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Drawing on Derrida's and Ricoeur's theories of language and hospitality, the author takes up the problem of the hostility embedded in the discourses of welcome when it comes to migrants' experiences of border regimes and border practices. "Broken English," in this context, represents a site of conflict: a vehicular language to be avoided or overcome, a "language of refuge," even a means of forming a community. To explore language as alternative terrain to be policed or an opening to be exploited, the author considers how civil-society art projects involving immigrants and refugees might enable new civic relationships. Focusing on the Shoe Project, a storytelling and performance workshop for immigrant and refugee women, the author asks to what extent the project is about helping the stranger speak like "us" and to what extent it can open space for a different kind of immigration story from those imposed by the legal languages of immigration. [ABSTRACT FROM AUTHOR]

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Copyright of Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Le Quichotte de Cervantès occupe une place singulière dans l’histoire de la traduction littéraire en langue française, au moins parce qu’il a fait l’objet d’incessantes retraductions. Mais l’ouvrage retient l’attention parce que la traduction y est thématisée pour elle-même en deux endroits. Cervantès, en jouant avec les codes du roman de chevalerie, pose le cadre général d’une réflexion théorique sur la traduction dont on cherchera ici à souligner les principales tensions constitutives. En intériorisant ses propres origines fictives et traductives, dans un intermède à cheval entre les chapitres viii et ix, le Quichotte évoque à la fois l’idée d’une traduction impossible, mais aussi celle de la traduction comme une modalité particulière de lecture où s’origine la littérature moderne comme quasi-monde (Ricœur) propice aux échanges textuels. Il s’agira finalement de montrer que, ce faisant, Cervantès fait signe à la fois vers le structuralisme et la tradition herméneutique, et leur articulation problématique.

Cet article reconstitue les moyens par lesquels le journal personnel des frères Edmond et Jules de Goncourt circule au Brésil depuis sa parution au XIXe siècle jusqu’à nos jours. Il s’agit des résultats d’une recherche menée dans la presse brésilienne, où l’on peut observer le remaniement des textes d’Idées et Sensations et du Journal des Goncourt, œuvres inspirées des manuscrits de leur journal ou bien de l’agencement de leurs mémoires de la vie littéraire. Certains passages de l’écriture du quotidien des Goncourt sont traduits et lus dans une rubrique de presse créée pour les diffuser, en tant que physiologie ou source presque inépuisable de l’histoire parisienne de la seconde moitié du XIXe siècle, dont l’intérêt porte sur la vie sociale et les débuts de l’Académie Goncourt.

Le présent article focalise sur la notion de traduction spécialisée telle qu’elle est envisagée dans les approches théoriques de la traduction et dans les pages web professionnelles de langue française. L’article est structuré en deux sections. La première section résume les caractéristiques de la traduction spécialisée dans la littérature. La deuxième section synthétise les acceptions attribuées par les praticiens de la traduction à la notion de traduction spécialisée à travers des offres présentes sur des sites web d’agences de traduction de langue française.

La pandémie COVID-19, les migrations climatiques et la perte de biodiversité sont des exemples de crises contemporaines qui, comme le suggère Van Rensselaer Potter, bénéficieraient d’un rapprochement entre le Bio et l’Éthique pour en mitiger les dommages. Les futur(e)s bioéthicien(ne)s devront poursuivre cette quête potterienne en ouvrant le champ de la bioéthique vers de nouvelles collaborations interdisciplinaires et thèmes d’étude, dépassant les technologies biomédicales et les sciences de la vie, dont les affaires, les entreprises, la finance, le marché ainsi que la consommation, la production et la démographie humaines…toutes ayant des influences notables sur l’allocation locale des soins et sur l’avenir global des écosystèmes.

