Traduire pour appréhender une respiration dans les profondeurs de la matière : Earth Absolute and Other Texts

The Story of the Stone written by Cao Xueqin was one of China’s Great Four Classical Novels. Many Redology researchers compared between the original text and English translations, but very few of them ever knew the Mongolian version, and compared it with the original Chinese texts and between English and Mongolian translations in new approach. This paper tends to investigate the unique features of Mongolian version. The comparison between the Mongolian and English versions is also conducted in the aspects of translating process, translations strategies and commentaries.

In a famous Parisian chess café, a down-and-out, HIM, accosts a former acquaintance, ME, who has made good, more or less. They talk about chess, about genius, about good and evil, about music, they gossip about the society in which they move, one of extreme inequality, of corruption, of envy, and about the circle of hangers-on in which the down-and-out abides. The down-and-out from time to time is possessed with movements almost like spasms, in which he imitates, he gestures, he rants. And towards half past five, when the warning bell of the Opera sounds, they part, going their separate ways. Probably completed in 1772-73, Denis Diderot’s Rameau’s Nephew fascinated Goethe, Hegel, Engels and Freud in turn, achieving a literary-philosophical status that no other work by Diderot shares. This interactive, multi-media and bilingual edition offers a brand new translation of Diderot’s famous dialogue, and it also gives the reader much more. Portraits and biographies of the numerous individuals mentioned in the text, from minor actresses to senior government officials, enable the reader to see the people Diderot describes, and provide a window onto the complex social and political context that forms the backdrop to the dialogue. Links to musical pieces specially selected by Pascal Duc and performed by students of the Conservatoire national supérieur de musique et de danse de Paris, illuminate the wider musical context of the work, enlarging it far beyond its now widely understood relation to opéra comique. This new edition includes: - Introduction - Original text - English translation - Embedded audio-files - Explanatory Notes - Interactive Material

Back-translation method in translation studies is basically applied to assess translation quality. This method requires further development when the source language undergoes significant changes. This research explores text reconstructions as consequences of language change. Deploying theories of back-translation and language change, it focuses on another merit of back-translation method to reconstruct old texts. The research involves Indonesian novels written decades ago in old Indonesian as the original texts and their English translations as the source texts for back-translation process. The research process includes translating the translated texts back into Indonesian using contemporary Indonesian, comparing the results of back-translation with the original texts, and reconstructing texts using present-day Indonesian. The text reconstructions are carried out when the differences of word choices and forms between the original and back-translation texts are not in terms of meanings and the texts show language change. This research reveals that text reconstructions of old Indonesian texts can be carried out by substitution, reduction, amplification, and transposition methods. The methods of text reconstruction are in accordance with their respective language changes. Substitution method is applicable when the texts show lexical or semantic change, reduction method when the texts show morphological or syntactic change, amplification method when the texts show morphological change, and transposition method when the texts show syntactic change.

