https://novaprd-lb.newcastle.edu.au/vital/access/manager/Index ${session.getAttribute("locale")} 5 https://novaprd-lb.newcastle.edu.au/vital/access/manager/Repository/uon:46446 Wed 23 Nov 2022 14:03:37 AEDT ]]> https://novaprd-lb.newcastle.edu.au/vital/access/manager/Repository/uon:25208 Wed 21 Dec 2016 08:32:17 AEDT ]]> https://novaprd-lb.newcastle.edu.au/vital/access/manager/Repository/uon:16021 Wed 17 Dec 2014 15:09:10 AEDT ]]> https://novaprd-lb.newcastle.edu.au/vital/access/manager/Repository/uon:15910 Wed 11 Apr 2018 16:47:08 AEST ]]> https://novaprd-lb.newcastle.edu.au/vital/access/manager/Repository/uon:15909 Wed 11 Apr 2018 14:18:52 AEST ]]> https://novaprd-lb.newcastle.edu.au/vital/access/manager/Repository/uon:2435 Wed 11 Apr 2018 12:41:06 AEST ]]> https://novaprd-lb.newcastle.edu.au/vital/access/manager/Repository/uon:6789 Wed 11 Apr 2018 11:09:00 AEST ]]> https://novaprd-lb.newcastle.edu.au/vital/access/manager/Repository/uon:15513 Wed 11 Apr 2018 09:47:34 AEST ]]> https://novaprd-lb.newcastle.edu.au/vital/access/manager/Repository/uon:4340 Wed 11 Apr 2018 09:43:28 AEST ]]> https://novaprd-lb.newcastle.edu.au/vital/access/manager/Repository/uon:30685 Australian Journal of French Studies within a framework of mobility while highlighting how they each, individually, test and move (beyond) certain frames. We are also writing in response to the annual conference of the Australian Society for French Studies, which we co-convened in 2015 and at which the articles included here were presented. As we began writing, as individuals working in collaboration, the tension between our singular and collective identities became visibly metonymic of the work that is generated in, and generates, French Studies. Clearly, one of us has a deeper understanding of the mobilities at play in Francophone Studies; one of us is more interested in the evolution of our disciplinarity, as French lecturers, in light of student mobility and flexible modes of delivery; and one of us cannot move in any direction without seeing Baudelaire. And yet in 2015 we came together, as every year, with our colleagues from Australia and around the world with a clear sense of what it means – to all of us, despite the nuances of our institutional specificities – to work in French Studies. Thus, we decided to remove our individual “I”s here, however transparent they may be, in order to write this introduction not so much from the perspective of a royal, or even a republican, “we” but rather from that of the first person mobile.]]> Wed 04 Sep 2019 09:55:25 AEST ]]> https://novaprd-lb.newcastle.edu.au/vital/access/manager/Repository/uon:41398 Wed 03 Aug 2022 10:28:20 AEST ]]> https://novaprd-lb.newcastle.edu.au/vital/access/manager/Repository/uon:26469 Tue 26 Feb 2019 13:47:06 AEDT ]]> https://novaprd-lb.newcastle.edu.au/vital/access/manager/Repository/uon:10072 Tue 26 Feb 2019 13:40:09 AEDT ]]> https://novaprd-lb.newcastle.edu.au/vital/access/manager/Repository/uon:28783 The Dead Heart was produced only eleven years after it was first translated provides a rare opportunity to deduce, via comparative analysis of a number of key extracts, the translation strategies at the heart of these two competing translation projects, as commissioned by rival publishing houses. Indeed, given the short timeframe involved, the second translation could not have been designed to amend an out-dated text. This article will also test the main theory of retranslation, the “Retranslation Hypothesis”, which was developed by eminent translation theorist Antoine Berman. According to Berman, an initial translation always tends towards the assimilationist approach whereas retranslations tend to be closer to the original text, typically being commissioned once the author has been accepted into the target culture. These retranslations tend also to correct any potential flaws in the initial translation. It will be seen that this hypothesis is only partly borne out in this case. Furthermore, we shall speculate as to whether the unfaithfulness of the initial translation was not, perversely, a key element in the novel’s considerable success in France.]]> Tue 26 Feb 2019 13:19:11 AEDT ]]> https://novaprd-lb.newcastle.edu.au/vital/access/manager/Repository/uon:28398 Pop. 1280. First translated into French in 1966 by Marcel Duhamel as the 1000th title of Gallimard’s famous Série Noire crime fiction collection, the novel became notorious for the loss of five of Thompson’s original population: Duhamel’s title was 1275 âmes [1275 Souls]. In 2000 novelist Jean-Bernard Pouy joined the ranks of those puzzled by this translation choice; he went further than most, however, by writing his own novel, entitled 1280 âmes [1280 Souls], in which his protagonist sets out to find the five missing characters. We argue that the ingenious solution found by Pouy is deliberately convoluted, that it wilfully overlooks a more obvious reason for choosing this different title, which is to say, to emphasise the fact that Duhamel’s translation aspires to a status beyond mere interlingual transfer, something closer to an adaptation or French appropriation of the original text. We then contextualise this argument by discussing the ways in which the early novels of the Série Noire, notably those by Peter Cheyney and James Hadley Chase, functioned as allegories of France in the years immediately following the Second World War, even though their “original versions” were written before the war and ostensibly in an effort (by these two British authors) to appear American. The article concludes by suggesting that Thompson’s novel can be considered, like those of Cheyney and Chase before it, a classic of the French crime fiction canon, or at the very least that much can be gained from reading it through that lens.]]