The connection between translation and contemporary art is a hitherto under-researched avenue. Some scholars have analyzed the translation of exhibition catalogue essays (Krein-Kühle 2021) or the museum as a translation site (Sturge 2007; Neather 2008, 2012, 2021; Liao 2018, 2021). Although these are important and necessary research avenues, my aim here is different. I intend to study translation beyond the verb-centric tradition, looking at how artworks have been using translation for decades and how the images used by artists communicate through nonverbal semiotic systems. This will be done by (1) examining the artworks that use words as images (with special emphasis on John Baldessari, Lawrence Weiner, and Robert Barry), (2) by studying how many contemporary artists use translation in their artworks (Ghada Amer, Danica Dakić, Nalini Malani, Mona Hatoum, among others) and (3) by concentrating on exhibitions which deal with translation as a way of looking at the world. [ABSTRACT FROM AUTHOR]

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This article reflects on the disrupted publication chronology of translations of Annie Ernaux's books as well as those of her disciples, Didier Éribon and Édouard Louis. The analysis is based on the concept of space-time found in the original texts and their translations by Bożena Tokarz, and shows how this disturbed chronology affects the reception of these translations in Poland. [ABSTRACT FROM AUTHOR]

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Background: Psoriatic arthritis (PsA) is a multifaceted inflammatory disease that has a strong negative impact on the quality of life (QoL) of patients. The Psoriatic Arthritis Quality of Life (PsAQoL) questionnaire was the first disease‐specific patient‐derived instrument developed to measure the QoL in patients with PsA. Our objective was to translate the PsAQol into Arabic language and evaluate its reliability and validity in patients with PsA. Methods: This was a cross‐sectional study including patients with PsA. A clinical and biological assessment of the patients was performed at inclusion. The translation of the original PsAQoL into Arabic was performed by a professional bilingual and lay panel. Eight patients were interviewed to assess face and content validity. A separate sample of PsA patients (n = 30) were invited to participate in a test‐retest postal study in order to investigate reproducibility and construct validity. One week separated the two administrations. The Arabic version of Health Assessment Questionnaire (HAQ) was used as a comparator instrument for convergent validity. Results: Face and content validity were satisfactory. The Arabic version of the PsAQoL was found to be relevant, understandable and easy to complete in only a few minutes. One item was excluded (item 16). It had no correlation with either the other 19 items or the total score of PsAQol. The Arabic PsAQol had excellent internal consistency (Cronbach's a = 0.926), and test‐retest reliability (r = 0.982). There was a positive correlation between the total score of the PsAQoL and the Arabic version of HAQ (Spearman's r = 0.838, p < 10−3). Exploratory factor analysis had extracted two factors explaining 55% of the total variance. Conclusion: Nineteen items were selected to compose the Arabic version of PsAQoL, which was found to be relevant and understandable and has excellent reliability and construct validity. The new measure will be a valuable new tool for use in routine care for patients' assessment. [ABSTRACT FROM AUTHOR]

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Copyright of Social Science Information is the property of Sage Publications, Ltd. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Social Science Information is the property of Sage Publications, Ltd. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Besides Chernobyl, detective fiction leads Ukraine in three directions: according to the three conceptions of French novelists, according to the three chronotopes of historical thrillers and according to the three declinations of Ukrainian authors’ multiculturalism.

En reprenant le sujet d’étude des Nouveaux Cahiers de l’IFAS consacré au “dix ans (1994-2004) d’échanges littéraires entre l’Afrique du Sud et la France”, l’article analyse la stratégie et le rôle des traducteurs des littératures francophones en Afrique du Sud. En utilisant les outils de la sociologie de la traduction, je montre comment les œuvres d’auteurs francophones s’insèrent dans le circuit littéraire sud-africain tout en établissant une forme de continuité de la francophonie littéraire. Par le biais d’une enquête, j’établis une bibliographie de dix-sept œuvres traduites et, par des échanges avec les traducteurs et la consultation de divers types de sources documentaires, je précise le rôle des différents acteurs littéraires, culturels et politiques dans la production de ces traductions. Je constate que les traductions, réalisées principalement par des universitaires, sont publiées avec le soutien d’institutions françaises. Les œuvres traduites en anglais sont généralement liées à la contestation de l’hégémonie mondiale de cette langue; celles traduites principalement en afrikaans s’expliquent aussi par l’affirmation identitaire et linguistique des traducteurs. Ces derniers, souvent membres du corps académique, cherchent à témoigner de la présence française dans l’histoire de l’Afrique du Sud et confirment, par le choix des œuvres, la domination d’un canon littéraire européen. La retraduction est l’un des facteurs qui expliquent la continuité d’un canon historique occidental, tandis que le nombre limité de traductions des œuvres d’écrivains africains souligne également l’absence de traductions dans les langues continentales, bantoues, etc.

