Le traducteur rimbaldien: voleur ou voyant ?
| dc.contributor.advisor | Morgan, N. | |
| dc.contributor.author | Krige, Magdalena | |
| dc.date.accessioned | 2016-01-15T09:05:45Z | |
| dc.date.available | 2016-01-15T09:05:45Z | |
| dc.date.copyright | 2014 | |
| dc.date.issued | 2014 | |
| dc.date.submitted | 2014 | |
| dc.description.abstract | English: Translating poetry from French to Afrikaans is not really a new concept in Afrikaans literature. The beginning of the twentieth century (around 1919 / 1920) already saw the publication of translations by Jan Celliers (1865 –1950) of the works of, amongst others, French writers Henri Bordeaux and Prosper Mérimée. Although on a humble scale, this tradition was sustained by poets like Uys Krige, Elizabeth Eybers and many others. Poetry translation is indeed one of the ways in which a foreign language enters the canon of a target language (in this case, Afrikaans) and by which the canon is not only enlarged, but also enriched. In thesearch for Afrikaans translations of the works of the well-known French poet, Arthur Rimbaud (1854 –1891), only one translation of the prose poem “Aube”‘ (Daybreak) could be found. This translation by Uys Krige was already published in 1950. Yet, there are various translations of Rimbaud poems in other languages and the question arose why this was not the case with Afrikaans. Although poetry translation can pose many linguistic and other obstacles, it has a history of success in world literature. Therefore, the stance was taken that it should be poss ible to translate Rimbaud in Afrikaans after all. As a poet during the transition period from mainly Romantism to Symbolism, Rimbaud brought about several innovations inthe French poetry of the time. In this vein, his poetry was sonorous with much synaesthesia:he changed French form and rhythm to such an extent that he made a total transition to prose poetry around 1873. In his own words he wanted to attain a language accessible to all the senses and he considered it only possible if he could be a “voyant” (“seer”). But is it possible for the translator of Rimbaud poems to also be a “voyant” or is he only a “voleur” (“thief”) who steals from the poet? This was the main question that would be investigated empirically in the research. In order to commence the translation of four poems (“Morts de quatre-vingt-douze”, “Ma bohème”, “Voyelles” and “Bonne pensée du matin”) and three prose poems (“L’éclair”, “Matin” en “Aube”), the various poems were contextualised in turn. The context is made up of the biography of the poet and the literary tendencies of the time, amongst other factors. The next step was to analyse and discuss the poems so that the translation could be approached with insight. Each poem presented its unique translation challenges. In this vein, it was not always possible to reproduce French rhythm in the translations, yet it was endeavoured to maintain a fairly regular rhythm. While it was decided to do away with the rhyme scheme, due to its limiting nature, alliteration and assonance were often reconstructed by means of other sounds, but with the aim to recreate the feeling in the French poem. Since these translations constitute a first encounter for Afrikaans speakers with Rimbaud poetry, the poetic contents were recreated as faithfully as possible. The differences between the original poem and the eventual translated poem were also discussed and explained. From this research it became clear that the translator has to make many compromises in order to bring the French poem home in the Afrikaans canon. In his endeavour he is,to a certain extent,a thief: indeed he steals words and techniques from the original poet, but at the same time he is a “voyant” who uses words, sounds and techniques in a creative way to facilitate an easy transition between the source language (French) and the target language (Afrikaans). The conclusion can thus be drawnthat it is indeed possible to translate Rimbaud in Afrikaans and that the translator as “Voleur” and “Voyant” makes a contribution in a creative way to enlarge and enrich the Afrikaans canon. | en_ZA |
