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Artigos de revistas sobre o assunto "French literature – 19th century – translations into english"
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Remchukova, Elena N., and Ekaterina M. Nedopekina. "Difficulties in translating Russian classics: Pushkin’s novel “Eugene Onegin” in English and French." Russian Journal of Linguistics 24, no. 4 (2020): 945–68. http://dx.doi.org/10.22363/2687-0088-2020-24-4-945-968.
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A translator of classical literature is faced with the task of identifying the goal and methods of conveying the national originality of a generally recognized literary masterpiece. The article considers this problem in the context of translations of the novel in verse Eugene Onegin by Alexander Pushkin into English and French. At the same time, it raises the questions of the translators attitude to their own work, the depth of interpretation of the original, the degree of adaptation of the original text for a foreign reader. In addition, a matter of great importance is the translators assessment of the result of their own work, which is reflected in their comments and preface to the translated text. The goal of this research is to substantiate the importance of the linguistic and cultural function of comments and prefaces, which also made it possible to identify the features of the translations themselves and emphasize their continuity. When translating works of classical literature, translators do not limit their task to the translation itself. In this regard, the preface-commentary complex is viewed in the article as an important part of the translators work. The research material includes about 40 English and over 10 French translations made in the 19th, 20th and 21st centuries and presented in chronological order. Mainly those that are accompanied by prefaces and comments were selected for the analysis. The research helps to present the translations of the novel not only in terms of continuity, but also in terms of their authors critical attitude to each other, thus bringing these components of translation into the focus of a professional discussion. As a result of comparing various translations, it is possible to identify the difficulties of literary translation of the novel Eugene Onegin , which include the preservation of its poetic form, the panoramic nature of its composition, including scenes of life of the 19th century Russian nobility, and the national spirit associated with the translation of national and cultural vocabulary. The research confirms that the very fact of numerous translations of this novel, which is paradigmatic for the Russian culture, can be viewed as a form of its worldwide recognition, regardless of the professional and reader's assessment of these translations. This enables us to speak of the existence of a strong tradition that has developed in European translation studies around this particular work.
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Grassi, Evelin. "Memorie Sadriddin Ajnī (Italian translation by Evelin Grassi)." Oriente Moderno 93, no. 1 (2013): 212–38. http://dx.doi.org/10.1163/22138617-12340010.
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Abstract This is the first Italian translation of some selections from the Ëddoštho* “Reminiscences” of Sadriddin Ajnī (Bukhara 1878—Dushanbe 1954), the author commonly regarded as the leading representative of modern Tajik literature. Ajnī’s Reminiscences, divided into four parts and published between 1948 and 1954, are a collection of lively short-stories where the author described his childhood spent in two villages near Bukhara, as well as his youth and schooldays at the madrasa in the last two decades of the 19th and the beginning of the 20th century. Parts I and II were more often translated into many languages, both in the Republics of the former Soviet Union and in other countries. Translations in Russian (parts I-IV), German and French (parts I-II) have appeared in the 1950s. In English, separate chapters from the work have been published in academic journals from the 1950s onward; the most recent English translation (part I) is The sands of Oxus. Boyhood reminiscences of Sadriddin Aini, tr. by J.R. Perry and R. Lehr (Costa Mesa, Mazda Publishers, 1998).
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Antonov, Nikolay K. "A review of research literature on the topic of the priesthood in the works of st. Gregory the Theologian." Issues of Theology 3, no. 2 (2021): 177–208. http://dx.doi.org/10.21638/spbu28.2021.204.
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The article examines the tradition of research on the topic of the priesthood in the legacy of St. Gregory the Theologian from the 19th century to 2020. The review includes general monographs on both the formation of the episcopate in Late Antiquity and specifically the legacy of Nazianzen, dissertations, publications in periodicals, dictionaries and encyclopedias on this topic, as well as on a wide range of related topics, key publications and translations of the Apology on his Flight — St. Gregory’s central text on the priesthood — in English, Russian, German, French and Italian. The following periodization of historiography is proposed: the early period (19th — middle of 20th centuries), theological studies of the Apology in the 50s–70s, studies and publications by J.Bernardi, the “new wave” of the 1990s and its development in the 21st century. In the last period, three main trends are identified: the Theologian’s texts on the priesthood are considered in the context of: the development of the image of a monk-bishop in Late Antiquity; platonic political philosophy; Gregory’s main theological concepts. The importance of research on other aspects of Gregory’s work is shown especially the categories θεωρία/πρᾶξις and his autobiographical texts. Two lines of further research are proposed as the most promising: intertextual analysis of the Apology and integral analysis of the entire legacy of St. Gregory through the prism of the priesthood theme.
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Ettobi, Mustapha. "Literary Translation and (or as?) Conflict between the Arab World and the West." TranscUlturAl: A Journal of Translation and Cultural Studies 1, no. 1 (2008): 14. http://dx.doi.org/10.21992/t99d06.
