Emily Salines's Alchemy and Amalgam: Translation in the Works of Charles PDF
By Emily Salines
Alchemy and Amalgam explores a comparatively un-researched zone of the Baudelairean corpus (his translations from English) and relates them to the remainder of his works. It seeks to set up a hyperlink among translational and artistic writing, arguing for a reassessment of where of translation in Baudelaire’s writing process. instead of a sideline in Baudelaire’s inventive actions, translation is hence proven to be a significant type of twin writing on the middle of his works. Baudelaire’s translations from English, his consistent rewriting of pre-existing fabric (including his own), the doublets, the transpositions d’art, and the artwork feedback are all in response to an method of writing that's primarily by-product but additionally transformative. therefore the Baudelairean scan illustrates the bounds of romantic notions of originality, creativity and genius, reminding us that every one writing is intrinsically intertextual. It additionally indicates the complexity of translation as a sort of construction on the middle of contemporary writing.
The ebook is likely one of the first of its sort to hyperlink the examine the translational job of an enormous author to his ‘creative’ writings. it's also one of many first to supply an built-in presentation of French 19th-century translation techniques and to hyperlink them to questions of copyright and authorship within the context of the increase of capitalism and romantic perspectives of production and genius. It deals, for this reason, a brand new standpoint either on translation historical past and on literary heritage.
Alchemy and Amalgam could be of curiosity to scholars of translation, comparative literature and French stories.
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Extra resources for Alchemy and Amalgam: Translation in the Works of Charles Baudelaire
45 EAP, pp. 1098-99. Baudelaire’s translation strategies in this story will be looked at in more detail in Chapter 2. 46 On the other hand, in ‘L’Ange du bizarre’, Baudelaire’s choice is to restitute the ‘angel’’s German accent and, therefore, to contradict the translation approach outlined here. 47 EAP, pp. 1100-02. 48 EAP, pp. 1109-10. 44 L’amour du métier? 35 in La liberté de penser in 1848, Baudelaire’s voice is even stronger, as extracts from a note to the text will show: Le morceau d’Edgar Poe qu’on va lire est un raisonnement exceptionnellement ténu parfois, d’autres fois obscur, et de temps en temps singulièrement audacieux.
428. 58 The references to opium also take a Baudelairean tone in ‘Ligeia’, in particular in the description of the bedroom. 59 EAP, p. 476. 60 see ‘Que diras-tu ce soir’ and ‘Hymne’. 61 The figure of the albatros is present, while the sea is described in similar terms as in ‘L’Homme et la mer’. 62 EAP, p. 185. 63 EAP, p. 380. 64 In ‘La Chute de la maison Usher’, the oxymoron in ‘une nuit d’orage affreusement belle’ conjures up a Baudelairean aesthetics of opposition, while the phrase ‘antique bouquin’, by its mix of registers belongs fully to Baudelaire’s style rather than Poe’s.
Very similar comments were made in a letter to Michel Lévy on 15 February 1865). 78 42 Alchemy and Amalgam Ironically, such criticisms could easily be applied to the anglicism noted earlier. However, the principle underlying this condemnation of another translation – that a French translation must read like French, and not like translated English, but still render the original text accurately – seems to have been the guiding principle of Baudelaire’s translations of Poe. 80 Stylistic and aesthetic concerns may therefore be the reason for some modifications made by Baudelaire to the original text.
Alchemy and Amalgam: Translation in the Works of Charles Baudelaire by Emily Salines