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.

Like Man, Like Woman: Roman Women, Gender Qualities and Conjugal Relationships at the Turn of the First Century

Modern scholarship often discusses Roman women in terms of their difference from their male counterparts, frequently defining them as 'other'. This book shows how Roman male writers at the turn of the first century actually described women as not so different from men: the same qualities and abilities pertaining to the domains of parenthood, intellect and morals are ascribed by writers to women as well as to men. There are two voices, however: a traditional, ideal voice and an individual, realistic voice. This creates a duality of representations of women, which recurs across literary genres and reflects a duality of mentality. How can we interpret the paradoxical information about Roman women given by the male-authored texts? How does this duality of mentality inform us about gender roles and gender hierarchy? This work analyses well-known, as well as overlooked, passages from the writings of Pliny the Younger, Tacitus, Suetonius, Quintilian, Statius, Martial and Juvenal and sheds new light on Roman views of women and their abilities, on the notions of private and public and on conjugal relationships. In the process, the famous sixth satire of Juvenal is revisited and its topic reassessed, providing further insights into the complex issues of gender roles, marriage and emotions. By contrasting representations of women across a broad spectrum of literary genres, this book provides consistent findings that have wide significance for the study of Latin literature and the social history of the late first and early second centuries.

Incremental Validity and Indirect effect of Ethical Development on Work Performance

We modeled work performance as outcomes of individual-differences mediated by technical performance. Beyond the "usual suspects" (e.g., general mental ability, and personality), we also measured the ethical development of participants (n = 460). We surmised that ethical development - which has not been extensively studied as a predictor of work performance while controlling for established predictors - captures unique variance in both technical and work performance. Results demonstrated incremental validity for ethical development in predicting technical performance, which in turn predicted work performance. The indirect effect of ethical development was significant too. Our results highlight the importance of process models of performance, which include proximal as well as distal individual differences.

Reading, Translating, Rewriting: Angela Carter's Translational Poetics

In "Reading, Translating, Rewriting: Angela Carter's Translational Poetics", author Martine Hennard Dutheil de la Rochère delves into Carter's The Fairy Tales of Charles Perrault (1977) to illustrate that this translation project had a significant impact on Carter's own writing practice. Hennard combines close analyses of both texts with an attention to Carter's active role in the translation and composition process to explore this previously unstudied aspect of Carter's work. She further uncovers the role of female fairy-tale writers and folktales associated with the Grimms' Kinder- und Hausmärchen in the rewriting process, unlocking new doors to The Bloody Chamber. Hennard begins by considering the editorial evolution of The Fairy Tales of Charles Perrault from 1977 to the present day, as Perrault's tales have been rediscovered and repurposed. In the chapters that follow, she examines specific linkages between Carter's Perrault translation and The Bloody Chamber, including targeted analysis of the stories of Red Riding Hood, Bluebeard, Puss-in-Boots, Beauty and the Beast, Sleeping Beauty, and Cinderella. Hennard demonstrates how, even before The Bloody Chamber, Carter intervened in the fairy-tale debate of the late 1970s by reclaiming Perrault for feminist readers when she discovered that the morals of his worldly tales lent themselves to her own materialist and feminist goals. Hennard argues that The Bloody Chamber can therefore be seen as the continuation of and counterpoint to The Fairy Tales of Charles Perrault, as it explores the potential of the familiar stories for alternative retellings. While the critical consensus reads into Carter an imperative to subvert classic fairy tales, the book shows that Carter valued in Perrault a practical educator as well as a proto-folklorist and went on to respond to more hidden aspects of his texts in her rewritings. Reading, Translating, Rewriting is informative reading for students and teachers of fairy-tale studies and translation studies.

Les métamorphoses de Cendrillon : analyse comparée de deux traductions anglaises du conte de Perrault

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 quasi 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. La traduction constitue en outre pour Carter la première étape d'une récriture intitulée « Ashputtle or The Mother's Ghost» (1987) qui témoigne de la continuité entre l'activité de traduction et la création littéraire. 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.