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Academic literature on the topic 'Translations from Breton'
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Journal articles on the topic "Translations from Breton"
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Kenny, Eva. "‘fountains frozen o'er’: Samuel Beckett's Atavistic Translations." Journal of Beckett Studies 28, no. 2 (September 2019): 146–62. http://dx.doi.org/10.3366/jobs.2019.0265.
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Increasing importance has been placed on Samuel Beckett's work as a translator in recent years. Here I look at his translation of the French surrealists into English in the Surrealist Issue of the avant-garde journal This Quarter, and develop the argument made in Pascale Sardin and Karine Germoni's excellent 2011 study, ‘Scarcely Disfigured: Beckett's Surrealist Translations’, from which I take many cues. In what follows, I propose a theory of Beckett's translation: that literary atavism, models of arrested development and recursive strategies were central to the Irish writer's work, and that he developed these in his translations, in the ways that he preserved the past in his surreal translations, learning to become what André Breton called ‘the silent receptacle of many echoes’.
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Ar Rouz, David. "Necessary borders for negotiation: the role of translation." TranscUlturAl: A Journal of Translation and Cultural Studies 9, no. 2 (September 22, 2017): 64. http://dx.doi.org/10.21992/t97h3r.
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Translation is usually deemed to help bridge gaps but seldom thought of as a means of strengthening or, at least, highlighting borders. The present article uses the example of translations involving the Breton language in order to show that translation may favour negotiation by both helping negotiators to understand each other and having them recognise the social border that makes them different. The article explains firstly the author’s understanding of borders and negotiation. Secondly, the case of translation from and into Breton is examined. And finally, the discussion is extended to the European institutions, where European language policy also illustrates the dual function of translation in negotiation. The example of Breton evidences that translation fosters social distinction, language development and cooperation. At the EU level, the same roles are assumed by translation services and they contribute moreover to the legitimacy of the institutions and to the exercise of democracy. Such a conclusion invites to consider translation as an adequate means to manage language and cultural differences, even compared to language learning. It may be used, then, to deal with pressing issues such as the current migration flows to Europe.
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Furnish, Shearle. "Thematic Structure and Symbolic Motif in the Middle English Breton Lays." Traditio 62 (2007): 83–118. http://dx.doi.org/10.1017/s0362152900000544.
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The Breton Lays in Middle English is an enigmatic label customarily used to designate eight or nine brief narratives: Sir Orfeo, Sir Degaré, Lay le Freine, “The Franklin's Tale,” Sir Launfal, The Earl of Toulouse, Emaré, and Sir Gowther. The label is awkward because it may seem to suggest that the poems are consistently derived from or inspired by Breton or Old French sources and thus are a sort of stepchildren, little more than translations or, worse, misunderstandings of a multi-media heritage. Most scholars have seen the grouping as traditional and artificial, passed along in uncritical reception, not resting on substantial generic similarities that distinguish the poems from other literary forms. John Finlayson, for instance, concludes, “In fact, considered coldly, shortness and adventure or ordeal would seem to be the only things that can really be isolated as universal characteristics.” Some scholars have accounted for the poems as a set. The distinctions they discuss commonly include the lays' close relation to the conventions of the folk-tale, relationship to provincial audiences, and a growing sophistication of the craft of fiction.
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Kapphahn, Krista. "Celtic Heroines: The Contributions of Women Scholars to Arthurian Studies in the Celtic Languages." Journal of the International Arthurian Society 7, no. 1 (September 1, 2019): 120–39. http://dx.doi.org/10.1515/jias-2019-0006.
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Abstract This article surveys some of the main contributions of female scholars to the study of Arthurian literature in the Celtic languages from the nineteenth century to the present day. Scholarship by women has been integral to the study of Celtic Arthurian literature since the translations of native Welsh texts by Lady Charlotte Guest. Since then, women’s contributions have been foundational to the field, influencing theories of transmission, analysis and the standard editions of much Arthurian material in Welsh, Irish, Gaelic and Breton. They remain vital to the life of Arthurian scholarship, and the final section addresses contributions by younger scholars whose lasting influence remains to be seen.
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Longard, Jeffrey S. "Making Your Memory Mine: Marie de France and the Adventures of the Bretons." TranscUlturAl: A Journal of Translation and Cultural Studies 8, no. 1 (July 17, 2016): 17. http://dx.doi.org/10.21992/t9gg9v.
