Metamorfozy Kopciuszka. Studium porównawcze dwóch angielskich przekładów baśni Perraulta

L'étude comparative de deux traductions de « Cendrillon ou la petite pantoufle de verre » de Charles Perrault montre comment le conte est réorienté vers la jeunesse en Angleterre à partir de projets très différents. «Cinderilla: or, The Little Glass Slipper», publié par Robert Samber dans Histories, or Tales of Past Times. With Morals en 1729, est considéré comme la première traduction du conte en langue anglaise. Plus près de nous, sa retraduction par l'écrivain britannique Angela Carter, « Cinderella: or, The Little Glass Slipper », parue dans The Fairy Tales of Charles Perrault en 1977, donne une nouvelle actualité au conte de Perrault. La première traduction propose un calque du conte qui illustre les conditions matérielles et l'interdiscours des traducteurs de Grub Street au début du XVIIIe siècle, tandis que la deuxième adapte le conte pour les enfants dans une perspective féministe au XXe siècle. Mon analyse s'attache surtout à dégager les enjeux de la (re)traduction de Carter, qui se démarque délibérément de Samber pour renouveler le sens du conte de Perrault et de sa morale.

A cross-cultural shortened form of the ZKPQ (ZKPQ-50-CC) adapted to English, French, German, and Spanish languages.

The aim of the present study was to develop a short form of the Zuckerman-Kuhlman Personality Questionnaire (ZKPQ) with acceptable psychometric properties in four languages: English (United States), French (Switzerland), German (Germany), and Spanish (Spain). The total sample (N = 4,621) was randomly divided into calibration and validation samples. An exploratory factor analysis was conducted in the calibration sample. Eighty items, with loadings equal or higher than 0.30 on their own factor and lower on the remaining factors, were retained. A confirmatory factor analysis was performed over the survival items in the validation sample in order to select the best 10 items for each scale. This short version (named ZKPQ-50-CC) presents psychometric properties strongly similar to the original version in the four countries. Moreover, the factor structure are near equivalent across the four countries since the congruence indices were all higher than 0.90. It is concluded that the ZKPQ-50-CC presented a high cross-language replicability, and it could be an useful questionnaire that may be used for personality research.

The Impact of Instructions on Survey Translation : An Experimental Study

The experimental study described in this paper examined the impact of providing special instructions and supporting material to translators. Specifically, it addressed whether Spanish, Chinese, and French translators provided with explanatory text and guidelines were able to produce translations that were more faithful to the intended meaning of English source survey items, as well as that were more culturally appropriate and natural sounding compared to those of translators who received no such guidance. Study findings indicate that while the provision of special instructions and documentation to translators had a considerable impact on their translations, the direction of the impact (positive or negative) diff ered across the target languages, according to scale ratings of professional survey researchers who were native speakers of those languages.

But Marriage itself is no Party : Angela Carter's Translation of Charles Perrault's La Belle au bois dormant.

AbstractThis article demonstrates the importance of Angela Carter's translations of Charles Perrault's contes into English and argues for their profound influence on her subsequent literary career. Against feminist critics who rejected fairy tales as conservative and informed by patriarchal structures and values, Carter reclaimed Perrault for feminism by recovering the critical edge and emancipating potential of his Histoires ou contes du temps passé, Avec des Moralités. This essay shows, through a comparative reading of "La Belle au bois dormant" and "The Sleeping Beauty in the Wood," that Carter opposed the worldly "politics of experience" that she found in Perrault to the Disneyfied imagery of the Sleeping Beauty myth and modernized the critique of early marriages already contained in Perrault's Moralités. The subversive power of Carter's work, therefore, is not directed against Perrault but rather toward cultural and commercial appropriations of the fairy tale, which promote a naïve view of marriage.Recommended CitationHennard Dutheil de la Rochère, Martine. ""But marriage itself is no party": Angela Carter's Translation of Charles Perrault's "La Belle au bois dormant"; or, Pitting the Politics of Experience against the Sleeping Beauty Myth." Marvels & Tales 24.1 (2010).

