Grounding my study on a corpus of about forty complete translations of Dante's Comedy into French, the essay aims at exploring one particular function of the translation notes and the public authorial epitext. From a diachronic perspective, these materials, provided by translators at the margins of their translations, are of great interest for their genetic value. The notes, especially during the Nineteenth century, represent a “safe” space where translators can suggest innovative solutions, which will only later be accepted in the text as translations. In more recent times, a similar function is delegated, more or less consciously, to the authorial epitext. There is thus a certain permeability between the translation and these paratextual materials, which makes them forms of “avant-texte” of the translation itself.
La fabrique de la traduction : Les notes du traducteur et l'epitexte auctorial comme formes de l'avant-texte / G. Rossi. - In: TICONTRE. - ISSN 2284-4473. - 13:(2020), p. 1.18. [10.15168/t3.v0i13.394]
La fabrique de la traduction : Les notes du traducteur et l'epitexte auctorial comme formes de l'avant-texte
G. Rossi
2020
Abstract
Grounding my study on a corpus of about forty complete translations of Dante's Comedy into French, the essay aims at exploring one particular function of the translation notes and the public authorial epitext. From a diachronic perspective, these materials, provided by translators at the margins of their translations, are of great interest for their genetic value. The notes, especially during the Nineteenth century, represent a “safe” space where translators can suggest innovative solutions, which will only later be accepted in the text as translations. In more recent times, a similar function is delegated, more or less consciously, to the authorial epitext. There is thus a certain permeability between the translation and these paratextual materials, which makes them forms of “avant-texte” of the translation itself.File | Dimensione | Formato | |
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