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La Retraduction en littérature de jeunesse / Retranslating Children’s Literature


Edited By Virginie Douglas and Florence Cabaret

Cet ouvrage se situe à la croisée des études en littérature de jeunesse et en traductologie, emprunte à la stylistique et à la sociologie et interroge un phénomène qui prend toute son ampleur au cours du XX e siècle et en ce début de XXI e siècle, celui de la retraduction des livres destinés à un jeune public. À partir d’un corpus qui va des contes de Perrault jusqu’à Shrek !, en passant par Alice au Pays des merveilles, Poil de Carotte ou encore les Moumines de Tove Jansson, les auteurs de ce recueil montrent combien la retraduction participe à la canonisation d’un bon nombre d’œuvres nationales, au-delà du monde anglophone, du Brésil jusqu’à la Suède. La retraduction pose ainsi la question des changements de représentations de l’enfant-lecteur et du rapport adulte/enfant, de l’évolution des exigences de traduction de l’oralité et de la musicalité de textes souvent lus à voix haute, de l’influence des contextes culturels, économiques et politiques des pays où l’on y a recours, des modifications des liens entre texte et illustrations.
This volume stands at the intersection of children’s literature studies and translation studies. Borrowing from stylistics and sociology, it engages with a phenomenon which has reached its full scope over the 20 th century and into the 21 st century, that of the retranslation of books intended for children. Basing their essays on a body of texts including Perrault’s tales, Alice in Wonderland, Jules Renard’s Poil de Carotte, Tove Jansson’s Moomins or Shrek!, the authors of this collection show that retranslation has contributed to the canonization of a number of national works beyond the English-speaking world (from Brazilian to Swedish literature). Retranslation thus addresses the changes in representation of the child-reader and adult/child relationship, the evolution of translational norms as regards orality and musicality in the case of texts that are often read aloud, the impact of cultural, economic and political contexts in countries where translations are in demand, and the way retranslation can even affect the relationship between the text and its illustrations.
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Anne of Green Gables – Towards the ideal or mass production of translations?

Anne of Green Gables in translation



University of Warsaw, Poland

Anne of Green Gables, the redheaded “freckled witch of a girl” created by Canadian writer Lucy Maud Montgomery in 1908, is known and loved all over the world.1 Little girls from Poland love her, too. They might, however, find discussing her adventures quite difficult. The book has been translated into Polish twelve times and republished so frequently that there are as many as 22 different editions available in Polish bookshops and libraries. The only feature they all have in common is the title, and, consequently, the way the names “Anne” and “Green Gables” are translated. They differ in all other aspects – translation techniques used, approaches to copying solutions from the canonical version, approaches to archaizing2 the language of the book, which was translated 100 years after it was written, the amount of research done by the translators to limit possible mistranslations, and, unfortunately, the number of mistranslations and language errors. To understand why Anne of Green Gables has been translated and retranslated so many times and to see whether these attempts were successful, we must find out what problems the book may cause for the translators and then look at the translations from a historical perspective. ← 193 | 194 →

“Such a simple little tale”3 was what Lucy Maud Montgomery wrote about her best-known heroine, a little surprised by how popular the book had become. However, the book is by no means a simple one, and even...

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