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Major developments in the translation of literary works from Arabic into French and English and vice versa tend to indicate that it has been influenced by the geopolitical relationship between the Arab world and Western countries. In my paper I try to show how the essence of this translation history has taken root in the power differentials and conflicts between these two entities by analyzing three different phases of translation, namely:
 
 - Napoleon Bonaparte’s Expedition to Egypt in the 18th century and the translation movement that followed in the 19th century.
 
 - Post-Second-World-War phase including the intense translation activity during the Nasser era.
 
 - From 1988 (when Mahfouz was awarded the Nobel Prize) to the post-9/11 era. 
 
 I will also explain how translators (like Canadian-born Johnson-Davies) played a key role in these times of war and/or peace. The work of some of them can also be considered as a form of resistance against prevailing (often negative) representations of the Other and its culture. The article ends with reflections on the current (and future) situation of the translation of Arabic literature into English and French.
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Toledano Buendia, Carmen. "Robinson Crusoe Naufraga en Tierras Españolas." Babel. Revue internationale de la traduction / International Journal of Translation 47, no. 1 (2001): 35–48. http://dx.doi.org/10.1075/babel.47.1.05tol.
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The incorporation of English novels into the Spanish literary system during the 18th century is characterized, in general terms, by their late appearance, especially if a comparison is drawn with other European countries, and by French mediation. One of the most illustrative examples is the assimilation process followed by Robinson Crusoe. This work, written by Daniel Defoe in 1719, appears for the first time in Spain in 1826 — more than 100 years after it was originally written — in an abridged version for children. This paper aims to explore some of the many factors that may play a part in the late appearance of this novel and its reception as a juvenile or children’s book. Apart from the sociopolitical circumstances that turned Spain into a country which was very suspicious of foreign influence, an important factor to take into account is the influence of the French mediation. The introductory role played by mediator systems involves a filtered way of access through which the mediating culture reveals its own points of view and aesthetic criteria. Most of the 19th-century Spanish translations of Robinson Crusoe are secondhand translations from French and inherit the didactic and moralizing interpretation that the French makes of Robinson Crusoe. But the reading of Defoe’s work as juvenile or children’s literature is not only the result of the mediator system; it is also a consequence of the literary tradition to which the text is attached. When this work was imported there was an established tradition of Robinsonades that influenced its reading and interpretation and had created a particular set of expectations in the reader. This study also tries to analyze the different strategies used by Spanish translators in order to adapt Defoe’s novel to the poetic and ideological expectations of its potential readers and to the new function assigned to the text in the new cultural context.
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Belavina, Ekaterina M. "Desbordes-Valmore, Smirdin and Pushkin in the Face of “Industrial Literature”." Literary Fact, no. 1 (31) (2024): 151–66. http://dx.doi.org/10.22455/2541-8297-2024-31-151-166.
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The article is devoted to the influence of “industrial literature” (Sainte-Beuve’s term) and Anglomania on Franco-Russian cultural relations of the Romantic era. In particular, the author considers the reader’s reception of the short story collection “Lady Betty’s Salon,” published in France under the name of Desbordes-Valmore (March 1836). The translation of the collection into Russian, signed with the cryptonym N.D., was published in the printing house of A.F. Smirdin in the same year. The article reveals the economic and cultural prerequisites of the publication, as well as the peculiarities of the French edition, which is a transposition of popular stories by English authors of keepsakes of 1810–1830. Numerous facts improve the popularity of Desbordes-Valmore’s works in aristocratic salons of Moscow and St. Petersburg (Rostopchina, Dargomyzhsky, Glinka, Annenkov). The author of the article suggests that Pushkin may have influenced Smirdin’s decision to publish the work. The analysis of an anonymous critical book review, signed with the initial R.M. and published in the newspaper “Northern Bee” (November 1836), reveals the similarity of the judgments expressed in the critical note with Pushkin’s views on the state of French literature contemporary to him, as well as his profound knowledge of the material. The book has become a bibliographic rarity in France, but has survived in Russian translation, although it is the only case of translation of Desbordes-Valmore’s prose into Russian in the 19th century.
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Ши, Юэ. "On the translation of the classic Chinese novel “Jin, Ping, Mei, or the Plum in the Golden Vase” in the West." Modern Humanities Success, no. 3 (March 29, 2024): 21–27. http://dx.doi.org/10.58224/2618-7175-2024-3-21-27.
