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Translation in an International Perspective

Cultural Interaction and Disciplinary Transformation

Edited By Antoine Cazé and Rainer Lanselle

Translation scholars have for a long time been arguing in favor of a shift in paradigms to redefine the relationship between translation and the spreading of knowledge. Although a substantial share of worldwide knowledge is conveyed thanks to translation, the effects of this state of affairs upon the ways in which knowledge is actually built are all too rarely taken into account. This is particularly the case in the humanities.
The papers presented in this volume fall into three thematic categories – cultural transfer, terminology and literature. The authors are all scholars in the humanities, and some of them are also translators. They analyze the effects of translation in diverse domains such as the intercultural exchanges among Far Eastern countries, and between Asia and the West; the constitution of terminologies; clinical practices in psychoanalysis; and the impact on the definition of literary genres.
Each contribution shows how the act of translation is an integral part of the humanities, producing effects which may often be unforeseen and surprising but are always occasions for innovation.
This volume contains contributions in English and French.
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Dubbing The Flintstones: How Do You Say Yabba-dabba-doo in French?


The Flintstones constitutes a rich “polysemiotic” (Gottlieb 15) text whose complex humor relies on intertextuality, situation comedy as well as anachronisms. As a dubbed product, the audiovisual text combines the American non-verbal dimension and the French/Québécois verbal one. These two dimensions meet and create points of tension; as a consequence of its make-up, various “contacts zones” (Pratt 34) emerge from the dubbing process, a term defined by Mary Louise Pratt in Arts of the Contact Zone as “… social spaces where cultures meet, clash, and grapple with each other, often in contexts of highly asymmetrical relations of power…” (34). Through translation, perceived as a site of power struggle, (1) interconnections occur between the Québécois/French voices and the American visuals. They give birth to “discrepancies” (Appadurai 47) and disjunctures granting an absurd quality to the Québécois version.1 The dubbed product reinscribes the characters’ identity within a new framework that is in sharp contrast to the “domesticating” (Venuti 1995: 20) tendency the French version adopts towards the visual “remainder” (Venuti 1998: 186) – the visuals of the original version. Within the contact zone, the verbal dimension of the dubbed show undergoes several mutations as it grapples with other languages – English, Spanish, German, Japanese, etc – as well as with its own registers and varieties (2).2 This interconnection within the QV is characterized by “heteroglossia” (Bakhtin 263)defined by Bakhtin as ← 197 | 198 →

The internal stratification of any single national language into social dialects, characteristic...

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