BOOK REVIEWS 383 tary patterns (summarized, 465–466). Nevertheless, Rife’s volume is an interdisciplinary triumph and provides a rigorous model for future bioarchaeological research in the Mediterranean. CARRIE L.SULOSKY WEAVER University of Pittsburgh, clweaver@pitt.edu * * * The Plays of Hrotswitha of Gandersheim: Bilingual Edition. Translated by LARISSA BONFANTE [and Alexandra Bonfante-Warren]. Edited by ROBERT CHIPOK. Mundelein, IL: Bolchazy-Carducci Publishers, 2013. Pp. xxix + 411. Softcover, $29.00. ISBN 978-0-86516-783-4. Hrotswitha, a canoness in Gandersheim Abbey in Saxony, died after the turn of the 11th century CE, after having apparently been the first person, and certainly the first woman, to write dramatic literature in Latin since the classical period. Hrotswitha has thus garnered appropriately significant attention from feminist scholars and historians of drama, and it is generally within those two traditions that the present edition of Larissa Bonfante’s translation of Hrotswitha’s plays appears. This first bilingual edition of the plays pairs Bonfante’s 1979 translation (with contributions from Alexandra Bonfante-Warren and Nicole Diamente) with the Latin text edited by Walter Berschin in 2001. The English text is intended for performance, and it thus providesan avowedly non-literal translation while also interpolating stage and acting directions at many points. In order to make such a text accessible to modern students, the translation takes some liberties, for example unpacking the connotations of patrona in the dialogue itself rather than construing it simply as “patroness” and providing a distracting footnote (xvii and 402). The English also becomes more readable by “loosening up the extreme compression of the Latin” (xviii), for example rendering Latin ita as “You are quite right; it may well be so” (28–29). This approach produces a readable and fairly natural text generally faithful to the original. Indeed, the translation seems well suited for students interested in the plays as dramatic pieces with an eye to actual performance. The mise-en-page and copious stage and acting directions 384 BOOK REVIEWS facilitate that end, and the translation would work well in a performance situation . That specificity of audience raises the main problem with this current edition , namely the presence of the original Latin text. It is unclear what value the Latin text provides considering the audience for which it seems most suited and the non-literal nature of the translation. The departures from the original text are not marked, and the translation thus seems less than helpful in guiding students early in their learning of Latin. Moreover, the Latin text printed in the bilingual edition (Berschin’s) is not the text that served as the basis for the original translation (Helene Homeyer’s 1970 edition), creating additional opportunities for confusion. Pragmatically, the lack of modern punctuation in the Latin text and the absence of grammatical notes prevent this edition from providing the same quality guidance found in the best publications from Bolchazy-Carducci. The introductory material new to the bilingual edition is rather derivative and also unfortunately suffers from some mechanical errors. For example, some works cited only in short form in the footnotes do not appear in the bibliography (specifically in n. 8 on xi, which employs MLA citation style rather than the Chicago style of the other notes, and in n. 14 on xiv). The promulgation of the tired stereotype that medieval texts only rarely (if ever) follow the “rules” of Classical Latin (x) is a disappointment. The discussion of sources focuses more on Hrotswitha’s non-dramatic writing than on the plays and in fact provides little more than summary,whether ofthe plays themselvesor of secondaryscholarship (xiv–xvi). While the preface to the bilingual edition never completely hides its debt to various secondary sources, the depth of that debt goes unacknowledged in several places. This bilingual edition provides an English translation that should prove useful to students and classes seeking an accessible text ready to be performed. The utility of including the original Latin text, however, remains unclear, and the quality ofthe new prefatorymaterialleavesmuch to be desired. JONATHAN DAVIS-SECORD University of NewMexico, jwds@unm.edu ...

This study adopts a corpus-based approach to examine the linguistic features manifested in the English translations of Mao Zedong’s speeches, taking Winston Churchill’s speeches (representative of normalized spoken texts) and the spoken texts in BNC Sampler (representative of original spoken texts) as the reference corpora. By investigating the macro- and micro-linguistic features, it is found that the translated Mao’s speeches (both direct and inverse translations) differ from normalized spoken texts as well as original spoken texts in three aspects: (i) macro-linguistic features, (ii) the use of personal pronouns, (iii) the use of modal verbs. In terms of macro-linguistic features, the average word length of the English translations is higher than that of normalized spoken texts and that of original spoken texts; the standardized type/token ratio and average sentence length of the English translations are higher than those of original spoken texts, but lower than those of normalized spoken texts. Meanwhile, in terms of the use of personal pronouns, the English translations of Mao’s speeches prefer the underuse of the first person singular pronoun I. Furthermore, as far as modal verbs are concerned, the English translations of Mao’s speeches prefer the overuse of must and should on the one hand, and the underuse of shall, could, may, and would on the other hand. Therefore, it can be said that the translated Mao’s speeches exhibit some particular linguistic features, which can not only be differentiated from normalized spoken texts, but also be distinguished from original spoken texts. They are in a middle position in relation to normalized spoken texts as well as original spoken texts. This in-betweenness not only exhibits Mao’s creative and idiosyncratic language use, but also reflects the influence of the language transfer from Chinese into English.

Translating a text, especially when it comes to fiction, one of the main problems is to find appropriate and qualitative methods of translating culture-determined words. Therefore, a number of decisions made by the translator defines how a given text will be perceived by readers of a different culture. This article presents a comparative analysis of the culture-specific vocabulary of the original Russian text and the text of the translation, followed by the identification of vocabulary features given in the original text and the methods of its translation into English.

In the early 19th century, western missionaries in China founded periodicals like the Chinese Repository to introduce the social situation, culture, and customs in China. In the Chinese Repository, there are a large number of translations of Chinese traditional classic books among which is Soushen Ji and translations of other mythical stories. Mythical images of Chinese mythology are important parts of Soushen Ji because they are representative of Chinese culture and the embodiment of Chinese aesthetics. The translators at that time use certain patterns to translate the mythical images of Chines mythology in order to better introduce Chinese culture and to help readers learn about what the original texts look like. By analyzing the translated text in the Chinese Repository, it is concluded that there are mainly four translation patterns. They are: Cantonese Pinyin + liberal translation in English + background information; liberal translation in English + Cantonese Pinyin + annotation; liberal translation in English + annotation; pictures + Chinese meaning + Cantonese Pinyin + (liberal translation in English) + background information. Against the background of spreading Chinese culture overseas, figuring out an effective way to achieve this goal is important. To discuss the translations by native translators can not only help understand the translation strategies they apply but also provide a reference for translation of Chinese mythology and other similar materials.