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The twelfth-century Anglo-Norman poet Marie de France undertook to preserve for posterity the adventures and romances embodied in a vanishing genre, the old Breton lais as she had heard them recounted by minstrels. That she succeeded is evidenced by the popularity of these lais for more than eight hundred years; that she perhaps succeeded too well is suggested by the fact that, within a century of her lifetime, the Breton lais had become exclusively a French form of literature, and whatever might have been the original form, linguistic structure and cultural content in Breton has been relegated to the realm of hypothesis.
This raises questions about the relationship between translation and cultural autonomy. Marie’s purported memorial to the Bretons became instead an institution of French language and culture. Had the Breton features been totally effaced, this could be called assimilation; had they been preserved intact, it would have been literal translation. In fact, Marie’s work can be reduced to no such simple binary. Nor can her aims be analyzed through any single lens, whether political, religious, cultural or artistic. Rather, I argue that her unsettling and robust positioning of contradictory elements—sorcery, sensuality, feudality, religion—results from her strategy of adopting the memory of the Bretons: neither glossing over its strangeness nor highlighting it as foreign, but making its distant and exotic characteristics part of her own invented heritage. I conclude that her translation project is more effectively analyzed as an ethical process of incorporation and restitution (Steiner) than as a placement along the spectrum of foreignization versus domestication (Venuti).
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Blanchard, Nelly. "Évolution du phénomène de traduction dans le domaine littéraire de langue bretonne." Nottingham French Studies 60, no. 2 (July 2021): 206–22. http://dx.doi.org/10.3366/nfs.2021.0317.
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Arguing that the concept of littérature-monde conceals unequal relations between literary cultures, this article examines the socio-economic contexts of literary translation from and into Breton from the fifteenth to the twenty-first century. The value of translation across the corpus of 1025 texts lies primarily in creating intercultural relationships and promoting cultural diversity. Translation into Breton represents a vital defence of a language with dwindling speaker numbers: in the late 1970s it increases dramatically, with littérature de jeunesse spearheading a change in state policy allowing regional languages to be taught in schools. Yet translation can also reinforce an existing power imbalance, highlighting the central role played by French in the linguistic and literary construction of Breton society. Poetry, songs and contes translated from Breton often perpetuate stereotypes of a bardic, oral culture, while nationalist writers reject self-translation into French as capitulation before the dominant culture. Since the 1980s, many have chosen to bypass French by translating into languages such as Welsh, Scottish, Irish or Catalan, creating a network of minority literatures. Since the market for Breton translation is so small, however, such texts serve as valuable identity markers, a symbolic, affective force articulating a quest for socio-political legitimacy via literature.
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Berard, Christopher. "King Arthur’s Charter: A Thirteenth-Century French Satire Against Bretons." Journal of the International Arthurian Society 8, no. 1 (September 1, 2020): 3–37. http://dx.doi.org/10.1515/jias-2020-0002.
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AbstractOn the verso of the last leaf of a twelfth-century manuscript containing the poetry of Hilarius, a student of Abelard, appears a faux charter purporting to have been issued by Arthur, king of the Britons, in the hundredth year of his immortality. In the act, Arthur thanks the descendants of his British subjects for their fidelity and grants them an exclusive franchise to fish in secret rivulets. The privilege contains two prohibitions: one prohibiting Britons from wearing shoes and the other prohibiting them from owning cats. This article provides a diplomatic edition, English translation and analysis of King Arthur’s Charter. It identifies the strange stipulations of the charter as tropes of anti-Breton satire, attested also in the Privilège aux Bretons (c. 1240), an Old French song that mocks the customs and occupations of impoverished Breton immigrants to thirteenth-century France.
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Rottet, Kevin J. "Translation and contact languages." Babel. Revue internationale de la traduction / International Journal of Translation 63, no. 4 (November 20, 2017): 523–55. http://dx.doi.org/10.1075/babel.63.4.04rot.
