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Multilingualism can be used to show how identity and characterisation are negotiated through language use. However, linguistic diversity is often homogenised in translation. In this paper, multilingualism is seen as a liminal space in products in which hyphenated identities are constructed through linguistic diversity. Translating multilingualism in this context is crucial since, if it is turned into monolingualism, this will limit the possibilities for new meanings to be introduced to new target cultures. I present a case study on the American television series Jane The Virgin (2014-2019) in which English and Spanish coexist, and the ability to understand and speak Spanish is an integral part of the characters’ identity and relationships. Comparing the French and Spanish versions points to homogenisation: the analysis ultimately demonstrates that since multilingualism can be understood as a liminal in-between space, its translation should be carefully considered so that new concepts of hyphenated identity and liminality can endure in translation.

Narratology is concerned with the study of narratives; but surprisingly it does not usually distinguish between original and translated texts. This lack of distinction is regrettable. In recent years the visibility of translations and translators has become a widely discussed topic in Translation Studies; yet the issue of translating a novel's point of view has remained relatively unexplored. It seems crucial to ask how far a translator's choices affect the novel's point of view, and whether characters or narrators come across similarly in originals and translations. This book addresses exactly these questions. It proposes a method by which it becomes possible to investigate how the point of view of a work of fiction is created in an original and adapted in translation. It shows that there are potential problems involved in the translation of linguistic features that constitute point of view (deixis, modality, transitivity and free indirect discourse) and that this has an impact on the way works are translated. Traditionally, comparative analysis of originals and their translations have relied on manual examinations; this book demonstrates that corpus-based tools can greatly facilitate and sharpen the process of comparison. The method is demonstrated using Virginia Woolf's To The Lighthouse (1927) and The Waves (1931), and their French translations.

Buffy the Vampire Slayer has become a cult series. The show has been broadcast worldwide and vampire Spike has been travelling around the world; or rather his translated version has, reaching many destinations. In France there are two translated versions of Buffy, the Vampire Slayer, one dubbed and the other subtitled. This article examines the significance of Spikes Britishness against the American background where he lives. The analysis considers his performance in the original and in the translation to show how British Spike ‘sounds’ in French. The article ultimately reflects on Spikes vampiric otherness and how translation might be used to efface or reduce otherness.

Abstract The present paper discusses issues related to the translation of the English personal pronoun you in the French translations of Virginia Woolf’s The Waves (1931). There are two published French translations of The Waves. The first one, Les Vagues, was translated by Marguerite Yourcenar and published in 1937. Around fifty years later, another version was published, under the same title but this time translated by Cécile Wajsbrot (1993). The two versions differ significantly when the use of tu and vous is concerned. This paper is concerned specifically with the original’s mind-style (Fowler 1977) in other words, the way the characters’ perceptions and thoughts, as well as their speech, are presented through language and how this is rendered in the translations. The quantitative analysis was realised using corpus-based studies tools which proved to be an asset in helping to identify the novels’ mind-style.

The present paper discusses issues related to the translation of the English personal pronoun 'you' in the French translations of Virginia Woolf's The Waves (1931). There are two published French translations of The Waves. The first one, Les Vagues, was translated by Marguerite Yourcenar & published in 1937. Around fifty years later, another version was published, under the same title but this time translated by Cecile Wajsbrot (1993). The two versions differ significantly when the use of tu & vous is concerned. This paper is concerned specifically with the original's mind-style (Fowler 1977) in other words, the way the characters' perceptions & thoughts, as well as their speech, are presented through language & how this is rendered in the translations. The quantitative analysis was realised using corpus-based studies tools which proved to be an asset in helping to identify the novels' mind-style. Tables, References. Adapted from the source document

Narratology does not usually distinguish between original and translated fiction and narratologicai models do not pay any attention to the translator as a discursive subject. Since the 1990's, the visibility of translators in translated narrative texts has been increasingly discussed and researchers like Schiavi (1996) and Hermans (1996) introduced the concept of the translator's voice, which attempts to recognise the 'other' voice in translation, i.e. the presence of the translator. Corpus-based studies have also focused on recurrent features of translated language (see, for example. Baker 1993, Kenny 2001; Laviosa 1997; Olohan and Baker 2000), and corpus techniques and tools are being employed to identify the translators' 'style' in their translations (Baker 2000). The present thesis seeks to explore the nature of the translator's discursive presence by investigating certain narratologicai aspects of the relation between originals and translations. Until recently comparative analysis between originals and their translations have mainly relied on manual examinations; the present study will demonstrate that corpus-based translation studies and its tools can gready facilitate and sharpen the process of comparison. My work uses a parallel corpus composed of two English novels and their French translations; Virginia Woolf's To The Lighthouse (1927) and its three translations (Promenade au Phare, 1929, translated by Michel Lanoire; Voyage au Phare, 1993, by Magali Merle; Vers le Phare, 1996, by Francoise Pellan), and The Waves (1931), and its two translations (Les leagues, 1937, translated by Marguerite Yourcenar and Les agues, 1993, translated by Cecile Wajsbrot). The relevant texts have been scanned and put in machine-readable form and I study them using corpus-analysis tools and techniques (WordSmith Tools, Multiconcord). My investigation is particularly concerned with the potential problems involved in the translation of linguisdc features that constitute the notion of point of view, i.e. deixis, modality, transitivity and free indirect discourse, and seeks to determine whether and how the translator's choices affect the transfer of narratologicai structures.