Abstract:
Depuis la Théorie des Tendances déformantes à la Critique des Traductions, qui sont toutes les deux élaborées et présentées par Antoine Berman, on constate une évolution : on assiste à un passage d’une théorie littéraliste et d’une analytique négative de la traduction à une analytique positive et une approche pragmatique. Cette évolution de la pensée traductive bermanienne fait état d’un certain changement de point de vue sur la traduction et l’activité traduisante sans pourtant renoncer d’un iota à l’exigence faite au traducteur de respecter la textualité de l’original et de faire œuvre. Le traducteur trouve dans la seconde approche, une place privilégiée et devient l’un des principaux axes de l’étude sur la traduction : ainsi, l’examen du projet du traducteur et de son horizon deviennent-ils l’une des étapes importantes de la critique des traductions. On peut prétendre que la confiance faite au traducteur, sa liberté et sa subjectivité sont un point important et une évolution indéniable par rapport à la théorie des Tendances déformantes. Cet article se propose d’examiner cette évolution de par une analysée détaillée des deux théories et en les mettant en présence l’une de l’autre.
از نظریه "گرایشهای ریخت شکنانه" تا نظریه ''نقد ترجمه'' که هر دو توسط انتوان برمن ارايه گشته اند شاهد نوعی تحول هستیم : رسیدن از نظریه ای لفظ گرا و سخت گیرانه و اناکاوی منفی ترجمه به اناکاوی مثبت و رویکردی عملگرایانه . این تحول نشان از تغییر نگاه برمن به ترجمه بدون صرف نظر کردن از مطالبه اساسی از مترجم مبنی بر رعایت متنیت متن اصلی و خلق اثر است. در رویکرد دوم، مترجم جایگاهی ویژه یافته و بدل به یکی از محورهای اساسی مطالعه ترجمه می گردد : بدینگونه است که بررسی طرح مترجم و افق مترجم یکی از چهار مرحله اساسی نقد ترجمه را تشکیل می دهد. می توان ادعا کرد که اعتماد به مترجم، به درونیت و ازادی او در این رویکرد برجسته شده است و این در مقایسه با گرایشهای ریخت شکنانه که در ان مترجم و گرایشهای منفی او مورد حمله قرار می گرفت، تحولی مهم محسوب می گردد. در این مقاله با تحلیل دقیق هر دو رویکرد یا نظریه و مقایسه انها، به بررسی این تحول می پردازیم.
We have always set limits for women, yet they have always been writing. Since
its founding in 1635, the French Academia has remained for a long time, open only to the male sex, it
shows itself in fact, as the guardian temple of the language. An exclusion that puts the woman out of a
vector of power, that is to say, the language, which she is the first to transmit to the child. But this
exclusion demonstrates a reduction in the role of women in society which drove the many struggles
waged by women to reach their true status. In the 20th century, more and more women entered the
literary world. They raise their voices to distance themselves from pre-established definitions of women
by trying to change the common values of patriarchal society. Language has thus become the site of
numerous feminine demands which see it as a manifestation of equality between the two sexes. The
relationship with language is therefore an alibi by which any rejection of unambiguous norms and laws
can be demonstrated. But how does a female text react to social problems at the level of language? We
do a socio-critical study to discover the internal social marks governing the literary universe of a woman
writer.
The sociocriticism of Pierre V. Zima as an approach identifying in the text, in particular in literary
texts, the part of sociality is based on narrative, semantic and linguistic structures to analyze the content,
the ideology as well as the meaning which are inseparable from expression and language. According to
Zima, social values do not exist independently of language and the lexical, semantic, and syntactic units
of a text articulate collective interest and can become issues of social, economic, and political struggles.
In this perspective, the romantic form and society relate. In Zima's theory, the first importance is given
to the notion of "collective languages", or "sociolects" which make it possible to form close relationships
between the fictional form of a fictional work and society. Collective interests and problems appearing
at the level of language, such as sociolects, inscribed in the texts, find their real dimension in the
sociolinguistic situation, the study of which constitutes the first step of a sociocritical analysis. The
sociolect can be described on three complementary levels: it has a lexical dimension, a semantic
dimension, and a narrative dimension. Therefore, the lexical and semantic study, then the study of the
narrative structure of a text constitutes respectively the second and the third stage of Zima's socio-critical
perspective.
Marguerite Duras, a figure in contemporary literature, mobilizes a denouncing discourse on the
literary field. The female character of Duras sees herself and looks at the world and beings not according
to the rules of female behavior received at the time, but as a free individual. By being characterized by
a series of successive transgressions, she seeks to evolve the image of the wise and quiet woman.
Therefore, the Durassian woman presents herself differently, going against the grain of ideas and behaviors taught by male ideology. In this way, the writing becomes a message that decrees the truth. The Lover, a partly autobiographical novel, can be considered a striking fresco on the patriarchal society of its time. This novel tells the story of a French teenager who lives in Indochina and her meeting with a young Chinese heir will determine the rest of her life. The heroine has obstacles to overcome: prohibitions imposed by society. Their relationship, banned by the boy's father and by colonial society, ends when the teenager has to return to France, leaving her lover still in love with her. The originality of our study lies in the fact that it reviews this novel through the prism of socio-criticism and of the method adopted by Zima to find the meaning behind each of the lexical, semantic, and narrative structures. This work, therefore, aims to seek the different structural elements that can help to decipher, through skillfully created narration and meaning, the trace of the social. To do this, we try to identify the meaning of certain elements of the novel, with the idea of seeing if the words are content to denote or if they are enriched with various connotations by proving how the semantic and narrative issues of a text can demonstrate social problems.
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