This essay compares Robert Fagles`s and Seamus Heaney`s English translations of Sophocles` Antigone to examine how different understandings of an original Greek text can engender different versions of English translations. Fagles`s Antigone, first published by Penguin Books in 1984, is still widely read as a best selling version of Antigone, and Heaney`s version is famous for the translator`s renowned status as a Nobel Prize winner and his scholarly achievements in literature. What is at stake in Antigone is the conflict between Creon and Antigone concerning the burial of the dead body of Polynices, whose unpatriotic deed resulted in his death. Creon, as a King of Thebes, has to keep the human law, which should punish the traitor, while Antigone, as a sister and woman whose duty is to mourn for the dead of any Greek men in accordance with the divine law. Any translators should, first of all, understand Sophocles` intentions in creating this story, which is obviously very hard, so as to reproduce the original Greek text to English version. After close analysis of the two English translations, I found that Fagles read incestuous relationship between Antigone and Polynices and translated the original text as such, while Heaney tried to clear any such problematic readings from his translations, which is in line with Hegel`s reading of Antigone. By providing the reasons for the different English translations of an original Greek text, this essay also aims to say that translations are new creations of translators and provide lens through which we can read one orignal text with different perspectives.

From a rhetorical perspective, the article takes the puns in Xi You Ji (Journey to the West) and its two English translations as the object of study and divides the puns into three categories: homonymy, homophony, and paronomasia puns respectively. The two translations deal with the three types of puns in very different ways. Yu’s translation deals with the puns in the original by the strategy of direct translation or phonetic translation with annotations, which largely compensates for the lack of puns when they are transformed in a foreign context. While Jenner’s translation mostly adopts the direct translation strategy, and only a few puns have been translated with annotations. The translations of the typical puns in the original text are comparable between the two translations, and both of them try to achieve phonetic, meaning, and morphological equivalence with the original text. However, from an overall perspective, the richness of translation and compensation in Jenner’s translation is much inferior to those in Yu’s translation.

MLRy 99.1, 2004 201 Claire d'Albe. By Sophie Cottin. The original French text, ed. by Margaret Cohen. (MLA Texts and Translations) New York: The Modern Language Association of America. 2002. xxviii+158pp. $9.95. ISBN 0-87352-925-1. Claire d'Albe. By Sophie Cottin. An English translation by Margaret Cohen after the 1807 translation by Eliza Anderson Godefroy. (MLA Texts and Translations) New York: The Modern Language Association of America. 2002. xxxiii + 155 pp. $9.95. ISBN 0-87352-926-x. These two volumes are the latest in the invaluable MLA Texts and Translations series offeringkey,often neglected, texts that would otherwise be difficultto get hold of or too expensive to put on student reading lists. The dual nature of the project means that texts can be taught to a group of both French and non-French readers simultaneously, thus greatly increasing the scope of eighteenth- and early nineteenthcentury authors available to teach. Claire d'Albe (1799), Sophie Cottin's firstnovel, is an epistolary tale of adultery concluding in what Margaret Cohen deems to be the first depiction of female orgasm in polite fiction. Ethically complex, the novel plays out the traditional themes of love vs. duty and personal fulfilmentvs. collective welfare at a time when sentimentality is merging with Romanticism. Both the English version and the French original are preceded by an introduction in English sketching out Cottin's life and literary career, contemporary reactions to Claire dAlbe, key themes and moral issues, and the nature of sentimental fiction of the time. There is a bibliography of works cited followed by suggestions for further reading and a selected bibliography of Cottin's works. The English edition contains a detailed note on the translation, expanding on a paragraph from the introduction to the French original discussing the meanings sentimental terms held forthe contemporary reader. Basing the translation on a roughly contemporary one has allowed Margaret Cohen to draw on authentic sentimental vocabulary in English while updating expressions she felt to be needlessly archaic for a contemporary American audience. One aspect impossible to translate has been carefully footnoted, the shift from 'vous' to 'tu' at a crucial stage in the relationship between Claire and Frederic in Letter 18; but the subsequent shifting back from 'tu' to 'vous' to 'tu' again which reveals the state of mind of each character is referred to only in passing, so that someone reading the English version would lose some of the sense of inner struggle that a reader of French gains from the original text. This issue of nuance is one impossible to resolve. On the whole the translation reads well and makes the text available to those without French, but anyone who can read French should?it goes without saying?be encouraged to use the French original because so much of the essence of the sentimental epistolary novel lies precisely in nuance of language. Overall, though, these two volumes are a welcome addition to the number of texts by women writers of the eighteenth and nineteenth centuries readily accessible for undergraduate and postgraduate teaching. University of Warwick Katherine Astbury Maternal Echoes: The Poetry ofMar celine Desbordes- Valmore and Alphonse de Lamartine . By Aimee Boutin. Newark: University of Delaware Press; London: Asso? ciated University Presses. 2001. 246 pp. $42.50. ISBN 0-87413-727-6. In her comparative account of two French romantic poets Aimee Boutin examines Lamartine's effeminacy and Desbordes-Valmore's matriarchy in order to raise signi? ficant questions about Romanticism's relationship with the maternal and the period's underlying ideology. This is a carefully researched book that begins with an explo? ration of reception, grounding the argument for the maternal in the way in which 202 Reviews later nineteenth-century poets position themselves with respect to the mother text (Chapter i). This is developed in Chapter 2 in Hugo's figure of the echo. Boutin, in a finely tuned argument, here brings together a range of theoretical approaches to suggest that there is, in Hugo's notion of the echo, an implied interlocutor whom Lamartine seeks, only then to retreat into the self, whereas Desbordes-Valmore uses her poetic voice as a friendly echo of another, as...