La figure de Dante plane sur l’œuvre d’Eugène Delacroix. Depuis son tout premier envoi au Salon en 1822, Dante et Virgile aux Enfers, jusqu’a son Ugolinde 1860, le peintre français n’a cessé de s’inspirer du maître florentin. Plus qu’une une source de sujets, cependant, Dante était partout présent dans ll’esprit et l’imagination de Delacroix. Dans cet article, j’étudierai les divers moyens dont sa lecture de Dante a influencé la pensée esthétique de Delacroix. Le peintre lisait Dante, le traduisait en vers et en prose, réfléchissait sur son style et sur sa place dans l’histoire littéraire ; plus encore, son étude de Dante le conduisit à formuler son propre concept du beau, qu’il développe dans son Journal, qu’il expose dans des articles publiés et qu’il réalise dans la coupole de la bibliothèque du Sénat au Palais du Luxembourg, représentant une scène du Chant IV de L’Enfer .

Présentation et retranscription de deux traductions en allemand d'oeuvres d'Emile Guillaumin: "Hors de l'abîme", traduit par la femme de Joseph Haas et publié en 1904, et un extrait de La vie d'un simple traduit par Rudolf Caltofen et publié en 1953.

La direction en traduction organise la plupart des discours sur l’éthique qui s’articule souvent autour de la relation national/étranger et de la position de celui qui accueil, c’est-à-dire de celui qui traduit l’étranger dans sa langue. En ce sens, l’éthique se présente comme un rapport de soi envers l’autre, de la traduction envers l’original, une hospitalité, une fidélité. Henri Meschonnic quant à lui, analysant l’éthique à l’instance du sujet, la définit dans un double rapport à soi et à l’autre, qui émerge du rapport des sujets au vivre. Ce double rapport comparait se manifeste dans notre essai, d’une part, dans le thème, puisque dans cette direction l’original et l’altérité ne sont pas du même côté, et d’autre part, chez le sujet e/i-migré qui ne sépare pas ce que la distance a éloigné. Nous partons d’un récit personnel de migration et traduction qui met en scène les rapports affectifs que le sujet é/i-migré entretient avec les langues qui lui servent à vivre. Dans un second temps, l’éthique du traduire étant liée à la conception même de traduction comme relation, c’est ce rapport qu’il nous faudra questionner, ou plutôt les rapports. Peut-on traduire dans un double rapport éthique lié à l'altérité et à l'original qui, cette fois, ne sont pas du même côté ? Ou encore, comment (car c'est toujours un mode) être éthique avec soi-même et avec l'autre tel que les deux versants se constituent comme sujet par/dans la relation ?

Le présent travail porte sur les défis qu’engendre la traduction de l’œuvre de Henri Meschonnic. La première section est un état de lieux sur la traduction de la traductologie. Les ouvrages traductologiques sont rarement traduits, principalement à cause du manque de projets de traduction. Nous passons en revue dans la seconde section les axes fondamentaux de la pensée de Meschonnic pour examiner dans la dernière section les difficultés de traduction de son discours. La traduction est une manière de continuer l’œuvre de Meschonnic et de contribuer au progrès de la traductologie.

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Based on Venuti’s (1995) methods, this paper will firstly study the micro strategies employed by the translator in the translation of sociocultural elements of “The French Perfume” to identify Venuti’s most used method according to Anne Schjoldager’s (2008) taxonomy as well as revealing the possible reasons behind translator’s choices. A selected corpus will be comparatively analyzed aiming to reveal the difficulties that faced the translator.The paper concluded that all foreignized cases were due to the nonexistence of direct counterparts. The results confirmed that the closer the distance the greater possibility of domestication. [ABSTRACT FROM AUTHOR]

Copyright of Akofena is the property of Universite Felix Houphouet Boigny and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article rescues the expression bemächtigungstrieb, used by Sigmund Freud in his work, and translated in Brazil under the terms of domination drive. The discussion presents a careful examination of the arguments that support this appointment, crossing the interpretive-translational impasses and offering a reinterpretation of its state. In an investigative dismantling, we resorted to the historical survey of the notion and other translations, such as French and English, enabling greater precision of some reductions of Freud's postulate, as well as the impacts on the conception of metapsychology. As a result of this survey, we support another translational position in the form of the drive to take over, understood in an articulation aligned with the originality of Freudian thought. [ABSTRACT FROM AUTHOR]

