Séminaires 2023-24

Autumn 2023-24

Outline/Texte de Cadrage 

Programme (format PDF)

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♦  JEUDI 26 OCTOBRE ♦
Postcolonial Reappropriations: Re-translation, Self-translation, Co-translation

5-6.30pm – session chaired by Camille Le Gall

Inscriptions

♦ Kossi Gérard ADZALO : “The Retranslation and Reception of Texts Presenting Minority Voices: Case Study of Wole Soyinka and Ahmadou Kourouma”

Translation is an act that results in cultural transfers from one context to another. Many authors commit themselves to asserting themselves and their culture in their works with postcolonial studies. This self-affirmation or this way of celebrating their culture makes them write not only in western languages, but also in their mother tongues, revealing interferences and imaginaries within their writings. As a result, translators find themselves in a situation where they have to deal with multilingual or heterolingual works, making translation more difficult. So, what are these difficulties, and how should translators meet these challenges?

Gérard Kossi Adzalo is a PhD student in English Language, Literature and Civilisation at Côte d’Azur University within the LIRCES research group (Laboratoire Interdisciplinaire Récits Cultures et Sociétés).  His thesis is entitled “‘Errors’ of Translation, Untranslatable, Decentring of Writing and littérature monde: Ahmadou Kourouma, Chinua Achebe, Wole Soyinka”.

♦ Laetita SAINT-LOUBERT : “Inter-island translations: towards a (more) sustainable Caribbean literary ecosystem”

In this paper, I will present a Two-Year Government of Ireland, Irish Research Council postdoctoral research project I am currently conducting at UCD (2021-2023). As the title of the project indicates, my research aims to rethink the theory and practice of translation from a Caribbean perspective. In my paper, I will briefly present the project and articulate it with my own practice as a literary translator.

Laëtitia Saint-Loubert obtained a PhD in Caribbean Studies from the University of Warwick. She is a practising literary translator and is currently working as an IRC Postdoctoral Fellow at University College Dublin. Her research investigates twentieth- and twenty-first-century Caribbean literatures in translation and focuses on non-centric modes of circulation for Caribbean and Indian Ocean literatures. Her first monograph, The Caribbean in Translation: Remapping Thresholds of Dislocation (Oxford, Peter Lang) was published in 2020, following receipt of the 2018 Peter Lang Young Scholars Award in Comparative Literature. She has translated works by Caribbean writers Michelle Cliff, Elizabeth Nunez, Gisèle Pineau and Roger Parsemain.

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♦  JEUDI 23 NOVEMBRE ♦
La posture du/de la traducteurice en contexte institutionnel

17h30-18h30 – séance modérée par Tiffane Levick

Inscription ici

♦ Maxime MARÉCHAL (Université Paris Cité): « Vulnérabilité linguistique et interprétation. La fonction institutionnelle des interprètes prenant en charge les récits minorisés lors de l’instruction des demandes d’asile en France »

Lors des phases d’instruction des demandes d’asile, les récits sont au cœur des processus de prise de décision, dans un contexte de suspicion institutionnalisée à l’égard des personnes demandant l’asile. En France, si des travaux ont montré que les dynamiques de conviction des agents décisionnaires dépendent largement de la performance des personnes demandant l’asile lors des rencontres institutionnelles, aussi bien à l’OFPRA (Office Français de Protection des Réfugiés et Apatrides) qu’à la CNDA (Cour Nationale du Droit d’Asile, la juridiction d’appel aux décision de l’OFPRA), la part langagière de ces interactions a été très peu analysée. En particulier, les enjeux traductologiques et sociopolitiques de l’intervention d’interprètes sont restés largement ignorés par la recherche, alors que ces rencontres institutionnelles sont caractérisées par leur caractère multilingue, des interprètes intervenant dans près de 90% d’entre elles. C’est pourquoi ma recherche essaie d’analyser le mandat traductif des interprètes dans ces instances à la lumière de l’évolution des politiques d’asile (qui ont, comme d’autres secteurs, inclus des acteurs non étatiques devenus importants voire centraux) et, en retour, les formes d’agentivité des interprètes à travers leurs pratiques langagières.

Maxime Maréchal est doctorant en sociolinguistique à l’Université Paris Cité, en contrat CIFRE avec l’association ISM Interprétariat. Il est membre de l’Institut Convergences Migrations. En tant que bénévole à l’Anafé (Association nationale d’assistance aux frontières pour les étrangers), il est intéressé par les enjeux d’interprétation dans le contexte frontalier de la zone d’attente.

