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Confetti, Volume 2, 2016 Éditrices / Editors: Alicia Niemann, Marie-Catherine Allard Promotion / Promotion: Alessandra Leake Remerciements spéciaux à nos professeurs / Special thanks to our professors: Paul Birt, Douglas Clayton, Joerg Esleben, Cristina Perissinotto, Agatha Schwartz, Richard Sokoloski pour leur participation à la réalisation de ce volume / for their work towards producing this volume. SOMMAIRE / SUMMARY Transition and Transposition / Traduction et Transposition « Pendant que…» Par Line C. Bissonnette................................................................................8 Twenty Sonnets to Mary Queen of Scots: Eternity, Death, and Parallels Between Joseph Brodsky and Mary Queen of Scots By Alessandra Leake..................................................................................30 A Self Multiplied: Culture and Identity in Relation to Place in Zadie Smith’s White Teeth and Salman Rushdie’s Midnight’s Children By Myriem Nadia Sahouli..........................................................................46 AQUA VITAE, AQUA MORTIS: Le système atemporel de l’eau dans l’œuvre Watermark de Joseph Brodsky Par Violène Dauvois...................................................................................67 La représentation spatio-temporel d'un Berlin mélancolique dans Les Ailes du désir Par Marie-Catherine Allard........................................................................77 Power and Desire/ Désir et Pouvoir It’s Official: Maori- “The “Indigenous” Official Language of New Zealand By Narayanamoorthy Nanditha.............................................................................98 Father, Where Are You Going: The Image of Father in Ōe Kenzaburo's Short Stories By Ren Ziye.........................................................................................................108 An “Innocent” Desire: Food in Günter Grass’s The Tin Drum By Alicia Niemann...............................................................................................123 3 4 BIENVENUE/WELCOME We are already celebrating the second issue of Confetti, created by another very talented cohort of students in the Masters program in World Literatures and Cultures. This is a wonderful sign of the vitality of the program and the intellectual energy of its participants. La Maîtrise est un programme d’études interdisciplinaire et bilingue en sciences humaine qui offre une formation centrée sur la recherche et l’évaluation des formes de contacts, de relations, et d’échanges multiculturels, interculturels et transculturels. The students in the program and the faculty members involved with it come from a broad range of academic disciplines and cultural backgrounds. Our shared passion for studying cultural expressions from around the world complements our immense diversity of approaches, and this combination leads to exciting and often unexpected synergies. Dans l’atmosphère intime de nos séminaires, nous apprenons les un(e)s des autres et nous nous posons des défis intellectuels et mutuels. In one short year, the faculty and student members of the program get to know and collaborate with each other in the development of the students’ individual research programs, and some of the fruits of that labour are presented here. So let’s bring out the multicoloured stuff that the journal takes its carnivalesque name from and let’s celebrate and congratulate the authors and editors of this excellent endeavour. Joerg Esleben Directeur du département Department Chair 5 Ce deuxième numéro du journal, tout comme le numéro inaugural publié en 2015, est entièrement le résultat du travail fort et dédié des étudiantes de la Maîtrise ès arts en littératures et cultures du monde / MA in World Literatures and Cultures, un programme unique au Canada : bilingue, interdisciplinaire et dynamique. It is my honour and great pleasure as program director to write a few introductory remarks to this exciting second volume of Confetti, created entirely by our students, which brings together works that encompass different critical approaches and methodologies to analyze a variety of narrative expressions, from poetry and novels to film and lesser-used languages. Ce volume est organisé selon deux axes thématiques qui expriment bien les sujets étudiés au sein de nos séminaires : Transition and Transposition / Traduction et Transposition et Power and Desire / Désir et Pouvoir. The first part, Transition and Transposition / Traduction et Transposition consists of five papers. Dans « Pendant que…», Line Bissonnette présente les défis de l'adaptation en français canadien d'un sonnet par le célèbre poète baroque espagnol Don Luis de Góngora y de Argote. The following paper, “Twenty Sonnets to Mary Queen of Scots: Eternity, Death, and Parallels Between