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RésuméLa traductologie contemporaine replace au centre de sa recherche le traducteur dont la visibilité dans l’espace littéraire et scientifique a été longtemps occultée. Il n’est donc pas étonnant que le traducteur ait pu devenir un personnage de fiction ou le sujet d’une biofiction. Ces récits de soi entrepris par des traducteurs ont l’ambition de proposer à leurs lecteurs un geste réflexif sur ce qui se joue quand on entreprend de traduire. Aussi, en écho avec ce que certains appellent un « tournant fictionnel » (Vieira 1995), il nous semble tout à fait approprié de parler, à ce propos, de l’émergence d’untournant métafictionneldans les études de traduction. Dans notre article, nous mettrons en évidence le nouage (dans ses dimensions cognitive, culturelle et éthique) des discours autobiographique et traductologique tel qu’on le trouve dans, ce que nous qualifions de métafictions traductives, à savoir dansPortrait du traducteur en escrocde Bernard Hœpffner,Partagesd’André Markowicz etLycophron et Zétèsde Pascal Quignard.

This article is devoted to the ethical and political dimension of the thought of translation, here being considered as a problem place where the relationship to the Other is the question. First, the study shows the principles of translation theories centered on the welcoming of the Other and it analyses the relationship between the notions of “proper” and “foreign”. Then the drifting that can be borne out of “non-ethical” translation which undervalue and/or ignore the asymmetrical links between dominant and dominated languages. Finally, the article sets into perspective the problems surrounding the question of the welcoming of the Other in translation in confronting them with the theses Tiphaine Samoyault puts forth in her book Traduction et violence (2020). The point is not to condemn translation under the pretext that it would only be violence, but to take into consideration the fact that it is a place full of tensions which one should learn to manage in a tactful manner. Therefore, to replace the notion of “truthful translation” Samoyault offers the concept of “just translation” which allows to reunite in the same phrase the notion of “justness” (to find the just word) and that of justice (to adjust the translation, to adapt to inequalities). In short, the article undertakes the examination of the problem of the Other in translation while referring to Ricoeur’s idea that the foreigner is neither the same (identical to us) nor the other (different from us) but the similar, that is to say the conjunction of the identical and the different.

Introduction

The author wonders about the changes of scientific paradigms which have been adopted in France, by some critics, who deliberately infringe the limits laid down between literary work and review, fiction and theory, and the place usually felt as unique, of the author and the reader. In particular, Pierre Bayard’s works will be examined in detail, since he deliberately challenges, mixes and creates confusion around the characteristic touch linked to critical works and works of self-fiction. His writings will be closely examined, for they could be qualified as “trick novels”, insofar as they are places of diversion, blinding, secrecy, dupery, treachery, faux-semblant, and creating fables. The author will try to unfold and explain the nature and the processes at work within the categories and the literary and theoretical concepts used by P. Bayard. Only under that condition one will be able to appreciate the originality of the infringements of that author who, just like his reader is taken by his shrewd capacity to tell his stories, and is seduced by his style, enjoys maliciously to read, breaking the rules of an ordinary reading of the classic works of literature, which sometimes is a scandal in the eye of the mainstream critic. Such a hermeneutic way leaves the reader a large share of the pleasure of reading, since he or she is fussy and reacts to the smallest detail suggested in the text, and cannot be fooled either by the author or by the interpretative consensus. The sideways move made by Bayard is based upon on concepts he borrows from various fields of knowledge (poetry, psychoanalysis, narratology, history of literature, stylistics, etc.) which at the same time shed light on the studied text and are explained by it, since a critical posture is claimed here in an immanent way, far from any mechanical use of an extrinsic “concept toolbox”. One can quote as examples of notions the following: the fictional narrator-critic, the literality and self-fiction within the critical text, the metacritical fiction, the metafictional discourse, the multiple welcomes of the critical text, etc. Bayard’s œuvre is no hapax, no critical, isolated, brilliant hapax – close to a hoax, as far as the more sceptical are concerned, one must say, and regret – but is part of a stream of practice of writing which (both from the critic’s and the author’s point of view) is very promising in the perspective of getting literary theories out of their academic humdrum; it is that new use of literature sometimes coined as the poetry of possible texts which has some kind of relationship with Julien Gracq’s watchword “En lisant en écrivant”.