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♦  14 DECEMBRE ♦
Traduire les voix minoritaires : Retours d’expérience

17h-18h30 – séance modérée par Charles Bonnot

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♦ Marie PERRIER (Université de Lille) : Traduire l’hétéroglossie anglo-irlandaise dans The Real Charlotte de Somerville & Ross : retour d’expérience

Il s’agira dans cette présentation d’un retour d’expérience sur la traduction du roman The Real Charlotte, d’Edith Somerville et Martin Ross, que je suis en train d’achever. Ce roman irlandais, initialement paru en 1894 et écrit par deux cousines (« Martin Ross » est le nom de plume de Violet Ross), décrit le microcosme du village fictif de Lismoyle, dans le comté de Galway, et dépeint les interactions entre les diverses classes sociales, en explorant les thèmes de l’amour, de la jalousie, de la manipulation et des dynamiques familiales dans le contexte de l’Irlande de la fin du XIXe siècle.

Ce roman n’avait jamais jusque-là été traduit en français et la jeune maison d’édition Beau Dommage qui m’en a confié la traduction s’est donné pour objectif de lui conférer une nouvelle visibilité. Le projet traductif lui-même donc, s’engage à mettre en lumière les voix minoritaires : voix d’autrices, qu’on traduit moins volontiers que leurs homologues masculins, mais aussi voix d’une littérature irlandaise prise dans des rapports de domination complexes avec celle des plus illustres classiques britanniques.

Il y a également de quoi dire sur la traduction des voix au sein de la diégèse, car les autrices jouent en virtuose des registres de langues, mais aussi de l’hybridité anglo-irlandaise de la langue, du plus « british » au plus dialectal, pour caractériser leurs personnages, leur ancrage social et leur capacité à s’affranchir ou non de ce dernier. Tout l’objet du titre “the real Charlotte”, c’est d’indiquer à quel point le personnage de Charlotte Mullen, véritable caméléon social, maquille son discours en fonction de son environnement et de ses interlocuteurs pour servir ses propres intérêts.

Je me propose donc de passer en revue et soumettre à la discussion un certains nombre d’exemples particulièrement parlants et épineux du point de vue de la traduction, qui mettent en jeu la représentation des conflits de domination illustrés au sein même de la langue stylisée de ce roman : comment rendre en français toute la richesse et la nuance d’une langue littéraire qui ne saurait se résumer à des polarisations bien découpées telles que « dialecte VS norme », « anglais VS irlandais », « familier VS soutenu » ­­– et comment les normes traductives elles-mêmes (notamment sous la forme des consignes qui m’ont été données par l’éditeur) ont-elle joué sur les choix de traduction auxquels ces exemples ont donné lieu ?

Marie Perrier est professeur agrégée d’anglais à l’université de Lille où elle enseigne la traduction littéraire et audiovisuelle. Traductrice littéraire et diplômée en études irlandaises et en traduction audiovisuelle, elle est également l’auteur d’une thèse de doctorat dans laquelle elle a étudié la création et la transmission des mythes dans les littératures de l’imaginaire (en particulier chez les auteurs H.P Lovecraft et Lord Dunsany), ainsi que la réception des mondes fictionnels dans le champ littéraire français. Elle a également publié et communiqué sur ces sujets, en France et à l’étranger. En 2024 paraîtra aux éditions Beau Dommage sa traduction du roman The Real Charlotte d’Edith Somerville et Martin Ross, jusque-là inédit en français.

♦ Kathinka SALZMANN (Université de Genève) : Le cas emblématique de Topdog/Underdog, ou comment comprendre l’absence de Parks en traduction française : tour d’horizon et pistes de réflexion

Le point de départ de cette enquête est l’absence de la dramaturge africaine-américaine Suzan-Lori Parks en traduction française, et notamment de sa pièce la plus connue, Topdog/Underdog. Véritable star aux Etats-Unis – notamment grâce au prix Pulitzer de l’œuvre théâtrale remporté en 2002 pour Topdog/Underdog –, la dramaturge demeure, à l’heure actuelle, totalement inconnue de ce côté de l’Atlantique, où aucun de ses textes n’a été publié à ce jour.

Comment expliquer l’absence de Topdog/Underdog sur le marché éditorial français ? Est-elle à mettre en lien avec la forme ou le fond de la pièce (si tant est que l’on puisse séparer ces deux concepts) ? En d’autres termes, est-ce la langue utilisée par Parks dans cette fable grinçante d’amour-haine entre deux frères – une langue qui s’éloigne de l’anglais standard et qu’il s’agira de qualifier précisément – qui pose problème en traduction ? Ou est-ce la thématique abordée dans la pièce, soit la survie matérielle de deux frères racisés, qui n’apparaît pas comme suffisamment « alléchante » aux yeux des éditeurices francophones ?