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в истории китайской литературы роман «Цзинь, Пин, Мэй» (Jin Ping Mei, кит. 金瓶梅) династии Мин (1368-1644) является знаковым произведением, которое можно сравнить с «Четырьмя великими шедеврами китайской классической художественной литературы». В 2016 году четвертый том (кн.1 и 2) перевода «Цзинь, Пин, Мэй, или Цветы сливы в золотой вазе» был опубликован в Россия, что позволило русскоязычному миру наконец-то в полном объеме получить полный русский перевод этого классического китайского романа. Появление этого четырёхтомный перевод вновь вызвало повышенное внимание к этому роману и в России, и в Китае, а также во всём мире. Несмотря на то, что «Цзинь, Пин, Мэй» долгое время был запрещен в Китае из-за некоторых откровенных сексуальных описаний, эта участь мало помешала его распространению. Ведь этот роман уже появился в других восточных странах через несколько десятилетий после того, как он был официально напечатан в 1617 г., а его распространение на Запад датируется началом 19 века. Таким образом, «Цзинь, Пин, Мэй» можно назвать одним из первых китайских классических романов, вышедших за пределы страны и получивших международное влияние. В настоящее время этот роман уже переведен на многие иностранные языки, поэтому может его рассматривать как пример, успешного выхода китайской литературы на мировой уровень. В связи с вышесказанным, в данной статье будет описана история перевода «Цзинь, Пин, Мэй» на Западе, а также рассмотрена разные версии его перевода на такие западные языки, как немецкий, французский и английский и т.п. “Jin Ping Mei” is a landmark work in the history of Chinese literature, comparable to the “Four Great Masterpieces of Chinese Classical Fiction” from the Ming Dynasty (1368-1644). In 2016, the fourth volume (books 1 and 2) of the translation of “Jin, Ping, Mei, or the Plum in the Golden Vase” was published in Russia, providing the Russian-speaking world with a complete Russian translation of this classic Chinese novel. The appearance of this four-volume translation has renewed attention to this novel in both Russia and China, as well as globally. Although “Jin, Ping, Mei” was long banned in China due to sexually explicit descriptions, this did not impede its dissemination. The novel had already appeared in other Eastern countries several decades after its official printing in 1617, and its influence reached the West in the early 19th century. Therefore, “Jin, Ping, Mei” is considered one of the first Chinese classical novels to gain international influence. Currently, this novel has been translated into numerous foreign languages, making it a prime example of Chinese literature achieving global recognition. This paper explores the history of the translation of “Jin, Ping, Mei” in the West and analyses the various versions of its translation into Western languages, including German, French, and English, etc.
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Variano, Angelo. "Spigolature di anglicismi: a proposito di leggings e altri (recenti) forestierismi." Zeitschrift für romanische Philologie 134, no. 2 (2018): 568–79. http://dx.doi.org/10.1515/zrp-2018-0035.
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AbstractThe present article focuses on English-Italian language contact. In detail, we will show that supposedly recent borrowings such as leggings (GRADIT: 2004) or steward (1928) can already be observed in 19th-century Italian translations of English travel literature.
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Mörte Alling, Annika. "Fransk litteratur i Sverige 1830–1900." Tidskrift för litteraturvetenskap 40, no. 3-4 (2010): 179–92. http://dx.doi.org/10.54797/tfl.v40i3-4.11941.
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French Literature in Sweden 1830–1900. Translation, Reception and Circulation
 The article presents some results from an international project on the introduction of French literature in Scandinavia during the 19th century. A point of departure is the database BREFS (Bibliographie du Réalisme Français en Scandinavie), containing the translations of novels, short stories, poetic works and theatre plays that were published in Denmark, Finland, Iceland, Norway and Sweden in book form from 1830 to 1900.
 The Swedish part of the bibliography is in focus, consisting of as many as 1 500 translations, and a list of the seemingly most popular French writers in Sweden during the period is presented. With some exceptions, these writers are probably unknown to most Swedes, and not even mentioned in historical surveys of Swedish literature: Eugène Scribe, Eugène Sue, Charles Perrault, Anne H. J. Duveyrier, Henri Meilhac, Olivier Gloux, Michel Carré, Alice Durand and Jean F. A. Bayard. In fact, when it comes to the number or translations published, these authors by far exceed the wellknown representations of the French realist period, Stendhal, Balzac, Flaubert and Maupassant.
 I try, briefly, to relate these results to research that has been done by others on translation in the nineteenth century, the working conditions of the translators, the reception of French authors and the role of French theatre in Sweden, which was so successful at the time.
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Haugen, Marius Warholm. "Traduire le Voyage comme acte politique." Revue Romane / Langue et littérature. International Journal of Romance Languages and Literatures 55, no. 2 (2019): 191–213. http://dx.doi.org/10.1075/rro.17016.hau.
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Abstract This article studies the discourse in the late eighteenth- and early nineteenth-century French periodical press on the topic of translations of travel writing. It reveals that travel reviews were arenas for discussing the political and ideological value of translating travelogues into French, notably from English. In the context of the Franco-British conflicts at the turn of the century, the French press perceived translations of British travel writing as potential patriotic tools that allowed different ways of countering or subverting British global influence. Paratextual elements of translations, the translator’s prefaces and notes, appeared to be particularly important in this respect. By analysing the periodical discourse on travel book translations, the article shows how travel writing was constructed as a politically invested genre.
