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"Queneau, Raymond"
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Translation as stylistic evolution : Italo Calvino creative translator of Raymond Queneau
\"Why did Italo Calvino decide to translate Les Fleurs bleues by Raymond Queneau? Was his translation just a way to pay a tribute to one of his models? This study looks at Calvino's translation from a literary and linguistic perspective: Calvino's I fiori blu is more than a rewriting and a creative translation, as it contributed to a revolution in his own literary language and style. Translating Queneau, Calvino discovered a new fictional voice and explored the potentialities of his native tongue, Italian. In fact Calvino's writings show a visible evolution of poetics and style that occurred rather abruptly in the mid 1960s; this sudden change has long been debated. The radical transformation of his style was affected by several factors: Calvino's new interests in linguistics, in translation theory, and in the act of translation. Translation as Stylistic Evolution analyses several passages in detail and scrutinizes quantitative data obtained by comparing digital versions of the original and Calvino's translation. The results of such assessment of Calvino's text-consistency suggest clear interpretations of the motives behind Calvino's radical and remarkable change of style that are tied to his notion of creative translation.\"--Publisher's website.
BOOK
Le drôle de roman. L’œuvre du rire chez Marcel Aymé, Albert Cohen et Raymond Queneau
Il existe en littérature une étrange loi de la gravité qui veut que les œuvres comiques ou humoristiques soient négligées par la critique. Pour cette dernière, les plus grandes œuvres sont par nécessité les plus sérieuses. L’objet de ce livre consiste à proposer une vision nouvelle du corpus du roman français de la première moitié du XXe siècle, en y réhabilitant ce qu’on peut appeler le courant du roman « drôle », illustré notamment par les œuvres de Marcel Aymé, d’Albert Cohen et de Raymond Queneau. Chez ces auteurs, le rire, l’ironie, la légèreté, le jeu, la fantaisie occupent une place de tout premier plan. En rapprochant trois œuvres indépendantes qui se jouent avec le même humour des conventions de l’écriture, Mathieu Bélisle nous fait découvrir une toute nouvelle image du roman français. Mathieu Bélisle a obtenu un doctorat en littérature à l’Université McGill et mène des recherches postdoctorales à l’Université de Chicago. Il a publié des études sur le roman contemporain, notamment dans les Cahiers Albert Cohen, Les Amis de Valentin Brû, Études françaises et Humoresques. Ses travaux actuels portent sur la définition du personnage dans les romans français et québécois.
eBook
Publishing John Cowper Powys in France
The IMEC collections also feature the papers of translators of Anglophone, Hispanic, Arabic, Russian and German masterpieces. Since its creation in 1988, IMEC has contributed to preserving the legacy of publishing houses and developing studies of their history. During summer and autumn they can take advantage of the archive's current exhibition, evenings with leading figures from the French literary world, and research seminars. Canavaggia was one of the few people to rub shoulders with the writer in his private life. A passage which, among other things, struck me in this book...
Journal Article
Rewriting the Oeuvre: Raymond Queneau and the Art of Translation
While the literary oeuvre of French author Raymond Queneau (1903-1976) has been extensively studied, his work as a literary translator has been largely overlooked. Queneau was a prominent member of the French literary avant-garde, but also a literary translator for two decades (1934-1953), and his writing was greatly influenced and impacted by his readings and translations of Anglophone writers. This dissertation provides insight into the role of translation in his conception of writing and language, and the inseparability of the different facets of his career as a writer, literary translator, and publisher. I examine his personal linguistic and literary history to establish the role of multilingualism in his career. I then examine the textual and personal relationships he and his work shared with Anglophone writers. Following guidelines set out by French translation theorist Antoine Berman, I analyze each of Queneau’s literary translations, not with the end of determining accuracy or faithfulness, but instead to extrapolate further information about the relationship between the craft of translation and his other work. This investigation of his literary translations is complemented by an exploration of his critical work and several of his novels, compositions in which I distinguish forms of translation-based writing and shed light on the role these methods played in the construction of his combinatorial writing. I further supplement this inquiry with an examination of related archive materials, as well as a series of interviews I conducted with his colleagues in the French experimental writing group Oulipo. In this dissertation, I seek to clarify the place of translation in Queneau’s career, and define its role in his creative process. I illustrate the active role he played in the transmission of culture across national, linguistic, and temporal divides through literary translation and other translational processes. The formulation of this project has implications not only for our understanding of Queneau’s work, but for our comprehension of the important global role of translation in the creation of experimental literature, and our understanding of the crucial place of the literary polyglot in the international world of twentieth-century literature.
Dissertation
The Novel as Arc Lamp: The uncompromising innovations of Hélène Bessette
Reading and underlining, getting moved and feeling energized by Murdoch's letter-writing style, in particular, her modes of address: \"Dear heart,\" \"Dear bird,\" her signing off-style: \"I kiss your hands,\" her powerful articulation of the ways she lived—at a physical distance from, but in other forms of proximity to—the people she loved: [...]how private and how undetermined—how open—the terms of a person's engagement with them. Hélène Bessette's further novels were likewise critically acclaimed for a part of her lifetime: recognized for their experimentation, the unusual economy of their expression, strange humor, rarity (Raymond Queneau: \"AT LAST, SOMETHING NEW\"), their aliveness, their life (Marguerite Duras: \"Living literature, for me, in France today—it's Hélène Bessette\"). (Bessette was specific on this: the eventual publication should not take the form of a \"luxury object.\") _____ BESSETTE'S INTEREST IN THE PRINTED NOVEL-OBJECT—the way her novels query by defaulting from the norms of page design—sends me back to an interview I often think about, with Helen DeWitt for BOMB magazine in 2014.
Journal Article
'Nel mezzo del cammin': Queneau's Enfants du Limon
This paper examines a single novel by Raymond Queneau, Les Enfants du Limon [Children of the Clay]. Its two principal elements are politics and insanity: their ways of inspiring, or exploiting, each other. Or more simply, their general resemblance. Its title suggests the other strong current running through it: the wish for a new life, and the muddy start and finish of all lives. The concatenations of politics and madness can twist unhappiness and the desire for change into grotesque shapes. Les Enfants du Limon is a crowded exhibition of such distortions. But its form suggests that its entire déroulement is a process whereby it wears itself out, uses itself up in favor of something else, something new.
Journal Article
Queneau's poissons and Guimaraes Rosa's Jaguar: two literary contributions on the animal and human conditions
Working through two texts by Queneau and Guimarães Rosa, this essay outlines several attitudes towards animals that have become paradigmatic in Western cultures. Following Guimarães Rosa, the essay offers a comparative perspective on how to rethink \"animal thinking.\" [PUBLICATION ABSTRACT]
Journal Article