The article deals with the problem of the removing of the secondary’s status in the artwork in term of the functioning of its paratextual elements. We studied Gérard Wajcman’s novel “The Forbidden” (1986, republished in 2016), it’s composed of the author’s endnotes and the body text is lacking. We outlined the discursive and the narrative text’s structures that favor the changing of the hierarchy’s status, from paratext (lower) to the body text (higher). We examined other paratextual elements (title, dedication, opening information etc.) as the body text is lacking they have the essential function in the reader’s interpretation of the text. It is described as the new novel republishing “The Forbidden” modified the work’s receptive capacity on condition of the changing of the publisher’s peritext (book’s format, epilogue is added, the writing of the author’s name is changed) and epitext (the author’s artistic heritage, the biography in media). We analyzed as this modification transform the code and the modus of the reader’s perception of the novel. It is shown that the text expected by receiver is lacking not because it’s waiting to be fill on the basis of the interactive game with the reader the main reason is that this text is impossible, unrealizable, forceless. This text says about unspeakable and in this form, it is completely self-sufficient as it represent the oblivion, erasing memory, its deficiency, its absence. We stressed that the lacking of the boy text in Gérard Wajcman’s novel, which is the part of the paradigm “Literature of the Holocaust”, is the symbol of the obliteration and of the language loss in general and particularly of the family’s language Yiddish. We concluded that the text’s delete is not poetic and stylistic way; it is the apparatus of the minor hierarchy.

The article considers T. Samoyault’s biographical proses, dedicated to Roland Barthes (Samoyault T. Roland Barthes, Paris, Ed. du Seuil, 2015). The raises questions are about the intention of the intellectual and biographical project and the poetical methods of theirs realization. We distinguished the subject’s dominants (biographemes) of intellectual lifework and the approaches of their reconstruction. We outlined the narrative methods of the (de)mythologization of the object of the biographical text. We marked out the types of the used discourses: literary or fictional discourse (by means of the sorting of the biographical material in the narrative and the creation of the biographical personage); the documentary or factual discourse used by means of the authentication of the source base this is the testimonies, documents, manuscripts and so on; the argumentative or scientific discourse used by means of the intellectual intention of the biographical project. Besides, we paid attention to the paratextuels components of the analyzed biographical work (peritexte and epitexte) with the purpose to describe the writer’s strategies of the author of the biography of the famous French thinker and we outlined the waiting horizon of their recipient. We justified the singularity of T. Samoyault’s work functions in the genre paradigm of the lifeworks about R. Barthes. We traced „the intellectual biography„ of the French author as the biography which based not on the life of the protagonist of the life story, but as a story of his Novel’s emergence as the complex of the produced his ideas and his concepts and the influences of the intellectual space during the certain period and vice versa. It is specially noted the metabiographical components of the T. Samoyault’s work. We stressed on the combination of the chronological and the fragmental, we noted that the unity of the author’s life story based not on the time direction but on the direction of the critical thought of the life story’s object.

The article deals with the problem of Pierre Michon’s authors biographical stylistic methods. We covered the stylistic and poetical markers of the author’s studying of the biographical material. We determined the modes of the biographeme’s selection and their hierarchical structure (from dominant to peripheral; we analyzed the narrative structure of the biographical text, we studied the textual realization of the relations factual / fiction / fictional in the authors works. We outlined the fictional markers; they are thematic (in relation to the literary text) narrative (in relation to the narration) and discursive (in relation to the discourse) criteria, and also paratextual and metatextual textual indicators. Besides, we showed the literary transformation of the biography to the myth biography by functions of the biographical texts agents (object, subject and recipient), and the process of the transposition of the biography logic to the myth logic. The author concludes that in the biographies created by P. Michon, the mains acting schemes (mytheme) of the (myth) biography’s creating are presented by the repeating paradigm of the themes and of the motifs. This is the reference to an ancient manuscript, the digging up bones (remains), the identity (name), the recording, the choice of language, the execution of order, the correspondence, the falsification, the birth of the work of art etc. The author’s style is has enclosed in the biographies. The acting schemes of the process of the writing and of his reception are represented frequently in the text, this is the removing cover, deep into the middle (of the earth, of the wood, etc.), feeling of the body (of the text), the paradox- transposition of the contradictions, the creation through the deletion.