Teses / dissertações sobre o assunto "French literature – 19th century – translations into english"
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Nakhaeï, Bentolhoda. "Critical Analysis of the Stylistic Transformations in the 19th and 20th-century English and French Translations of Omar Khayyám’s Rubáiyát : exploring the Common Quatrains in FitzGerald, Arberry, Nicolas, and Lazard." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA144.
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Cette thèse vise à procéder à une analyse minutieuse de la transformation de la forme et du sens dans la traduction des Robâïât de Omar Khayyám, dans quatre importantes traductions – deux en anglais et deux en français, des XIXe et XXe siècles. Les traducteurs des traductions sélectionnées sont Edward FitzGerald, Arthur John Arberry, Jean-Baptiste Nicolas et Gilbert Lazard. Les traductions réalisées par ces traducteurs ont offert des possibilités d’investigation dans un cadre linguistique donné. En effet, on peut se demander si les traducteurs ont transformé la signification et la forme des quatrains perses. Si oui, quelles procédures ont-ils utilisées ? Plus précisément, comment les réseaux signifiants sous-jacents ont-ils été rendus par les plus importants traducteurs anglais et français des XIXe et XXe siècles ? Par ailleurs, il s’agira d’essayer d’évaluer la qualité de l’écriture dans la langue cible de chaque traduction. En somme, cette thèse cherche à comprendre si les traducteurs sont parvenus à saisir l’importance de la signification du sous-texte et l’élégance de la forme poétique des Robâïât. Cette thèse propose une application scientifique des concepts théoriques de différents chercheurs en traductologie, linguistique et littérature. Les théories dominantes utilisées dans la présente étude sont celles d’Antoine Berman, de Henri Meschonnic, Peter Newmark, Eugene Albert Nida, Susan Bassnett, Mona Baker, Geoffrey N. Leech, I.A. Richards, Roger T. Bell, George Lakoff, Mark Johnson, Michael Hanne, et Max Black. En outre, il doit être indiqué que cette thèse vise à créer un équilibre entre deux pôles de la traductologie, à savoir celui qui s’intéresse aux traductions orientées vers la langue cible et celui qui s’intéresse aux traductions orientées vers la langue source.La traduction des Robâïât dans les langues germaniques et romanes est un sujet digne d’intérêt et propice à la discussion. Cette recherche vise à montrer que l’étude des traductions des Robâïât pourrait contribuer à mettre en évidence les difficultés et même l’impossibilité qu’il y a à rendre certaines caractéristiques de l’original persan en anglais et en français<br>This thesis aims to carry out a meticulous analysis of the transformation of form and meaning in the rendition of the Rubáiyát in four significant 19th and 20th-century translations—two in English and two in French. The translators of the selected translations are Edward FitzGerald, Arthur John Arberry, Jean-Baptiste Nicolas, and Gilbert Lazard. The translations produced by these translators have offered opportunities of investigation within linguistic boundaries. In fact, one may wonder if the translators have transformed the meaning and the form of the Persian quatrains. If so, which procedures have they employed? More precisely, how are the underlying networks of signification rendered by the most significant English and French translators of the 19th and 20th centuries? Furthermore, what is the quality of the writing in the target language in each translation? On the whole, this thesis seeks to appreciate whether the translators have been successful in understanding the significance of the subtext and the elegance of the poetic form of the Rubáiyát.This dissertation provides its readers with a scientific application of the theoretical concepts of different theorists in translation studies, linguistics, and literature. The most salient theories employed in the present research are those of Antoine Berman, Henri Meschonnic, Peter Newmark, Eugene Albert Nida, Susan Bassnett, Mona Baker, Geoffrey N. Leech, I.A. Richards, Roger T. Bell, George Lakoff and Mark Johnson, Michael Hanne, and Max Black. In addition, it must be indicated that this thesis sets out to create a balance between two poles in translation studies, i.e. target-oriented and source-oriented translations.The translation of Omar Khayyám’s Rubáiyát into Germanic and Romance languages is an interesting and controversial subject to discuss. This research seeks to prove that the study of the translations of the Rubáiyát can contribute to highlighting the difficulties and the impossibilities of the rendition of certain issues from Persian into English or French
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Jones, Suzanne Barbara. "French imports : English translations of Molière, 1663-1732." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:8d86ee12-54ab-48b3-9c47-e946e1c7851f.
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This thesis explores the first English translations of Molière's works published between 1663 and 1732 by writers that include John Dryden, Edward Ravenscroft, Aphra Behn, and Henry Fielding. It challenges the idea that the translators straightforwardly plagiarized the French plays and instead argues that their work demonstrates engagement with the dramatic impact and satirical drive of the source texts. It asks how far the process of anglicization required careful examination of the plays' initial French national context. The first part of the thesis presents three fundamental angles of interrogation addressing how the translators dealt with the form of the dramatic works according to theoretical and practical principles. It considers translators' responses to conventions of plot formation, translation methods, and prosody. The chapters are underpinned by comparative assessments of contextual theoretical writings in French and English in order to examine the plays in the light of the evolving theatrical tastes and literary practices occasioned by cross-Channel communication. The second part takes an alternative approach to assessing the earliest translations of Molière. Its four chapters are based on close analysis of culturally significant lexical terms which evoke comically contentious social themes. This enquiry charts the changes in translation-choices over the decades covered by the thesis corpus. The themes addressed, however, were relevant throughout the period in both France and England: marital discord caused by anxieties surrounding cuckoldry and gallantry, the problems of zealous religious ostentation, the dubious professional standing of medical practitioners, and bourgeois social pretension. This part assesses how the key terms in translation were chosen to resonate within the new semantic fields in English, a target language which was coming into close contact with new French terms.