MLRy 99.1, 2004 201 Claire d'Albe. By Sophie Cottin. The original French text, ed. by Margaret Cohen. (MLA Texts and Translations) New York: The Modern Language Association of America. 2002. xxviii+158pp. $9.95. ISBN 0-87352-925-1. Claire d'Albe. By Sophie Cottin. An English translation by Margaret Cohen after the 1807 translation by Eliza Anderson Godefroy. (MLA Texts and Translations) New York: The Modern Language Association of America. 2002. xxxiii + 155 pp. $9.95. ISBN 0-87352-926-x. These two volumes are the latest in the invaluable MLA Texts and Translations series offeringkey,often neglected, texts that would otherwise be difficultto get hold of or too expensive to put on student reading lists. The dual nature of the project means that texts can be taught to a group of both French and non-French readers simultaneously, thus greatly increasing the scope of eighteenth- and early nineteenthcentury authors available to teach. Claire d'Albe (1799), Sophie Cottin's firstnovel, is an epistolary tale of adultery concluding in what Margaret Cohen deems to be the first depiction of female orgasm in polite fiction. Ethically complex, the novel plays out the traditional themes of love vs. duty and personal fulfilmentvs. collective welfare at a time when sentimentality is merging with Romanticism. Both the English version and the French original are preceded by an introduction in English sketching out Cottin's life and literary career, contemporary reactions to Claire dAlbe, key themes and moral issues, and the nature of sentimental fiction of the time. There is a bibliography of works cited followed by suggestions for further reading and a selected bibliography of Cottin's works. The English edition contains a detailed note on the translation, expanding on a paragraph from the introduction to the French original discussing the meanings sentimental terms held forthe contemporary reader. Basing the translation on a roughly contemporary one has allowed Margaret Cohen to draw on authentic sentimental vocabulary in English while updating expressions she felt to be needlessly archaic for a contemporary American audience. One aspect impossible to translate has been carefully footnoted, the shift from 'vous' to 'tu' at a crucial stage in the relationship between Claire and Frederic in Letter 18; but the subsequent shifting back from 'tu' to 'vous' to 'tu' again which reveals the state of mind of each character is referred to only in passing, so that someone reading the English version would lose some of the sense of inner struggle that a reader of French gains from the original text. This issue of nuance is one impossible to resolve. On the whole the translation reads well and makes the text available to those without French, but anyone who can read French should?it goes without saying?be encouraged to use the French original because so much of the essence of the sentimental epistolary novel lies precisely in nuance of language. Overall, though, these two volumes are a welcome addition to the number of texts by women writers of the eighteenth and nineteenth centuries readily accessible for undergraduate and postgraduate teaching. University of Warwick Katherine Astbury Maternal Echoes: The Poetry ofMar celine Desbordes- Valmore and Alphonse de Lamartine . By Aimee Boutin. Newark: University of Delaware Press; London: Asso? ciated University Presses. 2001. 246 pp. $42.50. ISBN 0-87413-727-6. In her comparative account of two French romantic poets Aimee Boutin examines Lamartine's effeminacy and Desbordes-Valmore's matriarchy in order to raise signi? ficant questions about Romanticism's relationship with the maternal and the period's underlying ideology. This is a carefully researched book that begins with an explo? ration of reception, grounding the argument for the maternal in the way in which ...