Translating from India and the Moving Space of Translation (Illustrated by the Works of Ajñeya)

The inadequacies and obsolescence of Eurocentric theories based on a binaryand static worldview have become a staple topic of postcolonial studies, and tosome extent also of translation studies. Nonetheless, the literary texts that arecalled upon in order to show the dynamism and hybridity of (post)modern worksbelong for the most part to the languages of the former colonial powers, especiallyEnglish, and remain inserted in a system that construes literatures interms of opposition. As a consequence, there is outside India a doubly misleadingunderstanding of Indian literatures other than those written in English:firstly, that translations of works in Hindi and in the Indian bhāṣā seem to belacking, if not inexistent, and secondly, that these "minor" literatures - as theyare regularly termed - are still often viewed as being highly dependent on theidea of "tradition," in opposition to the "postmodern" hybridity of the literatureswritten in the "dominant" languages, such as English or French. Againstthese views and supported by the analysis of Ajñeya's works in Hindi togetherwith their English translations, this paper aims to show: 1) that translationsfrom Hindi, which are not in fact non-existent, are mainly carried out in India,and 2) that Ajñeya's works, while representing a significant instance of the effectivehybridity present in Indian literatures, help to illustrate the moving spaceof translation. This demonstration effectively invalidates the above-mentionedoppositional standpoint.

India in Translation through Hindi Literature. A Plurality of Voices

What role have translations from Hindi literary works played in shaping and transforming our knowledge about India? In this book, renowned scholars, translators and Hindi writers from India, Europe, and the United States offer their approaches to this question. Their articles deal with the political, cultural, and linguistic criteria germane to the selection and translation of Hindi works, the nature of the enduring links between India and Europe, and the reception of translated texts, particularly through the perspective of book history. More personal essays, both on the writing process itself or on the practice of translation, complete the volume and highlight the plurality of voices that are inherent to any translation. As the outcome of an international symposium held at the University of Lausanne, Switzerland, in 2008, India in Translation through Hindi Literature engages in the building of critical histories of the encounter between India and the «West», the use and impact of translations in this context, and Hindi literature and culture in connection to English (post)colonial power, literature and culture.

Ornament of Reason : an annoted english translation of rMa bya Byang chub brtson 'grus's : commentary to the Mūlamadhyamakakārikā

The present work contains an English translation of the Ornament of Reason (Tib. dBu ma'i rtsa ba shes rab kyi 'grel ba thad pa'i rgyan), an influential 12th century Tibetan commentary to a classic of Indian Buddhism, Nàgàrjuna's Root of the Middle Way (Skt. Mûlamadhyamaka-kârikâ Tib. dBu ma'i rtsa ba shes rab ces bya ba). The author, rMa bya byang chub brtson 'grus's, was among the first Tibetans to explicitly align themselves with the philosophical project of the 7th century Indian Madhyamaka teacher, CandrakTrti. With his stern revision and transformative re-employment of the epistemological framework that CandrakTrti otherwise scorns, rMa bya was however to develop an original and highly influential Madhyamaka interpretation.¦rMa bya's "topical outline" (Tib. sa bead) of his commentary is contained in the first appendix to the translation. The second appendix contains a digitalized version of the Rumtek edition of rMa bya's commentary, cross-referenced to the page numbers of the translation. The annotations contain concise explanatory remarks and suggestions for further reading, as well as identifications of the passages that rMa bya cites.