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Pauk, Filgueira Barbara. "Crossing the channel : socio-cultural exchanges in English and French women's writings - 1830-1900." University of Western Australia. School of Social and Cultural Studies, 2009. http://theses.library.uwa.edu.au/adt-WU2009.0083.
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The focus of this study is an investigation of cross-channel exchanges represented in travelogues, historical works, journalism, letters and journals written by English women Frances Trollope, Lady Margaret Blessington, George Eliot and Julia Kavanagh on France and by French women Flora Tristan and Marie Dronsart on England. The work is based on the view that narratives about another culture betray preconceptions and beliefs and are never innocent descriptions. Nineteenth-century English descriptions of France, for instance, are not only marked by the stereotype of the gregarious French bon vivant but also by the often tense political relationship and economical concurrence between the two countries. French descriptions of England reflect the consciousness of England's superiority in the domains of economy, industry and colonialism as well as the stereotype of the boring, monosyllabic, haughty, egoistic and often xenophobic Englishman. Given that writings on the other culture are marked by practices and belief systems as well as notions of superiority and inferiority like texts emerging from a colonial context, ideas which have been developed in this field by scholars such as Sara Mills and Reina Lewis have been used as a basis for this investigation. I argue that the women whose texts I analyse strategically employ 'discourses of difference' (to use Sara Mills' term), or alignment and 'othering' in regard to nation, class, and political opinion, in order to gain positions which allow them to challenge contemporary ideologies of femininity. They take advantage of their positions in very different ways, according to their personal, class and economic situations, their agenda, and their gendered position within society which changes significantly during the century. The English women Frances Trollope, Lady Margaret Blessington, George Eliot and Julia Kavanagh construct themselves as part of the tradition of French salonnières from the seventeenth century to the present, while the French women Flora Tristan and Marie Dronsart align themselves with English travel writers, particularly Lady Mary Wortley Montagu. Through a careful construction of these foremothers, which often differed from other representations of them, they criticise gender politics in their own country and endeavour to normalise their own activities as intellectuals and writers, in the case of Tristan as a socialist and feminist activist. This strategy is complemented by 'othering' with regard to nation, class and political convictions which confers on the women an authoritative authorial voice and / or allows them to support their argument. They endorse ideologies of gender, nation and class at the same time as they reject some aspects of them. This study reveals new aspects of nineteenth-century discussions of the so-called 'woman question' through a broader approach which encompasses not only the parameters of gender, class and political orientation but also cross-cultural experience.
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Izarra, Salomon de. "L'écriture de l'enfermement : de la narration de de l'incarcération aux perspectives et illusions d'évasion et de métamorphose." Thesis, Tours, 2017. http://www.theses.fr/2017TOUR2020/document.
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Cette thèse a pour but d’analyser les caractéristiques d’une métamorphose dans la littérature carcérale, à travers l’analyse d’oeuvres de Jean Genet, de Victor Hugo, de Jack London et d’Oscar Wilde. Elle consiste donc à mettre en valeur les différentes étapes de ce processus, d’en comprendre les causes et les conséquences. Nous nous intéressons donc à l’histoire des systèmes carcéraux en Californie, en Angleterre et en France, puis aux clichés qui sont légion dans la littérature carcérale. Nous nous attardons ensuite sur les causes de la métamorphose à travers les méfaits de la prison et la réponse en conséquence des détenus. Enfin, notre dernière partie concerne les aspects plus inattendus de la carcéralité et le difficile retour à la vie civile<br>The goal of this thesis is to analyze caracteristics of a metamorphosis in the prison literature, by the analysis of works by Jean Genet, Victor Hugo, Jack London and Oscar Wilde. Therefore, it consists in highlighting the different stages of this processus, of understanding its causes and consequences. We focus on the history of prison systems in California, England and France, then to the clichés, which are numerous into the prison literature. Then we look at the causes of the metamorphosis through the mischiefs of prison and the answer accordingly of the detainees. Finally, our last part concerns the unexpected aspects of the imprisonment, and the difficult return to civil life
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McGeoch, Ellen. "Les Yeux de Paris: the act of looking and the visual in Baudelaire’s prose poetry." Thesis, 2012. http://hdl.handle.net/1959.13/940828.
