The Translation of Intertextual Allusion

A partir d’un corpus constitué de La Chute d’Albert Camus, du Chagrin des Belges de Hugo Claus et d’Une année chez les Français de Fouad Laroui, ainsi que leurs traductions néerlandaises, cette contribution s’intéresse à la traduction de l’allusion intertextuelle ironique. Elle présente d’abord les concepts théoriques qui sous-tendent l’analyse, pour ensuite étudier plus en détail les 9 stratégies rencontrées : la traduction standard, la traduction littérale, la traduction avec marquage, la non-traduction, la traduction dans une troisième langue, les gloses, l’omission, la substitution par une intertextualité appartenant à la culture cible et la substitution par l’architextualité.Based on a corpus including La Chute by Albert Camus, Le Chagrin des Belges by Hugo Claus and Une année chez les Français by Fouad Laroui, and their dutch translations, this contribution examines the translation or ironic intertextual allusions. First, it exposes the theoretical concepts on which the analysis is built; it follows up with a more detailed study of the nine encountered strategies: standard translation, literal translation, marked translation, non-translation, translation in a third language; explication, omission, replacement by intertextuality from the target culture and replacement by architextuality

Les traductions néerlandaises des romans francophones camerounais

In the corpus of African francophone novels that have been translated into Dutch, some 50 titles in all, the contribution of Cameroon authors is considerable. Between 1960 and 2009, nine novels by five Cameroon writers were published in Dutch. This essay to analyses these translations using the methodology of Descriptive Translation Studies (Toury) and the sociology of translation (Heilbron and Sapiro Bilan). It examines how the Cameroon novels have been integrated into the Dutch literary system, what their position is, and most of all, to what extent the paratexts of the translated novels reflect this position. The detailed analysis of the reception of the Cameroon novels within the Dutch literary system reveals that there is a marked evolution in the way in which the publications have been selected and presented to the public. First, the classics of (post)colonial literature were translated, novels dealing with the (difficult) relations between the black colonised person and the white coloniser. At a later stage, the female perspective on contemporary challenges facing Africa becomes the sole focus of the novels in the corpus. What is less straightforward to define clearly, is the place of Dutch within the larger translation trends reflecting the international visibility of the novels. All the same, it seems safe to say that English, the most dominant global language, has not played a significant role in determining the translation history of any of the novels or authors under consideration. None of the novels in the corpus was first translated into English. In fact, the languages with a central position (Heilbron and Sapiro), German and Russian before 1989, appear to have been more influential. Three of the five authors were first published in a central language: Oyono and Beyala were translated into German, whereas Beti was translated into Russian. By contrast, two authors were first translated into a (semi-)peripheral language: Werewere into Dutch and Miano into Spanish. What appears to be important for the Dutch translations is that certain agents and promotors of translation played a crucial role in this. From that perspective, Magrit de Sablonière, who translated the first two African francophone novels, certainly merits special attention, as do two book collections devoted to europhone African literature, De Derde Spreker-Serie and Afrikaanse Bibliotheek, as well as the people behind them, Sjef Theunis and Jan Kees van der Werk.&nbsp

Translating ironic intertextual allusions

Based on a corpus consisting of Albert Camus’s La Chute, Hugo Claus’s Le chagrin des Belges, Fouad Laroui’s Une année chez les Français and their Dutch versions, this article examines the ways in which ironic intertextual allusions are translated. It begins with a presentation of the theoretical concepts underpinning the analysis and subsequently identifies, through a detailed study, the following nine strategies: standard translation; literal translation; translation using markers; non-translation; translation into a third language; glosses; omissions; substitutions using intertextuality from the target culture; and substitutions using architextuality

Suppositions de traducteurs : les pseudo-traductions d’Andreï Makine

Si les pseudo-traductions ne sont pas de véritables traductions, elles doivent cependant en reproduire toutes les caractéristiques et dévoilent donc un grand nombre d’idées (préconçues) sur la traduction en raison de la tromperie même sur laquelle elles se basent. Ce procédé avant tout littéraire mérite l’attention des traductologues dans la mesure où il constitue un lieu où s’expriment bien des principes concernant le sens, les enjeux et l’importance de la traduction, et qu’il remet immanquablement en question de nombreux axiomes traductionnels. Dans cette contribution, il s’agira de recontextualiser un cas concret pour en étudier les caractéristiques, les raisons et les effets : les deux premiers romans d’Andrei Makine, La fille d’un héros de l’Union soviétique et Confession d’un porte-drapeau déchu (1992).Pseudo-translations may not actually be translations in the strict sense of the word. They must, however, reproduce all the characteristics of a translation, and the deception on which they are based causes them to reveal many of the (preconceived) ideas on translation of a given time. The overall literary topos of pseudo-translation merits the attention of translation scholars because it gives expression to translation principles relating to the meaning of translation, to translation issues and the importance attached to translation, while invariably questioning many translation axioms. This contribution will recontextualize two specific cases of pseudo-translation, Andrei Makine’s first two novels, La fille d’un héros de l’Union soviétique and Confession d’un porte-drapeau déchu (1992), with a view to studying the reasons for their production, characteristics and effects