After more than seventy years, when Kahlil Gibran's 1923 masterpiece The Prophet had circulated freely in Egypt, censorship authorities banned the book in 1999 and 2011. This article explores the sociopolitical context surrounding the censorship of The Prophet and its Arabic translations, with a particular focus on the power play between censors and different agents and the strategies employed by the latter to revoke the ban on the book. The extent and intensity of power intervention speak to this case study's significance. Qualitative analysis of English and Arabic press material is utilized to gain insights into the censors' reports and the responses of different sociopolitical agents. This is paired with compiling and analyzing a dataset of bibliographical information on the editions of The Prophet's Arabic translations published in Egypt between 1999 and 2022. The findings point to a decentralized system of censorship exercised by several ministries and religious institutions with competing interests. It is argued that the survival of The Prophet in the face of multiple bans can be attributed to shifting sociopolitical conditions, discordant politics of powerful agents, and international pressure. [ABSTRACT FROM AUTHOR]

Les transferts culturels, en bande dessinée, s'effectuent souvent par le biais de la traduction et, au Canada, ce processus est plus complexe qu'il n'y paraît. Lors du passage d'une langue à une autre, il faut, bien sûr, tenir compte d'aspects importants comme la culture de départ, la culture d'arrivée ou la culture de la personne qui traduit. Au Canada, où coexistent plusieurs cultures, dont les cultures autochtones, il faut nécessairement tenir compte du passé colonial du français ainsi que de l'anglais, la langue dominante, ce qui établit des rapports de force entre les cultures qu'on ne peut pas ignorer. D'autre part, la traduction de bande dessinée doit aussi relever certains défis particuliers au médium, comme la traduction d'images culturellement chargée. Enfin, pour ajouter encore à la complexité de la problématique, les traductions faites au Canada doivent souvent négocier avec les enjeux de l'exportation vers d'autres pays anglophones et francophones, et ces cultures additionnelles influenceront les choix faits par les personnes qui traduisent. Cet article fait suite à une table ronde organisée le 26 mai 2022, dans le cadre du Festival BD de Montréal, à laquelle avaient été invités Catherine Ego et Alexandre Fontaine Rousseau, qui ont travaillé à traduire des bandes dessinées. [ABSTRACT FROM AUTHOR]

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Copyright of Akofena is the property of Universite Felix Houphouet Boigny and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Cette étude de propose de présenter quelques difficultés liées à l’inclusion des outils de traduction automatique et traduction assistée par ordinateur dans le parcours de formation de futurs traducteurs. Dans un premier temps, une courte synthèse des considérations théoriques autour des concepts de traduction, traductologie et compétence traductologique sera faite l’accent étant mis sur leur évolution au fil du temps. Dans un deuxième temps, nous essayerons de souligner le rôle de la technologie dans l’activité professionnelles du traducteur mais aussi dans la formation de la compétence traductionnelle.

Dans ce travail, nous nous proposons d’exposer quelques défis de l’enseignement du français technique et de la traduction technique en classe de FOS. Pour faire cela, nous commençons avec les problèmes réels et concrets avec lesquels nous nous confrontons en classe de FOS aux spécialisations du domaine technique. Nous essayerons de répondre à la question suivante : est-ce qu’il y a une spécificité de l'enseignement technique d'une langue étrangère ? Est-ce que la langue technique existe-t-elle ou pas ? Ensuite nous présenterons brièvement quelques théories pertinentes sur l’enseignement de la traduction et sur la théorie de la traduction. À partir de ces théories, nous avons fait une expérimentation sur un groupe de cinquante étudiants en deuxième année à la Faculté de Mécanique et Technologie de l’Université de Pitesti, Roumanie, pour vérifier si ces théories s’appliquent aussi dans le cas des traductions techniques ou seulement dans le cas des traduction littéraires. En fin, nous avons tiré nos propres conclusions sur ce sujet.