Kathinka Salzmann est assistante-doctorante au sein du département de langue et de littérature françaises modernes de l’Université de Genève. Sa recherche porte sur les enjeux de traduction de l’œuvre de la dramaturge africaine-américaine Suzan-Lori Parks (en particulier de sa pièce Topdog/Underdog). Elle est titulaire d’un Master en langue et littérature anglaises, d’un Master en Arts de la scène et d’un CAS en dramaturgie. Elle a travaillé dans le domaine du théâtre pendant plusieurs années (production, administration et mise en scène de ses propres projets). Elle a été membre du collectif littéraire AJAR et prépare actuellement son premier roman.

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♦  JANUARY 25 ♦
Negotiating Intercultural Gaps

5-6.30pm, Registration here

♦ Kathy FAN: From Shandong to Seattle: Translating Contemporary Chinese Poems for an Anglophone Audience

This presentation introduces recent efforts in translating a set of poems, written by a contemporary Chinese female poet, from Chinese to English. Xiaohua Wang, known by her pen name “A Hua,” has published several poetry collections and won notable Chinese literary awards. However, her works are little-known outside of China. Starting with sharing some reflections on co-translation, a technique gaining popularity in recent years, I will then discuss the technical challenges with translating between two syntactically-distant languages with little cultural overlap. Time-permitting, I hope to contextualize these challenges in relation to Judith Gautier’s translations (Chinese-French, 1860s) and Ezra Pound’s translations (Chinese-English, 1910s) of Classical Chinese poetry. Finally, I’d like to open the floor up to a group discussion on navigating international copyright constraints and practices.

Kathy Fan is a senior software engineer at Google, a literature and language-learning enthusiast, and an amateur translator taking part in a Chinese-English poetry project. She received her BSE in computer science and certificate in French language and culture from Princeton University, and she hopes to pursue graduate studies in comparative literature and translation theory in the future. Her research interests include Chinese/French/English translation, 19th century French literature, prosody, and digital humanities.

Margherita ZANOLETTI (Università Cattolica del Sacro Cuore, Milan): Oodgeroo Noonuccal’s Stradbroke Dreamtime (1972): A Translation Perspective

When she was at the peak of her fame as a poet and political activist, the Australian author Oodgeroo Noonuccal (1920-1994, until 1988 known as Kath Walker) published her first complete work of prose, Stradbroke Dreamtime. The book comprises 27 stories for children, written in easily accessible English, presenting two aspects of Oodgeroo’s life: the first part includes episodes from her childhood on Minjerribah (North Stradbroke Island), while the second part collects traditional stories from Stradbroke Island and the Tamborine Mountains, and legends based on the author’s knowledge of her First Nations heritage.

This paper investigates Noonuccal’s narrative work with a translation approach, by adopting an expanded, semiotic conceptualisation of translation that goes beyond the literary sphere and the verbal realm. The twofold goal is, on the one hand, to highlight the inherent complexity of Oodgeroo’s work and, on the other, to contribute to expand the object of translation studies beyond the standard realm of professional translation of written texts (Tymotzko 2006; Marais and Feinauer 2017; Meylaerts and Marais 2023). From this viewpoint, Noonuccal’s writing is argued to entail three types of translation: first, the transformation of oral knowledge into written narrative (diamesic translation); second, the resemiotisation of stories and legends from Aboriginal Australian languages and dialects into English (interlingual translation); and third, the transmission of her own life experience and culture to children and teenagers of all descent and extraction (intercultural translation). As the analysis of her stories suggest, the activation of such translation processes allowed Oodgeroo calling upon the ancient stories of her people to contextualise her own stories. The result is a literary work far more multilayered than it seems at first sight, worthy of greater scrutiny and more nuanced readings.

Margherita Zanoletti is a graduate of the Università Cattolica del Sacro Cuore in Milan and has a PhD in Translation Studies from the University of Sydney. From 2006-2009 she taught Italian language and translation at the University of Sydney and Macquarie University, and currently serves as Reference services specialist at Università Cattolica del Sacro Cuore, where she guest lectures on modern languages courses. Her publications include: Oodgeroo Noonuccal, My People. La mia gente (edited, Milan 2021); Bruno Munari: The Lightness of Art (co-edited with P. Antonello and M. Nardelli, Oxford 2017); Oodgeroo Noonuccal: with ‘We are Going’ (with F. Di Blasio, Trento 2013).

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♦  FEBRUARY 8 ♦
Questioning Western Translator and Academic Positionality

5-6.30pm, Registration here

♦ Simona BERTACCO (University of Louisville) : Non-Translation, Re-translation, Co-translation: Towards a Decolonial Vocabulary for Translation Studies

In my presentation, I’d like to bring together two fields related to my experience both as a scholar of postcolonial and translation studies and in my role as an academic trained in Europe who now works and teaches in the North American educational system. The case study I will present is the recent polemic surrounding the translation of the Afro-diasporic poem Zong! by M.N. Philip (2008) into Italian in 2021 by Renata Morresi. The translation was openly rejected by the writer and was at the centre of an acrimonious debate on social media, which led to the withdrawal of the translation from the market in 2022.

