 59-72
Author(s):  
Czesław Grzesiak

The French nouveau roman is characterised by lack of numerous elements typical of the traditional, commonly called Balzacian, novel. This lack involves the rejection of plot, omniscient narrator, psychological, moral and ideological factors, social and political engagement, the decomposition of character, the indeterminacy and gradual implosion of time and space as well as the text generation based on some lack or void. The aim of the article is to present these missing elements of the represented world and to discuss their functions in the works of leading practitioners of the nouveau roman, such as Samuel Beckett (predecessor), Michel Butor, Marguerite Duras, Robert Pinget, Alain Robbe-Grillet, Nathalie Sarraute and Claude Simon.


Author(s):  
Adam Guy

This chapter looks at the translation of the nouveau roman into English. The modernist precedent in the field of translation is considered. Then the nouveau roman’s various English translators are discussed. The chapter’s main focus is the work of Nathalie Sarraute, which was translated into English by Maria Jolas. Jolas’s central role in the modernist little magazine, transition, is introduced, and her postwar activities are also presented. In particular, the chapter looks at Jolas’s translations of two novels of what is named Sarraute’s ‘aesthetic turn’, Entre la vie et la mort (1968), and Vous les entendez? (1972). Jolas’s translations are shown to emphasize both inter- and intralingualism, as well as a deeper untranslatability that undergirds all translation. The chapter ends by contrasting Jolas’s translations from French with those of Barbara Wright and Samuel Beckett.


1960 ◽  
Vol 1 (2) ◽  
pp. 22
Author(s):  
Melvin J. Friedman
Keyword(s):  

2016 ◽  
Vol 25 (2) ◽  
pp. 225-242
Author(s):  
Cal Revely-Calder

Critics have recently begun to pay attention to the influence Jean Racine's plays had on the work of Samuel Beckett, noting his 1930–31 lectures at Trinity College Dublin, and echoes of Racine in early texts such as Murphy (1938). This essay suggests that as well as the Trinity lectures, Beckett's later re-reading of Racine (in 1956) can be seen as fundamentally influential on his drama. There are moments of direct allusion to Racine's work, as in Oh les beaux jours (1963), where the echoes are easily discernible; but I suggest that soon, in particular with Come and Go (1965), the characteristics of a distinctly Racinian stagecraft become more subtly apparent, in what Danièle de Ruyter has called ‘choix plus spécifiquement théâtraux’: pared-down lighting, carefully-crafted entries and exits, and visual tableaux made increasingly difficult to read. Through an account of Racine's dramaturgy, and the ways in which he structures bodily motion and theatrical talk, I suggest that Beckett's post-1956 drama can be better understood, as stage-spectacles, in the light of Racine's plays; both writers give us, in Myriam Jeantroux's phrase, the complicated spectacle of ‘un lieu à la fois désert et clôturé’. As spectators to Beckett's drama, by keeping Racine in mind we can come to understand better the limitations of that spectatorship, and how the later plays trouble our ability to see – and interpret – the figures that move before us.


1993 ◽  
Vol 3 (1) ◽  
pp. 71-72
Author(s):  
Phil Baker

2015 ◽  
Vol 24 (2) ◽  
pp. 223-241
Author(s):  
José Francisco Fernández

This study takes the form of a chronicle of the life-long friendship between Samuel Beckett and Spanish playwright Fernando Arrabal. First, the circumstances in which they became acquainted will be explored. Then, that streak of irreverent humour shared by both writers will be discussed, especially in relation to their interest in Surrealism. Following this, the Spaniard's opinions on Beckett's partner, Suzanne Deschevaux-Dumesnil, will be considered. Finally, Arrabal's trial for blasphemy in 1967 is examined in detail, including Beckett's letter in his defence.


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