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Bachelor Honours - Bachelor of Arts (Honours)<br>A finely-dressed man stands at the balcony of a Paris apartment, gazing at the city. Gustave Caillebotte’s 1875 painting Jeune homme à la fenêtre captures the man from behind and the viewer cannot see his face. He invites the viewer to observe him but he defiantly hides his identity. There is another figure in the scene, framed in the window and whom the dandy’s steady line of sight appears to meet. An unidentified woman stands on the empty boulevard, wearing a fashionable draped bustle skirt in a dark colour in contrast with the pale architecture. She is unaware of her audience, but through this framing and the eye sight of the man at the window, the viewer is drawn to her. Other artworks of the era show the streets of Paris writhing with activity but here all distractions are removed; the lone man gazing at the lone woman on the street is the only interaction, the only sign of life in the work. Whereas the man is safe in his anonymity, a willing and active observer, the woman becomes an exposed art object, unwillingly gazed at and evaluated not only by the man at the window, but the artist himself and the multitude of art gallery visitors who continue to gaze upon her. The painting is an urban landscape and a portrait of two strangers, a man looking and a woman being seen. One is placed on the streets and the other above them, tucked away in his own, contained piece of the city. The piece is also an artwork about the nature of selecting, containing and framing of objects essential to the artistic process, and the inherent hierarchy of the artistic gaze which searches and judges. Several of the concepts in Caillebotte’s painting can be found in Charles Baudelaire’s collection of prose poetry, Le Spleen de Paris: Petits Poèmes en prose, published posthumously in 1869. Both are defined by the act of searching and looking for art’s sake, relying on this hierarchy of the dominating voyeur and dominated object. The following thesis discussion is concerned with the visual processes and the narrator’s gaze in the work. It is of great significance that Baudelaire engaged in both poetry and art criticism; the two are intertwined and at times interchangeable. Given the focus on the visual register, as well as Baudelaire’s active role in the art world, the discussion of the visual processes and themes of the prose poetry alongside nineteenth-century fine artworks serves to establish new inter-disciplinary connections. The collection’s themes and innovations frequently overlap with those being made in fine art during the same time, and although a historical reading of the texts is not the focus, together they serve to contextualise the role of the artist and his gaze, the nature of the modern city and artistic poetic priorities at the time. Baudelaire’s own influential art criticism can be seen as a theoretical outline for his own creative pursuits. In Baudelaire’s prose poetry, the visual register, fine art and concepts of modernity intersect with the written word, and the collection can be seen as a literary incarnation of a visual act.
Livros sobre o assunto "French literature – 19th century – translations into english"
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Durfort, Duras Claire de. Ourika: An English translation. Modern Language Association of America, 1994.
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Baudelaire, Charles. 66 translations from Charles Baudelaire's Les fleurs du mal. Spoon River Poetry Press, 1985.
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Wilfrid, Sheed, ed. Sixteen short novels: An anthology. E.P. Dutton, 1985.
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Grainville, Jean-Baptiste-François-Xavier Cousin de. The last man. Wesleyan University Press, 2002.
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8
The Dedalus book of French horror: The 19th century. Dedalus, 1998.
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Mallardi, Rosella, and Vittoria Intonti. Cultures in Contact: Translation and Reception of I Promessi Sposi in 19th Century England. Lang AG International Academic Publishers, Peter, 2011.
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Gaboriau, Emile. MONSIEUR LECOQ-Classic Literature (Annotated). Independently Published, 2021.
Encontre o texto completo da fonteCapítulos de livros sobre o assunto "French literature – 19th century – translations into english"
1
Eickmans, Heinz. "John Bunyans Pilgerreise von London über Amsterdam nach Hamburg: Niederländisch als Intermediärsprache für Übersetzungen aus dem Englischen in der Frühen Neuzeit." In Neues von der Insel. Springer Berlin Heidelberg, 2024. http://dx.doi.org/10.1007/978-3-662-66949-5_6.
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ZusammenfassungThe first part of this article is devoted to the origins of the early German translations of John Bunyan’s works that appeared until the end of the 17th century, especially his major work The Pilgrim’s Progress (1678, dt. Eines Christen Reise nach der Seeligen Ewigkeit 1685). By means of some textual examples it will be shown that this translation – like all other early translations of Bunyan’s works – is not based on the English original but on the Dutch translation, therefore that it is an ‘indirect translation’ which reached German by way of an intermediary language. The second part of the article first examines the general question of the proportion of indirect translations in the early modern period and then devotes itself specifically to the hitherto insufficiently considered importance of Dutch, which is hardly inferior to French as an intermediary language for indirect translations from English and even occupies first place for the field of English devotional literature of the 17th century.
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Prushkovska, Iryna. "TURKISH TRANSLATIONS OF SHAKESPEARE’S WORKS: LITERARY INTEGRATION." In European vector of development of the modern scientific researches. Publishing House “Baltija Publishing”, 2021. http://dx.doi.org/10.30525/978-9934-26-077-3-18.