The Italian translation of Zong! was experienced as an unauthorised act of appropriation and erasure by NourbeSe Philip who sees Zong! as her act of service, as an artist, to her African Ancestors and the memory of the people who were sacrificed in the Middle Passage and therefore feels the moral obligation to protect the text from what she perceives as improper or disrespectful uses. At the other end of the spectrum, Renata Morresi is a competent and experienced translator, an accomplished poet, and a fine scholar of American literature and moved by a profound interest in Philip’s poetry—an interest that I personally share—and in making this work known to a non-English-speaking audience in an effort to enlarge the publication of Afro-diasporic poetry—a genre that is hard to place on the translation market— into Italian. In other words, both writer and translator share a deep conviction of the moral, political and literary importance of this work. Yet, the way in which the events unfolded casts them in non-communicating vessels and paints a rather bleak picture of translation as a tense confrontation between individuals and institutional cultures rather than a tool of intercultural appreciation and collaboration. This story illuminates the concrete dangers of a language- and text-centric understanding of translation that leaves the lines of cultural, political, and racial difference undiscussed. Hence the need for a decolonial vocabulary for the field of translation theory and practice.

Much more than untranslatability, non-translation, re-translation, and co-translation enter as important items in a decolonial vocabulary of translation studies. Indeed, within the current imperatives of newly re-energized indigenous and racial and social justice movements worldwide, translation has a unique chance to act as a force of change in the humanities as it brings us—as readers, critics and translators—into the field of action and activism and, as Dembeck argues about multilingual philology, it can create an awareness of how a translated text performs cultural diversity (see Dembeck 2017, 18). In this specific case, the symbolic power of a re-translation would seem the ideal place to begin a much-needed healing process, in the full awareness that mistakes were made but, also, that they should not be the last word.

Simona Bertacco is Professor of Postcolonial and Translation Studies at the University of Louisville, in the United States. She worked previously as a ricercatrice at the University of Milan, in Italy. Her research focuses on postcolonial literatures, gender and translation studies. Her most recent publications include: Time, Space, Matter in Translation. Co-edited with P. Beattie and T. Soldat-Jaffe (Routledge 2023); The Relocation of Culture: Translation, Migration, Borders. With N. Vallorani. Foreword by H. Bhabha. (Bloomsbury 2021), and the special issue of The New Centennial Review: Performing the Archive in the Americas (22.3, 2022) co-edited with Delphine Munos (U Gent) and Jason Wiens (U Calgary).

♦ Kate ROY (Franklin University, Switzerland), Emilienne AKPAN and Laila AHMED (American University of Nigeria) : Capturing a Digital History of Local Hausa Narratives in a Multilingual Translation Project Across Borders

The project “Capturing a digital history of local Hausa narratives in a multilingual translation project across borders” aims to collect German->English->Hausa translations of a German colonial text from 1885 (including Hausa voices) and Hausa->English->German “response” translations of narratives of the present from the Yola region surrounding the American University of Nigeria. AUN works closely with internally displaced populations and periodically runs self-empowerment, financial literacy, and educational programs for disadvantaged women and vulnerable children, and the women’s stories âre included in our project to highlight the themes of migration, loss, resilience, love, hope, and education. The translations from Hausa->English and German->English have been conducted by AUN’s Faith Luka and AUN professor Laila Ahmed and by Franklin University Switzerland’s upper-level German students respectively, with the support of Emilienne Akpan (AUN) and Kate Roy (FUS), and the final stages of the movement from Hausa to English to German and from German to English to Hausa are underway. The issues that FUS students have raised over the course of the project about voice, about translator positionality vis-à-vis the source text(s) and about the cultural translation issues they faced make these translation movements and layers especially important to discuss, and reflecting critically on the implications of the virtual “re-presentation” of these texts is a central aspect of our project. The Hausa-language oral history recordings and the translations, alongside annotations and an introduction composed by FUS Translation Studies students will ultimately be collected as a public-access online book with different navigational pathways, and we will be able to share the draft version of this site as part of our presentation.

Emilienne Idorenyin Akpan is the director of the Writing Center at the American University of Nigeria, where she mentors student leaders and teaches French, freshman composition, and community development courses. She has led various educational projects and participated in many professional development workshops and webinars. Her interests include cross-cultural education, writing center pedagogies, academic integrity, and dynamics in the mass media. 

Laila Dauda Ahmed, an Instructor at the American University of Nigeria, holds a Master’s in Linguistics from the China University of Geosciences and is pursuing a PhD in Arabic Literature. She has a B.A. and NCE in Arabic Studies and consulting, translation, and interpretation skills in Arabic, English, Hausa, Fulfulde, and Chinese (Mandarin). Beyond academia, she is part of AUN’s Adamawa Peacemakers Initiative. Laila has been awarded the Chinese Scholarships Council honor and is dedicated to bridging cultural gaps and promoting education.