The article has been dedicated to investigating the processes and mechanisms of multiplication of person identities and personalities of an author, a narrator and a literary character on the basis of the work of a modern French writer Emmanuel Carrère “Limonov”. The article investigates the problem of dialectical transformations which the author of fiction uses through the creation of a literary character on the basis of a famous personality; and the issue of demythologization of a character created by the media and the character itself. The attention is paid to the intersection and inversion of identities of an author, a narrator and a protagonist resulting in the creation of new identities. The issue of how these newly created identities reflect certain social and cultural phenomena has been clarified.

This paper investigates the two factors that contributed to the consecration of Vasyl Barka and his quasi institutional instalment as a pollinating witness. It thus examines the origin and foundation of the pollinating power indisputably conveyed in the testimonial narrative The Yellow Prince, with the presence of an intrinsic pollinating agent; it then highlights the literary, historical and ideological contexts surrounding the reception of this narrative devoted to the Great Ukrainian Famine, which marked the beginning of Vasyl Barka’s testimonial career with the presence of an extrinsic pollinating agent. The paper then shows how The Yellow Prince fertilizes the literary works devoted to the Holodomor, how testimonies on the massacre move not only from one text and one era to the other, but also from one area of knowledge to the other. Indeed, this omnipresent and almost inevitable hypotext constitutes the basis of the spectrum of motives to be found in the corpus, all literary genres taken into account., Il s’agit de s’interroger sur les deux facteurs qui ont contribué à la consécration de Vassyl Barka et à l’instauration quasiment institutionnelle de son statut du témoin pollinisateur. Pour ce faire, d’une part, nous nous penchons sur l’origine et le fondement du pouvoir de pollinisation dont son récit testimonial, le Prince jaune, est incontestablement porteur (cas de l’agent pollinisateur intrinsèque) ; et, d’autre part, nous mettons en lumière les contextes littéraire, historique et idéologique de la réception de ce récit sur la Grande Famine ukrainienne, réception particulière qui propulseVassyl Barka dans une carrière testimoniale (cas de l’agent pollinisateur extrinsèque). Nous montrons ensuite comment le récit de l’écrivain fertilise les œuvres littéraires consacrées au Holodomor, comment les témoignages sur le massacre que contient le Prince jaune passent non seulement d’un texte à un autre, d’une époque à une autre, mais aussi d’un domaine de savoir à un autre. En effet, cet hypotexte omniprésent et quasiment obligé constitue le fondement du répertoire des motifs étudiés à l’intérieur d’un corpus d’œuvres littéraires, tous genres confondus.

Dans notre étude, nous voudrions proposer une lecture du roman d'Aharon Appelfeld, Le Garçon qui voulait dormir, à travers le prisme des réflexions et des méditations, qui se situent à la frontière du littéraire et du philosophique, qu’entreprend Pascal Quignard. Notamment quand il s’interroge sur les liens qui se nouent entre l’errance, le rêve et l’écriture. Car l’errance nous paraît être un des points de rencontre important entre ces deux écrivains, même si leurs parcours existentiels et artistiques sont très différents. Chez Quignard, l’errance se décline sous deux modalités spéculaires essentielles : celle de la destinerrance des personnages qui manquent leur destination (dans ses récits de fiction), et celle la destinerrance du lecteur (dans ses essais). Car, pour lui, la lecture est une expérience nomade, une errance spatio-temporelle, mais surtout linguistique et spirituelle : une errance à travers les lettres, les mots et les âmes de l’homme. Nous pensons que leur dialogue imaginaire pourrait porter essentiellement sur ce qu’il en est de l’origine de la création littéraire, compte tenu de ses liens avec le trauma de l’expulsion, du déplacement, de la séparation du corps maternel. Thématiques et motifs que Pascal Quignard développe notamment dans un livre, La Vie n’est pas une biographie (2019), titre qui aurait certainement eu une résonance pour Appelfeld.