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The article is devoted to the analysis of the functioning of Turkish translations of Shakespeare's poetry and dramaturgy, the formation of a holistic picture of the stages of discovery of Shakespeare by the Turks. The aim of the study is to identify and present the main points related to the transfer of Shakespeare's word into Turkish culture through translations from European languages. The proposed study is focused on translation aspects, as translation has become the first link in the dialogue between English and Turkish literature during the contact and interaction of Turkish literature with the Western, the processes of familiarization of the Shakespeare with the Turks, the perception and reproduction of Shakespeare's creativity on Turkish soil. In this study we used such methods as the cultural-historical method, which focuses on the translation of Shakespeare's works in relation to the cultural-historical development of Turkish society; a comparative method aimed at comparing the original sonnets and dramas of Shakespeare with translations into Turkish; receptive-aesthetic method, focused on focusing on how the pictorial and expressive artistic means of Shakespeare's works in Turkish translations are projected on the recipient (reader), convey to him the author's idea. Particular attention is focused on the translation analysis of some sonnets and dramas. Working with factual material revealed the basic prerequisites for entry into the Turkish literature of Shakespeare's works (Divan literature, the period of reforms), made it possible to characterize the first stage of translation studies – namely, the translation of Shakespeare through the prism of the French language, and accordingly the translation from the French language. As a result, we conclude that no artistic translation, especially poetic one, can be definitive, since there are always unrealized reserves of the original hidden in the multifacetedness of its associative relations. And each translation is only a certain link, the voicing of voices in the process of functioning of the artistic image. This can be explained by the considerable number of translations in Turkish of both the poetic and dramatic works of Shakespeare from the second half of the 19th century to the present. Also the great potential of the Turkish youth in the translation field has been revealed, which is certainly facilitated by the popularity of English and literature in higher education. institutions.
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Tuchais, Simon. "French." In Language Communities in Japan. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780198856610.003.0021.
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The situation of French in present-day Japan derives from its current status as an international language, and a history starting in the 19th century, when French became an important language of modernization of Japan. In the 20th century, French rapidly assumed the status of a language of refinement and culture, associated with literature, intellectual thought, fashion, film, and gastronomy. This image is reflected in numerous loanwords from French in Japanese. This history led to French being one of the main foreign languages other than English taught in Japan since the Meiji era at all levels of education. French is actively studied in institutions of higher education, and is present through the network of French governmental cultural institutions in the major cities.
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Garziano, Svetlana A. "The Literary Criticism’s Heritage of D.S. Merezhkovsky in French During the Period of Emigration: Translations and Reviews." In The Merezhkovskys and Europe. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2023. http://dx.doi.org/10.22455/978-5-9208-0739-7-339-350.
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The French period of D.S. Merezhkovsky needs additional coverage and more detailed research. From a literary point of view, D.S. Merezhkovsky — the author of the article “On the causes of decline and new trends in modern Russian literature”, fundamental for the literature of the late 19th century, is known in the period of post-revolutionary (lifetime) emigration by other texts. The corpus of translations of the writer’s works that are directly related to Russian literature and Russian classics includes four major books published during his lifetime: “L’âme de Dostoïevski, le prophète de la révolution russe” (1922), “Compagnons éternels” (1922), “Le mufle-roi. L’avènement du Cham” (1922) and “Gogol et le diable” (1939). In the interwar period, these texts present to the French reader Merezhkovsky’s critical heritage. An extensive number of reviews in the French press (about 30 texts) are published on them. The paper examines this little-known literary heritage in French and provides translations of some excerpts from reviews of the books cited above. Reviews in French can bring some new perspective on Merezhkovsky’s work and on the theme of the Europeanness of the writer.
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France, Peter, and Kenneth Haynes. "Literatures of Medieval and Modern Europe." In The Oxford History Of Literary Translation In English. Oxford University PressOxford, 2006. http://dx.doi.org/10.1093/oso/9780199246236.003.0006.
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Abstract In the eighteenth century the great majority of translations were from the classical languages and from the modern Romance languages, above all French. While these continued to bulk large, the period covered by the present volume saw an increasing interest in the other literatures of Europe, from modern literature to the writings of the Middle Ages and the folk literature of countries from Portugal to Serbia.
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Robertson, Ritchie. "3. Classical art and world literature." In Goethe: A Very Short Introduction. Oxford University Press, 2016. http://dx.doi.org/10.1093/actrade/9780199689255.003.0003.
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‘Classical art and world literature’ shows that Goethe’s knowledge of art and literature was wide-ranging and explains that, in both, he came to believe that the works produced by the ancient Greeks formed a standard that could never be surpassed. In art, he explored the classical tradition that descended via the Renaissance to the neoclassicism of the 18th century. In literature, his taste was much wider. He read easily in French, Italian, English, Latin, and Greek, and in his later life he eagerly read translations of Asian texts—novels from China, epics and plays from India, and the Arabic and Persian poetry that would inspire his great lyrical collection, the West-östlicher Divan (West-Eastern Divan).
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Bonsaver, Guido. "American Literature, Opera Librettos, and Pragmatism." In America in Italian Culture. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780198849469.003.0005.
