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La reconstruction d’un univers merveilleux. Autour de la traduction des métaphores d’Angela Carter en français et en italien

100%
Monti E.
Między Oryginałem a Przekładem
|
2017
|
vol. 35
65-81
EN
This essay sets out to analyze the re-construction of a marvelous world in the translations of Angela Carter’s works (1940-1992). It does so by focusing on metaphors, seen as cognitive and stylistic elements which are both relevant in the construction of such world, and emblematic of the overall translation strategy. Our parallel corpus consists of a selection of stories from Angela Carter’s The Bloody Chamber and other stories (1979) and their three translations (two into Italian, one into French). The stories in this collection offer a profound rewriting of Perrault’s tales and subvert the canon by adding an explicit sexual dimension to these stories and questioning male supremacy. We shall illustrate the strategies implemented by the Italian and French translators to recreate the uncanny images and associations that deliberate metaphors can trigger in the minds of their readers. We aim at drawing a few tentative conclusions about the construction of marvelous through metaphors, as well as on the translation approaches to such elements and works.
2
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Traduire la métaphore surréaliste. Nadja d’André Breton, le merveilleux et ses traductions en anglais et en italien

88%
Collani T.
Między Oryginałem a Przekładem
|
2017
|
vol. 35
37-64
EN
Starting from Michael Riffaterre’ analysis of conceits (or long metaphors) within the Surrealist literary production (1969), this article aims to take into account the metaphorical code’s lexicon as well as the expressions forming the dense network of images which constitutes the Surrealist marvelous. The corpus is focused on André Breton’s Nadja (in its two French editions of 1928 and 1963), as well as on its English translation (by Richard Howard in 1960) and Italian translation (by Giordano Falzoni in 1972). After tracing in texts source a set of essential and sensitive words for the creation of the marvelous effect within the Surrealist production, we will see how the target texts take into account the rational analogies canvas woven by Breton.
3
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Sortir du réel » et « entrer dans le surréel » chez Artaud. La traduction à l’épreuve du merveilleux

88%
Della Casa M.
Między Oryginałem a Przekładem
|
2017
|
vol. 35
133-150
EN
Following the initial introductory section, which takes into account Artaud’s adaptations of Matthew G. Lewis and Lewis Carroll’s writings, as well as his comments on them, this project aims to examine the concept of the marvelous as conceived by the French writer and to demonstrate in what manner it constitutes a way of putting to a test the translation with respect to its writing in itself. In order to do so, after having laid the foundations of the issue in question, the objective of the second part of this article is to explore the marvelous in Artaud’s writings, discerning it from the concept of the marvelous in surrealism in order to contextualize it and better delineate its characteristics. The aim of the third section, instead, is to highlight the writer’s challenge towards representation, in all its forms, on the basis of the logic of the marvelous as it emerges from his texts. To conclude, the fourth part, following the path taken to this point, aims to reveal the relationship established by Artaud, between writing and the marvelous, but also between translatable and untranslatable.
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