| dc.description.abstract | Afrikaans: Poësievertaling uit Frans na Afrikaans is werklik geen nuwe begrip in die Afrikaanse letterkunde nie. Reeds aan die begin van die twintigste eeu (ongeveer 1919 / 1920) het vertalings van Jan Celliers (1865 –1950) van onder meer die Franse skrywers Henri Bordeaux en Prosper Mérimée verskyn. Hierdie tradisie, hoewel op ‘n klein skaal, is deur die jare volgehou deur ander digters waaronder Uys Krige, Elizabeth Eybers en vele andere. Poësievertaling is inderdaad een van die wyses waarop ‘n vreemde taal ingang vind in die kanon van die doeltaal (in hierdie geval Afrikaans) wat daardeur nie net vergroot word nie, maar ook verryk. In ‘n soektog na Afrikaanse vertalings van die werke van die bekende Franse digter Arthur Rimbaud (1854 –1891), is slegs een vertaling van die prosagedig “Aube” (Dagbreek) gevind. Dié vertaling deur Uys Krige het reeds in 1950 verskyn. Tog is daar verskeie vertalings van Rimbaud-gedigte in ander tale en die vraag het ontstaan waarom nie ook in Afrikaans nie. Hoewel poësievertaling vol taalkundige en ander struikelblokke kan wees, het dit tog ‘n geslaagde geskiedenis in wêreldletterkunde. Dus is van die standpunt uitgegaan dat dit tog moontlik moet wees om Rimbaud in Afrikaans te vertaal. As oorgangsdigter tussen hoofsaaklik die Romantiek en die Simbolisme het Rimbaud vele vernuwings in die Franse poësie van die tyd teweeg gebring. So het sy gedigte byvoorbeeld ‘n besonder sterk klankryke karakter en volop sinestesie gehad terwyl vorm en ritme so gewysig is dat hy ongeveer in 1873 ‘n algehele oorgang na prosaverse gemaak het. In sy eie woorde wou hy die taal vind wat iv toeganklik is vir al die sintuie en vir hom was dit slegs moontlik as hy ‘n “voyant” (“siener”) sou wees. Maar is dit moontlik vir die Rimbaudvertaler om ook ‘n “voyant” te wees, of is hy bloot ‘n “voleur” (dief) wat van die digter steel? Hierdie was die kernvraag wat deur die navorsing empiries ondersoek sou word. Ten einde die vertaling van vier gedigte (“Morts de quatre-vingt-douze”, “Ma bohème”, “Voyelles” en “Bonne pensée du matin”) en drie prosagedigte ( “L”éclair”, “Matin” en “Aube”) aan te pak, is die verskillende gedigte in hul onderskeie kontekste geplaas. Hierdie konteks word onder meer saamgestel uit die biografie van die digter en die letterkundige tendense van die tyd. Die volgende stap was om die gedigte te ontleed en te bespreek sodat die vertaling met begrip aangepak kon word. Elke gedig het sy unieke vertaaluitdagings gehad. So was dit nie altyd moontlik om die Franse ritme in die vertalings weer te gee nie, maar daar is tog gestreef na ‘n redelik reëlmatige ritme. Terwyl rym nie behou is nie as gevolg van die beperkende aard daarvan, is alliterasie en assonansie dikwels herskep deur bemiddeling van ander klanke, maar met die doel om die gevoel in die Franse gedig oor te dra. Aangesien hierdie vertalings ‘n eerste kennismaking vir Afrikaansspekendes met die poësie van Rimbaud sal wees, is die poëtiese inhoud so getrou moontlik herskep. Die verskille tussen die oorspronklike gedig en die uiteindelike vertaalde gedig is ook bespreek en verduidelik. Uit hierdie navorsing blyk dit duidelik dat die vertaler verskeie kompromieë moet aangaan ten einde die Franse gedig tuis te bring in die Afrikaanse kanon en in hierdie poging is die vertaler tog in ‘n mate ‘n dief: hy steel immers woorde en tegnieke van die oorspronklike digter, maar hy is terselfdertyd ‘n “voyant” wat kreatief omgaan met woorde en klanke en verstegnieke ten einde ‘n gemaklike oorgang te bewerkstellig tussen die vertrektaal (Frans) en die doeltaal (Afrikaans). Die slotsom word dus gemaak dat Rimbaud wel in Afrikaans vertaal kan word en dat die vertaler, as “Voleur” én “Voyant” sy bydrae op kreatiewe wyse lewer om die Afrikaanse kanon te vergroot en te verryk. | af |
| dc.identifier.uri | http://hdl.handle.net/11660/2219 | |
| dc.language.iso | other | fr |
| dc.publisher | University of the Free State | en_ZA |
| dc.rights.holder | University of the Free State | en_ZA |
| dc.subject | Voyant | en_ZA |
| dc.subject | Rimbaud | en_ZA |
| dc.subject | Voleur | en_ZA |
| dc.subject | Translation | en_ZA |
| dc.subject | Poetry | en_ZA |
| dc.subject | Canon | en_ZA |
| dc.subject | Verse techniques | en_ZA |
| dc.subject | Translation challenges | en_ZA |
| dc.subject | Poetry translating | en_ZA |
| dc.subject | French poetry -- Translations into Afrikaans | en_ZA |
| dc.subject | Dissertation (M.A. (French))--University of the Free State, 2014 | en_ZA |
| dc.title | Le traducteur rimbaldien: voleur ou voyant ? | en_ZA |
| dc.type | Dissertation | en_ZA |