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Abstract Chapter 4 traces the features and channels of the initial appreciation of American literature by Italian intellectuals. The scarce knowledge of the English language among Italians had a direct influence on the discovery of American literature, since French translations regularly acted as a cultural go-between. Even the fact that millions of Italians migrated to the Americas in the decades around the turn of the century did not encourage better knowledge of English. This cultural resistance is also somehow connected to the near-absence of the theme of migration to the USA in the literary production of Italian authors. Despite the fact that millions of Italians were crossing the Atlantic, interest in the language and literature of those distant places and interest in representing the experience of migration remained minimal. The chapter also deals briefly with opera librettos, a genre that showed a similar tension between French and American influence. The final section discusses the interest shown by Italian intellectuals towards American pragmatist philosophy at the turn of the century. This involved a number of key figures in Italian culture, including the future leader of Italian Fascism, Benito Mussolini.
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Chesnokova, Tatiana G. "Fielding the Novelist as an Intermediary in the Development of English and French Drama in 1760–1780s." In The Multifaceted Fielding. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2023. http://dx.doi.org/10.22455/978-5-9208-0616-1-221-247.
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Novels by Fielding (including the best of them — The History of Tom Jones) not only accumulated and transformed the experience of the earlier development of English comedy of manners (belonging to Restoration and early Enlightenment), but in their own turn affected theatrical plays both in England and other European countries. Providing a source for many dramatic pieces on both sides of the English Channel, the famous novel kept on playing an intermediary part in the literary process and in theatrical life in the second half of the 18th century, acting as a catalyst for current tendencies both in style or genre development (particularly in drama). The multidirectional processes expressing this function are considered by the example of original plays, translations and adaptations which appeared in England and France in 1760–1780s and belonged to George Colman the Elder, Richard Cumberland, Richard Brinsley Sheridan, Mari-Jeanne Riccoboni, and Pierre Jean-Baptiste Choudard (Desforges). The author points out the special significance of Colman’s comedy The Jealous Wife which played an important role in the processes of genre adaptation of the central motifs of novels by Fielding on the ground of dramatic literature and in the interrelations of different national theatrical traditions in the 18th century.
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Bruna, Lukas. "Fashinated by the Image of Free-Spirited Vagabond (on the Reception and Influence of M. Gorkyʼs Literature in Early 20th Century in Japan)." In Maxim Gorky and World Culture: A Collection of Scientific Articles (Materials of the Gorky Readings 2018 “World Value of M. Gorky (on the 150th Anniversary of the Birth)”. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/978-5-9208-0693-2-185-198.
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Literature of Maxim Gorky, one of the most prominent and influential modern Russian novelist, drew international attention first at the beginning of the 20th century, soon after English, German and French translations of his early works began to appear. Japanese readers were given an opportunity to get acquainted with Gorky’s works almost without any delay and shortly after the Russo-Japanese war, when Japanese literature went through a process of dramatic transformation, leaving behind romantic idealism and discovering naturalist realism, they became fascinated especially by his “vagabonds stories”. These stories such as “Chelkash” or “Malva” were highly praised for introducing the character of a free-spirited vagabond who wanders endlessly the world without any attachments, neither material nor emotional. This character of an “eternal outcast”, so often described in Gorky’s early works, was viewed as an embodiment of human’s ultimate desire for freedom — something, as many young Japanese intellectuals believed, modern society with its restrictions and regulations deprives individual of. This paper will briefly examine the reception of Gorky’s works in early 20th century Japan and based on two examples will explain in detail how concretely his “vagabonds stories” influenced Japanese writers.
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Trofimova, Violetta S. "Dialogue Through the Ages: John Wilmot, Earl of Rochester, and Vera Kryzhanovskaya-Rochester." In Femininity and Masculinity in the Modernist Culture: Russia and Abroad. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2023. http://dx.doi.org/10.22455/978-5-9208-0740-3-33-51.
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The article compares French originals and Russian translations of the novels by Vera Kryzhanovskaya, which were published in France in the second half of 1880s and then in Russia in the 1890s and 1900s under the name of John Wilmot, Earl of Rochester: An Episode of the Life of Tiberius, Benedictine Abbey, Pharaoh Mernephtah and Herculaneum, as well as provides an analysis of her novel The Marriage Fair. The intentions of the “developers” of this literary project and the place of these novels in the discussion on spiritism are clarified. The relationship of Rochester as the spirit author with the real Earl of Rochester, the English poet of the second half of the 17th century and his range of his interests, the themes and motives of his own writings, is revealed. The article traces the evolution of Kryzhanovskaya’s authorship from a medium recording “dictated” stories to the independent woman writer, whose talent was noted by critics. It is indicated that the novel The Marriage Fair, although its action takes place in Saint-Petersburg, has obvious connections with English literature due to the title referring to the Vanity Fair by W.M. Thackeray, and allusions to the works of Shakespeare in the text.