| Titre | Mademoiselle O : les images appartiendraient-elles plutôt à une langue ? De la transposition en langue anglaise de souvenirs en français de Russie | |
|---|---|---|
| Auteur | Christine Raguet-Bouvart | |
 |
Revue | Revue des Etudes Slaves |
| Numéro | Vol. 72, no 3-4, 2000 | |
| Rubrique / Thématique | Nabokov dans le miroir du XXe siècle, sous la direction de Nora Buhks Articles |
|
| Page | 495-503 | |
| Résumé anglais |
Mademoiselle O : “Would images belong to one specific tongue?”: the passage of frenchmemories of Russia into the english language
This article aims at demonstrating that the ancillary function of translation cannot be valid with personal experience and moving memories at stake. When Nabokov resorts to self-translation he aims at ascertaining his identity as a writer in the language into which he translates. The case of Mademoiselle O is slightly different and exceptionally interesting because this text is both a memoir and a story, it pertains both to the world of autobiography and to that of fiction. Hence, the meeting of man and writer. The French text is more of a nostalgic reconstruction of a lost world and life than the English one, as if the emotions linked to one specific tongue could not be delivered in another. The most intimate sensations are erased in the English version as if narrator and actor were two distinct persons. The English is more an impersonal recording of events than a work animated by the breath of emotions, as the first Mademoiselle O of Mesures was. If the French is more awkwardly poignant, the English is more condensed and musically well-balanced. Obviously, the English author is at work in the second version whereas the author of the first did not have this ambitious objective. Source : Éditeur (via Persée) |
|
| Article en ligne | https://www.persee.fr/doc/slave_0080-2557_2000_num_72_3_6680 |