Contrast : a concept in language and its development in Medieval Spanish

The purpose of this PhD thesis is to investigate a semantic relation present in the connection of sentences (more specifically: propositional units). This relation, which we refer to as contrast, includes the traditional categories of adversatives - predominantly represented by the connector but in English and pero in Modern Spanish - and concessives, prototypically verbalised through although / aunque. The aim is to describe, analyse and - as far as possible - to explain the emergence and evolution of different syntactic schemes marking contrast during the first three centuries of Spanish (also referred to as Castilian) as a literary language, i.e., from the 13th to the 15th century. The starting point of this question is a commonplace in syntax, whereby the semantic and syntactic complexity of clause linkage correlates with the degree of textual elaboration. In historical linguistics, i.e., applied to the phylogeny of a language, it is commonly referred to as the parataxis hypothesis A crucial part of the thesis is dedicated by the definition of contrast as a semantic relation. Although the label contrast has been used in this sense, mainly in functional grammar and text linguistics, mainstream grammaticography and linguistics remain attached to the traditional categories adversatives and concessives. In opposition to this traditional view, we present our own model of contrast, based on a pragma-semantic description proposed for the analysis of adversatives by Oswald Ducrot and subsequently adopted by Ekkehard König for the analysis of concessives. We refine and further develop this model in order for it to accommodate all, not just the prototypical instances of contrast in Spanish, arguing that the relationship between adversatives and concessives is a marked opposition, i.e., that the higher degree of semantic and syntactic integration of concessives restricts some possible readings that the adversatives may have, but that this difference is almost systematically neutralised by contextual factors, thus justifying the assumption of contrast as a comprehensive onomasiological category. This theoretical focus is completed by a state-of-the-question overview attempting to account for all relevant forms in which contrast is expressed in Medieval Spanish, with the aid of lexicographic and grammaticographical sources, and an empirical study investigating the expression of corpus in a corpus study on the textual functions of contrast in nine Medieval Spanish texts: Cantar de Mio Cid, Libro de Alexandre, Milagros de Nuestra Sehora, Estoria de Espana, Primera Partida, Lapidario, Libro de buen amor, Conde Lucanor, and Corbacho. This corpus is analysed using quantitative and qualitative tools, and the study is accompanied by a series of methodological remarks on how to investigate a pragma-semantic category in historical linguistics. The corpus study shows that the parataxis hypothesis fails to prove from a statistical viewpoint, although a qualitative analysis shows that the use of subordination does increase over time in some particular contexts.

Early Modern Persian, Urdu, and English Historiography and the Imagination of Islamic India under British Rule

This paper analyses the early modern transformations of South Asian literary cultures through the production of historiography in Persian, English, and Urdu. In the 18th-19th centuries, South Asian communities experienced and participated in a major restructuring of the languages of the subcontinent. Urdu and English were institutionalized as governmental languages and utilized in new literary productions as Persian was gradually marginalized from the centre of literary and governmental polities. Three interrelated colonial policies reshaped the historical consciousness of South Asia and Britain: the production of new Persian histories commissioned under British patronage, the initiation of Urdu historiography through the translation of Persian and English histories, and the construction of the British history of India written in English. This article explores the historical and social dynamics of these events and situates the origins and evolution of the colonial historiographical project. Major works discussed are the Tārīkh-i Bangālah of Salīm Allāh Munshī (fl. 1763), James Mill's (1773-1836) The History of British India first published in 1817, Mīr Sher ʿAlī Afsos' the Ārāʾish-i mahfil, as well as the production of original Urdu histories such as Muḥammad Zakāʾ-Allāh's (1832-1910) the Tārīkh-i Hindustān.