Kate Roy teaches in Comparative Literary and Cultural Studies, Postcolonial Studies and Germanic Studies at Franklin University Switzerland. She studied German and French at the University of Otago/Te Whare Wānanga o Ōtākou and at the University of Manchester, and has published articles and edited volume contributions on diasporic and (post)colonial literature in both languages. Her current research is focused on comparative studies in postcolonial literatures and cultures and she is committed to learning critically engaged and ethical teaching and research practices for Postcolonial Studies inside and outside of the classroom. She is also a translator of short German-language fiction.

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♦  MARCH 14 ♦
Translators and Linguistic Creation

5-6.30pm – chaired by Virginie BUHL

Registration here

♦ Coline SOUILHOL (University of Auckland):  Mapping out Oceania outside of colonial borders in the translation of Kristiana Kahakauwila’s This is Paradise

In 2022, literary translator Mireille Vignol and Tahitian author and activist Chantal Spitz collaborated on the translation of This is Paradise (2013) by Hawaiian author Kristiana Kahakauwila. In the translation, 39 Bonnes Raisons de transformer des obsèques hawaiiennes en beuverie, Vignol and Spitz made the deliberate choice of translating Hawaiian Creole English (HCE) into a French that is spoken nowhere but could be understood by francophone speakers in Oceania and beyond. The result, they say, “is not Tahitian French as it is actually spoken, but French with Polynesian resonances” (“Notes sur la traduction”, 2022) (my translation). Creating a new language that both “tightens the bonds” (Vignol and Spitz, 2022) and that resonates throughout Oceania -and potentially beyond- illustrates the twin metaphor the “(shared) house and the canoe” (Alice Te Punga Somerville, in Ramsay and Walker, 2013: 231) in Pacific writings to “write towards each other” (ibid).

This reflection explores the tensions created between resonating and tightening the bonds in Oceania through translation; a translation that operates outside of colonial linguistic and geographic boundaries. I examine the literary choices made by the translators and their consequences on the way the Pacific is perceived and mapped out. The work of translating (word choices that speak to specific connotations and frames of understanding) re-positions the Pacific and non-Pacific readers’ gaze and highlights a pluralisation of communities that moves beyond the colonizer/colonized binary and that gives rise to a “ as-yet-unfigured horizon of contemporary cultural production by which national spaces […] are being undone.” (Wilson, 1999: 6). In this collaborative work, I hope to highlight the activism of both translators and to reveal how they disrupt colonial cartographies and representations by exploring different ways connections can be made, enacted, and relevant to numerous people, outside of colonial linguistic boundaries. I argue that this work will allows us to better understand the implications of translation from different spaces and envision Oceania in terms of mobility.

I am specifically interested in the “partiality” (Tymozcko, 2000: 24) of the translators, their activism and the potential spatial and political implications and stakes of translating such a work on the perceptions of current borders in Oceania. Through a close reading of the text, I observe how language strategies can contribute to decolonial ends. Vignol and Spitz’s work can allow the readers to creatively (re)imagine Oceania, not by promoting an idealised past but by taking into account and building on contemporary dynamics. It can potentially further political, social and cultural justice by converging and “[activating] multiple lines of social invention, contestation, mobility, reimagining, coalition and flight” (Wilson, 2). Vignol and Spitz’s translation supports the vision of an expanding network of coalitions that create alternative decolonial literary geographies.

Coline Souilhol is a PhD candidate in the English Department of the University of Auckland. In her thesis, she looks at the translations of Anglophone and Francophone Pacific literature. She explores how Oceanic geographies are mapped out differently through the use of specific words and/or translation techniques and asks whether and how those choices creatively shape (alternative) representations of Oceania outside of and beyond language barriers. She holds a master’s degree from the Université de Montréal (Canada) and graduated with honors with her work on “Indigenous Transnational Visibilities and Identities in Oceania: Establishing Alternative Geographies across Boundaries.” She is the 2019 recipient of the First Peoples Literary Prize (Student essay writing competition in French) for her essay on Thomas King entitled “La responsabilité du conteur d’histoire face aux perceptions historiques” and most recently, has been published in Drain Magazine.

♦ Josephine MURRAY : Translating an Acadian French poem into experimental Doric (work in progress)

I propose a discussion of exophonic, experimental translation into minority languages and the extent to which authenticity can be achieved through research and collaboration with native speakers. The discussion is prompted by my translation of Georgette LeBlanc’s 2016 poem in the Acadian language of south-eastern Canada “Ici (Take 2)” into my experimental version of Doric, the north-eastern Scots dialect of my paternal ancestors.