> Tue 26 Feb 2019 13:15:02 AEDT ]]> https://novaprd-lb.newcastle.edu.au/vital/access/manager/Repository/uon:50993 Tue 15 Aug 2023 10:18:58 AEST ]]> https://novaprd-lb.newcastle.edu.au/vital/access/manager/Repository/uon:53363 Thu 23 Nov 2023 10:41:31 AEDT ]]> https://novaprd-lb.newcastle.edu.au/vital/access/manager/Repository/uon:11327 Thu 16 Aug 2018 10:20:40 AEST ]]> https://novaprd-lb.newcastle.edu.au/vital/access/manager/Repository/uon:21586 Sat 24 Mar 2018 08:00:43 AEDT ]]> https://novaprd-lb.newcastle.edu.au/vital/access/manager/Repository/uon:18957 Sat 24 Mar 2018 07:58:57 AEDT ]]> https://novaprd-lb.newcastle.edu.au/vital/access/manager/Repository/uon:5770 Sat 24 Mar 2018 07:47:19 AEDT ]]> https://novaprd-lb.newcastle.edu.au/vital/access/manager/Repository/uon:28401 J'irai cracher sur vos tombes (1946), and especially the liminal passage between the novel's paratext and diegesis; on the other hand, it will argue that this famous parody of the Série Noire is rather a pseudo-parody insofar as its deployment of pseudonymy exposes not the reality but the myth of a Parisian publishing phenomenon founded on the translation of American thrillers. In this way, J'irai cracher sur vos tombes will be reread as an allegory not only of French noir's emergence from the Liberation of Paris but, more broadly, of France's position vis-à-vis the United States. We shall first examine the theory of pseudonymy with a view to teasing out a more appropriately complex critical framework to accommodate Vian's relationship to Sullivan; we shall next investigate J'irai cracher sur vos tombes via some key lenses, including auto-antonymy, mise en abyme and reflexivity as well as the 'pseudo'; we shall then use these findings to debunk some key myths surrounding the Série Noire more broadly before concluding with a final analysis of the opening pages of Vian's novel.]]> Sat 24 Mar 2018 07:36:01 AEDT ]]> https://novaprd-lb.newcastle.edu.au/vital/access/manager/Repository/uon:28402 Sat 24 Mar 2018 07:36:01 AEDT ]]> https://novaprd-lb.newcastle.edu.au/vital/access/manager/Repository/uon:27138 The Dead Heart is American author Douglas Kennedy's first novel. It was first translated into French in 1997 as Cul-de-sac. It was this translation that made Kennedy a household name in France and that gave The Dead Heart its identity as a roman noir. In the space of just 20 years the novel has been translated twice into French and adapted twice more, as a film and now as a graphic novel. Elsewhere, we have analyzed this trajectory from the perspective of retranslation and the ostensible differences between the two translation Skopoi, and the use of paratextual branding to target specific reading publics. Focusing on the graphic novel allows us here to go beyond the problematics of translation and to broaden the scope of our study of textual adaptation. It also allows us to reassess the originality of the source text.]]> Sat 24 Mar 2018 07:33:02 AEDT ]]> https://novaprd-lb.newcastle.edu.au/vital/access/manager/Repository/uon:26394 Bibliotèque de la Pléiade collection. Arguably, however, these are the complete fictional works of two authors: French writer Boris Vian and his black American pseudonymous creation, Vernon Sullivan. For critics like Edmund Smyth this must have represented long overdue recognition of the qualities of the latter's work.]]> Sat 24 Mar 2018 07:28:02 AEDT ]]> https://novaprd-lb.newcastle.edu.au/vital/access/manager/Repository/uon:25429 roman noir, but he has also worked on what some would consider ‘more literary’ texts, including Canadian and American Indian novels, collections of short stories, photographic works (notably focusing on Native Americans) and film scripts. In total, Pierre has translated around 150 books by writers including Jim Thompson, Elmore Leonard, Tony Hillerman, Donald Westlake, Christopher Cook, Ken Bruen, Dashiell Hammett, William R. Burnett, Louis Owens, David Bergen, Peter Corris and, lest we should forget, John James Audubon and George Catlin. More recently, it has been, as he puts it, his good fortune and privilege to be able to translate Peter Temple’s An Iron Rose and William Bayer’s Hiding in the Weave. In presenting Pierre Bondil we should like to add that, as the expression goes, quality will out; in other words, it is not suprising to us that literature of quality should find its way to Bondil’s door when French translations are required. The text that follows sheds a little light on the meticulousness that is his trademark and the intensity of the exchange between author and translator that translation of the highest order can demand. We are grateful to Pierre for taking the time to share some of his insights with us and also to Peter Temple for giving us his permission to quote from his email exchanges with Pierre.]]> Sat 24 Mar 2018 07:27:25 AEDT ]]> https://novaprd-lb.newcastle.edu.au/vital/access/manager/Repository/uon:26472 Pas d'orchidées pour Miss Blandish still resonates today. But it seems fair to say that it is this French title, as opposed to the 'original' English, that still has currency, and specifically in the contexts of French Studies and, in the public space, among those fans who frequent such bookshops as Paris's famous L'Amour du noir. This French face of James Hadley Chase's first novel has to all intents and purposes outperformed its original English avatar in both public and esoteric circles alike. Yet, despite this relative decline in recognition, the English version continues to exist, and furthermore continues to change shape, as if in response to a market demand, however virtual this may be.]]> Sat 24 Mar 2018 07:27:15 AEDT ]]> https://novaprd-lb.newcastle.edu.au/vital/access/manager/Repository/uon:22581 Mon 30 May 2016 15:53:16 AEST ]]>