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Le Haiku est un genre poétique japonais qui a exercé une influence sur la culture occidentale moderne en raison de son “abondance” conceptuelle attrayante produite par sa “frugalité”. Lafkadio Hearn, un chercheur grec-irlandais, traduisit le Haiku en anglais et le fit internationalement connaître. Haiku is a Japanese poetic genre having influenced modern Western culture by its appealing conceptual “abundance” produced through “frugality”. Lafkadio Hearn, a Greek-Irish scholar, translated haiku into English and made it internationally-known. Haiku is vaguely interacted with the ancient Greek epigrammatic genre of “comos”, Hesiod’s pastoral poetry and the laconic poetic form of “epigram”.

Despite the opportunities offered by cultural heritage in the tourism sector, this article, based on a case study of a little town in the French Alps, shows that public policy of this type may also be subject to criticism and contestation. In Abondance, the municipality is making efforts to convert their ski resort into a cultural tourism site which is built around the heritage of the Gothic Court of Savoy. However: 1) As summarised by one of the local leaders ‘the people do not believe in it’ and fear that is not economically viable. 2) In contrast to the ski resort, heritage tourism is only attached to the imagination of old age, immobility and even death. 3) For residents of the town, setting up a localised visit site has disadvantages because of the turnover of touristic traffic to which this type of tourism is exposed.

Cet article propose une analyse des Quexas y llanto de Pompeyo (1556) du Valencien Juan Martín Cordero, traduction du Pompeius fugiens (1519) de Juan Luis Vivès. Un procédé de traduction récurrent y est identifié : l’amplification du texte-source par les doublets synonymiques, étudiés ici en particulier dans le passage de la lamentation à Cornélia. Après le rappel du parcours intellectuel de Cordero et de son activité de traducteur à Louvain, l’article rend compte de la naturalisation du texte-source effectuée par Cordero, et du renforcement de la tonalité pathétique que sa traduction suppose.