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Atelier de traduction by Centre de Recherches INTER LITTERAS

By Centre de Recherches INTER LITTERAS

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Comme souligné par Alves (2006), dans sa thèse intitulée Rubem Fonseca na França, à l’époque, le projet de traduction de Rubem Fonseca, mené par la directrice littéraire de la maison d’édition Flammarion, Lise Lebel, et par la traductrice, Marguerite Wünscher, répondait à un besoin de publier des auteurs brésiliens contemporains dont la thématique, plutôt urbaine, fuyait une image littéraire instaurée d’un Brésil carnavalesque, de plages et de forêts. Le rôle du traducteur Parlons, ensuite, de la position prise par le traducteur dans ce système où il joue un double rôle.

Elle fait partie d’une anthologie qui comprend des nouvelles de 24 auteurs canadiens, parmi lesquels : Steven Leackok, Raymond Knister, Frederick Philip Grove, Morley Callagan, Sinclair Ross, Ernest Buckler, Dan Ross, Edward McCourt, Hugh Garner et Farley Mowat. Les nouvelles sont réunies par un critique littéraire de l’époque Savurenok Aleksandra qui les présente de façon chronologique suivant le développement de la littérature canadienne à partir du début du XIXe siècle jusqu’aux années 80 du XXe.

Le transfert des textes d’une langue à l’autre est aujourd’hui considéré d’abord et avant tout comme un processus de négociation entre les textes et les cultures au cours duquel les transactions se font par le traducteur comme intermédiaire (Bassnett, 2005 : 6). Il est intéressant de comparer les négociations et les changements effectués par deux traducteurs ayant vécu à des époques différentes. Afin d’illustrer ce fait, procédons à l’analyse textuelle qualitative proprement dite. Les tendances générales remarquées sont les suivantes.

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