Acadian and Doric share a similar linguistic context. They exist alongside larger minority languages (French and Québecois and Northern Scots, respectively) and the majority language of English, in both cases.

As a French to English translator, I translated Acadian, of which I had no prior knowledge, into ‘straight’ Doric using dictionaries, exemplar texts, online recordings, memories of my grandparents’ speech and collaboration with native Acadian speakers, including LeBlanc, and native Doric speakers. Does such exophonic translation practice lack authenticity?

My work-in-progress translation of the LeBlanc poem into my experimental version of Doric uses linguistic strategies such as neologisms and archaisms to convey the high-register language, abstract concepts, and terms for modern inventions ‘missing’ from modern Scots.

This was inspired by the linguistic innovation of poetry translators working into their native Scots dialects, such as Robert Alan Jamieson, Alexander Hutchison, and Brian Holton. Does such linguistic experimentation lack authenticity, particularly if practised by a non-native speaker? Should words ‘absent’ from a minority language instead be translated using language in current use, e.g through description, or metaphor?

The reception of my experimental translation by native Doric speakers who are also translators and language experts has been positive. However, some Shetland dialect speakers have referred to experimentation with their language as ‘Disney dialect’. How can translators collaborate with community groups, particularly at a distance, to achieve a de-centred and authentic translation? Is linguistic innovation in poetry more acceptable than in prose?

Josephine Murray is a practising French to English literary translator, journalist and Secretary to PETRA-E network for the education and training of literary translators. A 2022 graduate of the UEA MA in Literary Translation course, her translations have been published in the UEA Translation Anthology and Newwriting.net and she has recently finished translating a culinary text for Hachette. She is currently working on translating the first of three non-fiction children’s books, published by Gallimard Jeunesse, for Harper Collins. Her research interests include experimental and exophonic translation into Scots, culinary translation and children’s literature in translation.

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♦  25 AVRIL ♦
(Re-)traduire le vernaculaire afro-américain

17h-18h30, Inscriptions ici

♦ Julie NOUVION (Sorbonne Nouvelle) : Enjeux linguistiques et politiques de la traduction du vernaculaire afro-américain dans les versions françaises de Gone With the Wind (1939 et 2020)

Si nous concevons la représentation littéraire des dialectes avant tout comme une re-création au service, notamment, de la narration et de la caractérisation (Ramos Pinto), que pouvons-nous dire du vernaculaire afro-américain (AAVE) conçu par Margaret Mitchell pour donner voix aux esclaves de la plantation de Tara ? Comment ses spécificités ont-elles été traduites par Pierre-François Caillé en 1939, et quelle est aujourd’hui l’acceptabilité du langage « petit-nègre » auquel Autant en emporte le vent est associé ? Quelles évolutions principales se sont-elles depuis produites dans les pratiques traductrices de l’AAVE d’une part, et dans la réflexion traductologique d’autre part ? Nous observerons les choix de traduction ayant permis à Josette Chicheportiche de proposer une autre parole esclave en 2020, et les différences idéologiques qui en résultent.

Julie Nouvion est étudiante en Master 2 au sein du département du Monde Anglophone de la Sorbonne Nouvelle. Son mémoire de M1, réalisé sous la direction de Charles Bonnot, s’intitulait “The French translations of Gone With The Wind before and after Black Lives Matter(ed): a comparative analysis”.

♦ Abdeljabbar MEKHISSI (Université Toulouse Jean-Jaurès) : Traduire le parler jeune et rural dans une réécriture de Huckleberry Finn (The Ballad of Huck and Miguel)

S’intéresser à la réécriture romanesque permet d’aborder certaines questions en lien direct avec la traduction comme le rapport qu’entretiennent l’auteur, son texte, sa langue et le réel. Précisément, si l’on admet qu’une réécriture romanesque appartient à la catégorie des traductions intralinguales décrite par Jakobson, est-ce que les traductions interlinguales sont, quant à elles, comparables aux réécritures ? En outre, est-ce que le statut du traducteur est comparable à celui d’auteur de réécritures ? Ces discussions permettront de dégager la part de créativité, donc de fictionnel, dans l’écriture-traduction de la langue non standard. En effet, puisque ces différentes langues sont souvent associées à un discours mimétique reproduisant fidèlement une réalité sociale et géographique, apporter des nuances au réalisme apparent des dialectes littéraires en mettant en lumière les « effets de réel » qui les constituent permet de mettre en lumière la dimension politique, conventionnelle et collective de l’acte d’écriture à laquelle la traduction n’échappe pas.

