Fiction, ou non-fiction : quels pactes de lecture à respecter dans la traduction?
|Druh||Další prezentace na konferencích|
|Fakulta / Pracoviště MU|
|Popis||Fiction or non-fiction: which reading pacts to respect in translation? First, we look at the reading pacts that are emphasized in recent fiction and non-fiction in order to apply them as they are or redefine them in the translation of these genres. Since the translator is a reader par excellence who must convey the message in its fullest sense, he or she is confronted with the need to examine the boundaries between fiction and non-fiction, which may be blurred and permeable, and, above all, the reading pact(s) he or she is supposed to respect. The question arises whether the paratexts and metatexts that make explicit - sincerely or not - the author's motives are sufficient for this purpose. On the basis of the original French and English writings, namely the novel HHhH by Laurent Binet (2009), respectively The Glass Room (2009) written by Simon Mawer, and their translations into Czech, the language of their historical background, we will examine the nature of the underlying pacts and verify their observance by the author. In the case of the second novel, the situation may be paradoxical in that, generally speaking, the reader of the fiction would be deprived of a rich reading due to the lack of a translation capable of interpreting all the stylistic and other nuances, while the reader of the so-called fiction, a masked non-fiction, would suffer from a translation that is as rich as the original (especially in terms of anachronisms and falsifications). An accepted inequality in front of the text, where the author knows more than the reader, can degrade into an inequality where the author's assertion no longer stands up to the reader's knowledge. Now the question arises, can a non-fiction text go so far as to disadvantage the informed reader, can the translator remedy this and by means of what specific steps.|