Joseph Brodsky and Mary Queen of Scots” by Alessandra Leake also explores poetry and its translation(s), this time by Russian American Nobel laureate in literature Joseph Brodsky who lived between cultures and languages. Myriem Nadia Sahouli in “A Self Multiplied: Culture and Identity in Relation to Place in Zadie Smith’s White Teeth and Salman Rushdie’s Midnight’s Children” looks at transculturality, hybridity and transgenerational memory in two different postcolonial contexts as expressed in the two novels. L’oeuvre de Joseph Brodsky est à nouveau examinée par Violène Dauvois dans « AQUA VITAE, AQUA MORTIS : Le système 6 atemporel de l’eau dans l’œuvre Watermark de Joseph Brodsky ». Le dernier chapitre de cette première section, “La représentation spatio-temporel d’un Berlin mélancolique dans Les Ailes du désir” par Marie-Catherine Allard nous emmène vers un autre genre : le cinéma, et le contexte culturel allemand. The second section, Power and Desire / Désir et Pouvoir comprises three chapters. Narayanamoorthy Nanditha in “It’s Official: Maori - The ‘Indigenous’ Official Language of New Zealand” looks at the important project of the Maori language revitalization. From New Zealand, we are taken to Japanese post-war society as explored by Ren Ziye in the work of another Nobel Prize laureate, “Father, Where Are You Going: The Image of Father in Ōe Kenzaburo’s Short Stories”. The concluding chapter by Alicia Niemann, “An ‘Innocent’ Desire: Food in Günter Grass’s The Tin Drum”, offers a multilayered analysis of the German Nobel literature laureate’s world famous novel. En somme, on trouve ici une riche collection des expressions culturelles variées à travers du monde. In the name of the professors who have taught and supervised these creative and dedicated students, I would like to extend my sincere congratulations to the editors and the contributors. Agatha Schwartz Directrice, Maîtrise ès arts en littératures et cultures du monde Director, Master of Arts in World Literatures and Cultures 7 Transition and Transposition / Traduction et Transposition 8 « Pendant que…» Par Line C. Bissonnette Résumé: Don Luis de Góngora y de Argote, poète espagnol, a laissé en héritage au monde littéraire espagnol et aux littératures du monde en général, une œuvre marquante d’une importance majeure. Créateur du « gongorisme » à l’époque du baroque, Góngora se distingue par les difficultés qu’il pose sur le plan stylistique et au niveau de la compréhension, un style souvent qualifié d’obscur. Les jeux de mots ou calembours, les successions de concepts, d’antithèses, d’hyperboles, d’allusions mythologiques, de cultismes, de références humoristiques et de métaphores abondent dans l’œuvre gongorine, une œuvre qui ne peut être aimée par tous puisqu’elle nécessite de ses lecteurs certaines connaissances, en d’autres mots, une certaine culture. Dans l’article qui suit, nous proposons d’adapter en français canadien contemporain le magnifique sonnet « Mientras por compatir con tu cabello » dans le but de le faire lire et apprécier par une génération bien spécifique, soit la génération jeunesse des 13 à 19 ans. Nous croyons qu’il est primordial que cette génération soit exposée au génie et à la poésie gongorins. Trouver une façon de vulgariser l’œuvre du grand poète espagnol est une façon de lui rendre hommage à l’approche des célébrations qui marqueront dans une dizaine d’années les 400 ans de sa mort. Mais, c’est d’abord et avant tout un moyen de faire connaître sa poésie aux jeunes d’aujourd’hui, qui, nous pourrions croire, portent plus d’intérêt et d’attention aux nouvelles technologies qu’à la poésie baroque espagnole. Adapter Góngora représente donc un défi à relever. Mots-Clés: Góngora, poésie baroque, traduction, français canadien, adaptation, vulgarisation Pourquoi ce sonnet? À sa mort en 1627, Don Luis de Góngora y de Argote, âgé de 66 ans, a laissé en héritage, au monde littéraire espagnol et aux littératures du monde en général, une œuvre marquante d’une importance majeure. Lorsque nous nous référons à l’époque du 9 baroque1 en général, et plus particulièrement au mouvement qui prit forme en Espagne, le nom de Góngora apparaît sans équivoque dans la majorité des écrits sur le sujet. Inventé par Góngora, le gongorisme est synonyme de « préciosité »2, c’est-à-dire un style qui s’adresse à un public cible et, de préférence, cultivé. Ce style est à la base même de l’œuvre gongorine. Celui-ci se distingue par les difficultés qu’il pose sur le plan stylistique et au niveau de la compréhension, un style souvent qualifié d’obscur. Dámaso Alonso, un fervent critique de Góngora, décrit sa poésie de la façon suivante : « Toda la poesía no es más que una sucesión de ingeniosidades, conceptos, antítesis, hipérboles, alusiones a adagios, alusiones mitológicas,
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