Abdeljabbar Mekhissi est diplômé d’un Master « Études anglophones » de l’Université Toulouse Jean Jaurès. Son mémoire de M1, intitulé « Translating Jim’s speech in Mark Twain’s Adventures of Huckleberry Finn (1884) » et dirigé par Tiffane Levick, s’intéresse à la voix de Jim dans la traduction du roman de Mark Twain parue à la Bibliothèque de la Pléiade. Son mémoire de M2, intitulé « Translating youth and rural Southern American English in The Ballad of Huck and Miguel (2018) » et dirigé par Tiffane Levick, porte sur la traduction du parler jeune et rural de Huck au sein d’une réécriture. Abdeljabbar est actuellement en préparation en vue d’un doctorat à l’issue duquel il proposera une traduction du roman écossais « The Young Team » de Graeme Armstrong.

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♦  23 MAI ♦
(Se) traduire vers les langues vocales: enjeux éthiques et politiques

séance modérée par Jérémie SEGOUAT (D-TIM, Université Toulouse Jean-Jaurès), en mode hybride 

17h-18h,  en mode hybride : Inscription à la réunion Zoom ici / en présentiel, sale LA213 (deuxième étage du bâtiment Erasme, Université Toulouse Jean-Jaurès)

L’interprétation protactile<>LSF est assurée par Juliette Boyer, et LSF<>français par Thérèse Boissier (RIM Interprètes)

♦ Soline VENNETIER (EHESS) : Comprendre les enjeux de la traduction des œuvres littéraires Protactiles

Contexte

Le Protactile est un mouvement né à Seattle à la fin des années 2000 et porté par des communautés sourdaveugles nord-américaines. Ce mouvement linguistique, anthropologique et politique propose une reformulation de l’expérience vécue par les personnes sourdaveugles et se base sur un fait linguistique singulier. En effet, le mouvement éponyme s’est développé lorsque la langue des signes américaine tactile (TASL), adaptation d’une langue visuo-gestuelle, pratiquée par un groupe de personnes sourdaveugles a évolué vers une forme nouvelle, qui trouve son ancrage dans une modalité tactile et kinesthésique et dont les propriétés linguistiques sont réorganisées en conséquence, le Protactile (PT).

Le Protactile a fait l’objet de recherches linguistiques et sociolinguistiques pionnières (Edwards, 2014, 2015, 2017, 2018, 2022; Edwards & Brentari, 2020a, 2020b, 2021) mais il n’y a à ma connaissance pas encore de recherches dans le domaine de la traductologie, bien que des cursus de formation à l’interprétation Protactile aient vu le jour (notamment à la Western Oregon University). Par ailleurs, cette langue et ce mouvement se sont également accompagnés d’une émergence de formes artistiques nouvelles, en particulier dans les formes théâtrale (Bradbury et al., 2019 ; ProTactile Romeo and Juliet, 2019) et poétique (Clark, 2023) ; c’est sur ce point que je propose une session work-in-progress pour le séminaire « Traduire les voix minoritaires ».

Résumé 

Je propose de présenter mes premières recherches et réflexions autour des enjeux des pratiques artistiques en langue Protactile et de leur traduction vers une langue vocale parlée ou écrite, à partir de l’analyse d’œuvres en Protactile nord-américain et en anglais écrit d’un poète sourdaveugle américain, John Lee Clark. 

Dans le sillage de Julie Chateauvert, je souhaite introduire une démarche « qui, pour parler comme Rancière, interroge un certain partage du sensible » (Chateauvert, 2016) à partir des caractéristiques d’une langue minoritaire ancrée dans une modalité kinesthésique et tactile afin d’examiner comment sa synesthésie peut (ou non) être perceptible dans une traduction intersémiotique qui constitue aussi un acte de changement de modalité. Les enjeux éthiques et politiques d’une telle interrogation seront également discutés, puisque le traduction peut constituer un acte de violence, encore plus dans le cas de la traduction de voix minoritaires, et que cette discussion aura lieu sans les personnes concernées, à savoir les personnes sourdaveugles locutrices du Protactile.

Pendant cette session, je propose de présenter la poésie en anglais écrit de John Lee Clark ainsi que ses liens avec des productions en langue Protactile. L’un des principaux axes d’analyse sera axé sur leur intermédialité et sur leur capacité à véhiculer une expérience sensible basée sur le toucher, capacité qui a pu être étudiée dans le cas de productions langagières et écrites de personnes aveugles (Vérine, 2021). Ce faisant, je souhaiterais confronter ces premières analyses à des réflexions de collègues spécialistes de la traductologie ou encore des langues signées afin d’avoir un retour critique sur un travail qui s’insère dans le cadre de ma recherche sur le développement culturel et politique du mouvement Protactile.