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In this study we use a translation corpus of English novels translated into two closely related Celtic languages, Welsh and Breton, as one way of shedding light on the extent to which languages can influence each other over time: Welsh has a long history of contact with English, and Breton with French. Ever since the work of Leonard Talmy (1991, 2000 etc.), linguists have recognized that languages fall into a small number of types with respect to how they prefer to talk about motion events. English is a good exemplar of the satellite-framed type, whereas French exemplifies the verb-framed type. Translation scholars have observed that translating between languages of two different types raises interesting questions (Slobin 2005; Cappelle 2012), and the topic is also of interest from the perspective of language contact: is it possible for a language of one type, in a situation of prolonged and intense bilingualism with a language of another type, to be influenced or perhaps even to change its own rhetorical preferences? The translation corpus provides a body of data which holds constant the starting point – the cue in each case was an English motion event in the source text. We do indeed find that Welsh and Breton have diverged in important ways in terms of their preferences for encoding motion events: Breton is revealed to have moved significantly in the direction of French with respect to these preferences.
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Hawas, May. "From the Hashish in Breton to the Hashish in Golo." Journal of World Literature 2, no. 3 (2017): 320–38. http://dx.doi.org/10.1163/24056480-00203002.
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In the past decade a flurry of interest has appeared in the Surrealist Art and Liberty Group working in 1930s Egypt. Discussions of the circulation of Arabic literature have usually highlighted the important position of translation as cultural mediator. Thinking of modern Arabic literature as world literature obliges us to consider, however, that (colonial) languages such as French and English are in some ways creolized within, or inherent to, modern Arabic literature. The Surrealist practice of fluidity, that is, mixing artistic genres like literature and art, pushes interesting questions about the role of translation and bilingualism in Arabic world literature (or world literature written by Arabophone writers), and the need for language itself in world culture. For which national cultural sphere do we claim the work of the Egyptian Surrealists, and what kind of analytical mediator do we use to connect these works to others when translation is not available?
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Neal Baxter, Robert. "An analytical audit of twenty years of literary translation into Breton." Viceversa. Revista galega de tradución, no. 21 (April 13, 2021): 143–63. http://dx.doi.org/10.35869/viceversa.v0i21.3461.
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After presenting the key role played by translation in strengthening the literary canon of minoritized languages, this paper goes on to provide a detailed overview and analysis of the past twenty years of Breton literary translation since the turn of the millennium, covering a variety of aspects ranging from the overall evolution over time, target publics, the genres and the authors selected for translation, the range of source languages and the translators themselves, integrating a gender-based outlook whenever necessary. Taken as an integral part of the publishing sector, comparisons are drawn throughout regarding originals published in Breton for the same period. Particular emphasis is also laid on gauging the initial of the Literary Translation Program as a means of determining and potentially redirecting theoverall strategy for literary translation going forwards.
Book chapters on the topic "Translations from Breton"
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Constantine, Mary-Ann, and Éva Guillorel. "Editorial Policy: Texts and Translations." In Miracles and Murders. British Academy, 2017. http://dx.doi.org/10.5871/bacad/9780197266199.003.0002.
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The ballad texts in Breton reproduce the spelling of individual collectors, and are thus markedly different from each other, since Breton orthography varies across time and across the dialect regions, and collectors had their own ways of noting down songs. The internal division of songs into couplets or verses, on the other hand, has in a very few cases been altered for ease of reading. We have opted for a minimalist approach to punctuation – these words were sung, not written, after all – and we have, for the same reasons, reduced the sometimes dense punctuation of many of the Breton texts. It should be noted here, too, that the songs on the accompanying CD are not always the same versions as the printed text, but variant versions of the same ballad, often collected considerably later. Each ballad text is accompanied by an analysis which provides further context for the song – and, where known, information about the circumstances of its collection. A short bibliography notes any further studies of the piece in order of relevance....
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Constantine, Mary-Ann, and Éva Guillorel. "The Ballads." In Miracles and Murders. British Academy, 2017. http://dx.doi.org/10.5871/bacad/9780197266199.003.0004.
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This section comprises a selection of thirty-five Breton ballads, presented in the original Breton with English translations. Each ballad text is followed by a short analysis giving, where possible, information on its provenance and exploring the literary and historical context of the events it describes. Reference is also made to other versions and occasionally to international parallels. The material covers a wide range of topics, from shipwrecks and murders to penitential journeys, the plague, scenes from war and encounters in love. It draws on themes from the European medieval literary tradition, the literature of other Celtic-speaking countries, and events from Breton history, particularly from the turbulent early modern period.