Reviewed by: Discovering Florida: First-Contact Narratives from Spanish Expeditions along the Lower Gulf Coast transed. by John E. Worth M. Carmen Gomez-Galisteo DISCOVERING FLORIDA: First-Contact Narratives from Spanish Expeditions along the Lower Gulf Coast. Edited and translated by John E. Worth. Gainesville: University Press of Florida. 2014. In the eyes of the first European newcomers, America was a place of wonder. Legends and fantastic stories ran rampant after 1492, especially those concerning Florida, which, because of the region’s impenetrability, took longer to be dispelled. The disappointment caused by not finding the Fountain of Eternal Youth and the failure of all the expeditions earned Florida such a poor reputation that in 1561 a royal decree forbid Spanish subjects to go into these “tierras malditas” (damned lands). The lack of wealth dissipated official interest and the region was finally abandoned in 1711, leaving behind a paper trail documenting the failed Spanish conquest. Although one of these texts, Cabeza de Vaca’s Account, has generated a vast literature, the rest received scant attention, especially in English. Discovering Florida comes to fill this gap in scholarship by compiling accounts from the sixteenth-century Spanish expeditions to Florida. The five sections in the book, preceded by an introduction, cover the expeditions of Juan Ponce de León (1513–21), Pánfilo de Narváez and Hernando de Soto (1528-39), Luis Cáncer (1549), the captivity of Hernando de Escalante Fontaneda (1549–66), [End Page 111] and the expedition of Pedro Menéndez de Avilés (1566–69). Each section starts with a summary while each original text is introduced by a brief explanation and a note on the transcribing conventions employed. A strength of this book is that it includes the original Spanish texts as well as an English translation. If Columbus came across America while searching for the Indies, for Ponce, who was looking for Bimini, Florida was “an unanticipated discovery” (14). Named after the day they landed (“Pascua Florida;” Easter Sunday), they thought Florida was a group of islands. Conflicts between the Native Americans and the Spaniards immediately ensued, although the latter also tried to act as peacemakers between several Native American groups. Actually, Menéndez de Áviles’s peace talks resulted in an agreement between the Calusa and the Tocobaga. Spanish accounts of Florida not only convey their first impressions, but also offer a glimpse into Native Americans’ lives. The description of the natives occupied much space, portraying them either as blood-thirsty or willing to be converted. “With first contact, peninsular Florida’s indigenous societies were suddenly thrust onto the global stage on the periphery of an expanding European-centered world” (1) but as none of them survived, these constitute the only sources describing the Florida natives. After Ponce, the next Adelantado was Narváez, who, like his predecessor, would lose his life in the attempt to conquer Florida. Narváez’s expedition is well-known because of Cabeza de Vaca, who, with three other participants, wandered across the Southwest for almost a decade until they came across Spanish troops. Another survivor, Juan Ortiz, lived among Native Americans until he was found by the next expedition, that of Hernando de Soto. Given the failure of the military conquest of Florida, a new approach was adopted and the colonization of Florida was left in the hands of unescorted Dominican friars. However, the Luis Cáncer expedition was equally disastrous, as the prospective colonists swiftly abandoned Florida following the murder of Cáncer and others. Although less known than Cabeza de Vaca, Escalante Fontaneda, a shipwreck survivor held captive by the Native Americans, produced a detailed chronicle, far more useful for etnographical research than Cabeza de Vaca’s Account. While Fontaneda included a relation of all the Florida chiefs he learned about, Cabeza de Vaca just mentioned one single Native American name. The book closes with Menéndez de Avilés’s expedition, the last in the sixteenth century. Discovering Florida is a much-needed work, as usually only Spanish-language texts can be found, in the best-case scenario, scattered in a number of anthologies and, even then, underrepresented. The texts compiled in this work include official...

Journal Article The Frankfort Book Fair: the Francofordiense Emporium of Henri Estienne. Edited, with historical introduction, original Latin text with English translation on opposite pages, and notes, by James Westfall Thompson. (Chicago: The Caxton Club. 1911. Pp. xviii, 204.) Get access The Frankfort Book Fair: the Francofordiense Emporium of Henri Estienne. Edited, with historical introduction, original Latin text with English translation on opposite pages, and notes, by Thompson James Westfall. (Chicago: The Caxton Club. 1911. Pp. xviii, 204.) The American Historical Review, Volume 16, Issue 4, July 1911, Pages 804–805, https://doi.org/10.1086/ahr/16.4.804 Published: 01 July 1911

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The Age of Translation