Soline Vennetier est doctorante au Centre de recherches historiques de l’École des Hautes Études en Sciences Sociales, où elle mène des recherches portant sur l’histoire transnationale des mobilisations collectives dans le domaine de la surdicécité depuis les années 1960. Dans le cadre de ses recherches, elle explore l’articulation entre ces mobilisations collectives et les perceptions et modalités linguistiques propres aux personnes sourdaveugles, dont le mouvement Protactile – à la fois linguistique, anthropologique et politique – constitue un cas de figure. Elle a également traduit en français l’ouvrage de Carol Padden et Tom Humphries, Deaf in America: Voices from a Culture, Cambridge, Harvard University Press, 1988 (Être Sourd aux États-Unis : les voix d’une culture, Paris, Éditions de l’EHESS, 2020).

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♦  JUNE 20 ♦
When Translation Becomes a Space for Cultural Self-Determination

5-6.30pm – session chaired by Carole Birkan-Berz

Registration here

♦ Dibar ÇELIK (Boğaziçi University, Turkey): Translators’ Formative Agency in the Periodical Hawar (1932-1943): The Making of a Kurdish Cultural Identity

The present research explores the key role translations in the periodical Hawar played in the formation of a Kurdish cultural identity through analysis of translations and translators’ agency, adopting the non-essentialist concept of “cultural identity” proposed by Stuart Hall (1990, p. 225) and drawing on the framework suggested by Matthew Philpotts (2012; 2013) and Şehnaz Tahir Gürçağlar (2014; 2019), as well as on the approach adopted by Michael Cronin (1995; 1998; 2006), and Albert Branchadell (2005; 2011) in terms of minority languages and translation. In this context, particularly focusing on his agency, I consider Celadet Alî Bedirxan, the chief editor and the most prolific translator, a “free agent” engaged in “culture planning” (Even-Zohar, 2010, pp. 98-99). This research has shown that Bedirxan, addressing both Kurdish and western readerships in Hawar, aimed to form a multilayered Kurdish cultural identity encompassing a dialogic relationship between Kurdish and western cultures, tolerance for all faiths – Islam, Ezidism and Zoroastrianism – and the development of the Kurdish language and literature alongside the introduction of the Roman alphabet to all Kurdish dialects. Focusing on the translators and their translations in the periodical Hawar, this study aims to show that it is also possible to probe the relationship between translation studies and periodical studies from the perspective of a minority language such as Kurdish and thus to illustrate the novel viewpoints it can bring for translation studies and theory.

Dibar Çelik holds a BA in English language teaching at Middle East Technical University
(Ankara, Turkey) and his MA in translation studies at Okan University (Istanbul, Turkey). He
earned his PhD in translation studies at Boğaziçi University (Istanbul, Turkey) in 2023 with a
dissertation titled “Translators’ Formative Agency in the Periodical Hawar (1932-1943): The Making of a Kurdish Cultural Identity”. In addition to participating in many translation/co-
translation events, he translated Robert Louis Stevenson’s Treasure Island into Kurdish as
Girava Gencîneyê (Lîs, 2010). His research interests include translation history, translation
theory, translation in minoritized languages, translation in periodicals, literary translation,
retranslation and translation technologies.

♦ Daisy TOWERS (University of Leeds): Mercè Rodoreda: translating narratives of Catalanitat into English

My proposal for the seminar is based on the themes of “the reception of texts presenting minority voices in target cultures”, as well as “the sociology of the globalized literary market”.

In the seminar I will discuss the various ways in which Rodoreda, a Catalan author, has been renarrated in English translation. I argue that changes in translation reframe her authorial figure, and the fact that she went into exile after the Spanish Civil War is often used in the paratexts as a ‘selling point’ for her novels in the literary market. I argue for the consideration of translation itself as a form of exile, as the author is removed from her personal and literary narratives, and the translated text ultimately presents the authorial figure as separated from their original text.

I will also discuss the possibilities of translating ‘Catalanitat’, that is, the essence of Catalan identity, into English. This discussion will draw on power dynamics within the world literary sphere, considering the positions of so-called ‘minority’ and ‘majority’ languages in translation. I will consider how the Catalan experience and identity is central to Rodoreda’s works, and what the consequences of this are when her work is translated into English.

Daisy Isabelle Towers is a PhD student at the University of Leeds, funded by the AHRC via the White Rose College of the Arts & Humanities (WRoCAH). She has a BA in Modern Languages from the University of Durham (French, Spanish and Catalan) and an MA in Translation and Interpretating Studies from the University of Manchester. Her thesis is supervised by Dr Caroline Summers and Professor Angel Smith, and is entitled “The Renarration of Mercè Rodoreda: Authorship in Exile”. Her work on Catalan female writers has already received the 2022 Fundació Mercè Rodoreda Prize. She is also a postgraduate representative for the British Comparative Literature Association (BCLA) and co-editor of the Leeds Arts & Humanities (WRoCAH) Journal.

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