Holy harlots : authority, gender, and the body in medieval English hagiography

This doctoral dissertation aims at describing the representation of holy harlots (Mary Magdalene, Mary of Egypt, Pelagia, Thai's, Afra of Augsburg) in medieval English hagiography. These saints are unique representatives that combine both extremes of the feminine in the medieval imaginaire: she is both, as a saint, the Virgin Mary, the pure and virtuous woman, and, in her past as a prostitute, Eve, the evil female tempter who led all mankind to destruction. The initial question of this thesis is how did hagiographers negotiate the representation of a formerly sinful, sexually active, long- living woman as an authoritative saint? This thesis aims at finding elements of answer to this question, investigating the intersections between gender and authority in the saints' lives of repentant prostitutes in all the vernaculars of medieval England: Old English, Anglo-Norman, and Middle English. It posits that the portrayal of holy harlots' authority and gender is dependent upon social, religious and literary shifts during the medieval period. My contention is that the harlot's gender portrayal changes over the course of the eleventh and twelfth centuries, due notably to the rise of affective piety and the important influence of the romance genre over hagiography. In Anglo-Saxon England, the harlot's gender changes with the saint's conversion: a woman beforehand, her gender is portrayed after her repentance as ambiguous in order for her to become a saint. Her authority derives from her own sanctity in this case. From the twelfth century onward, however, the harlot, now often turned into a beautiful and landed romance lady, is more and more represented as a woman throughout her life, and becomes after her conversion a Bride of Christ. In this way, the dangerously free woman who roamed the streets and prostituted her body becomes less threatening after her conversion, being (re-)inscribed within the male dominated institution of marriage. She now draws her authoritative stance from her gendered intimacy with Christ: although she submits to Christ as his bride, she also gains greater authority than before by way of her privileged relationship with the Savior.

The 16PF5 and the NEO-PI-R in Spanish and Swiss samples: A cross-cultural comparison

This study compared the Spanish (Castilian) and French versions of the 16PF5 and of the NEO-PI-R in Spanish and Swiss samples. The five-factor solution for the 16PF5 only seems clear for the Castilian version, but not for the French version. Indeed, the congruence coefficients for the Tough-Mindedness and the Self-Control dimensions are low. On the other hand, the five-factor solutions are highly similar for both countries concerning the NEO-PI-R, and the congruence coefficients are above .95 for all five dimensions. The low cross-cultural replicability for the 16PF5 makes it difficult to analyze the differences at the mean level for this inventory. For the NEO-PI-R, the differences are generally very small and globally account for 2.6% of the total variance. Spaniards seem to have slightly lower scores on Actions and slightly higher scores on Dutifulness. These differences could either be due to translation problems, sample selection, or cultural differences.

From Translation to Rewriting : the Interplay of Text and Image in The Fairy Tales of Charles Perrault and The Bloody Chamber and Other Stories

Abstract :This article examines the interplay of text and image in The Fairy Tales of Charles Perrault (1977), translated by Angela Carter and illustrated by Martin Ware, as a form of intersemiotic dialogue that sheds new light on Carter's work. It argues that Ware's highly original artwork based on the translation not only calls into question the association of fairy tales with children's literature (which still characterizes Carter's translation), but also captures an essential if heretofore neglected aspect of Carter's creative process, namely the dynamics between translating, illustrating and rewriting classic tales. Several elements from Ware's illustrations are indeed taken up and elaborated on in The Bloody Chamber and Other Stories (1979), the collection of "stories about fairy stories" that made Carter famous. These include visual details and strategies that she transposed to the realm of writing, giving rise to reflections on the relation between visuality and textuality.RésuméCet article considère l'interaction du texte et de l'image dans les contes de Perrault traduits par Angela Carter et illustrés par Martin Ware (The Fairy Tales of Charles Perrault, 1977) comme une forme de dialogue intersémiotique particulièrement productif. Il démontre que les illustrations originales de Ware ne mettent pas seulement en question l'assimilation des contes à la littérature de jeunesse (qui est encore la perspective adoptée par la traductrice dans ce livre), mais permettent aussi de saisir un aspect essentiel bien que jusque là ignoré du procession de création dans l'oeuvre de Carter, à savoir la dynamique qui lie la traduction, l'illustration et la réécriture des contes classiques. Plusieurs éléments des illustrations de Ware sont ainsi repris et élaborés dans The Bloody Chamber and Other Stories (1979), la collection de "stories about fairy stories" qui rendit Carter célèbre. La transposition de détails et de stratégies visuelles dans l'écriture donnent ainsi l'occasion de réflexions sur les rapports entre la visualité et la textualité.