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Réflexion Sur La Phénoménologie Moniste Du Traduire Avec Illustrations Tirées De La Traduction Tamoule De L’Anthologie De La Nouvelle Québécoise Actuelle

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Réflexion Sur La Phénoménologie Moniste Du Traduire Avec Illustrations Tirées De La Traduction Tamoule De L’Anthologie De La Nouvelle Québécoise Actuelle RÉFLEXION SUR LA PHÉNOMÉNOLOGIE MONISTE DU TRADUIRE AVEC ILLUSTRATIONS TIRÉES DE LA TRADUCTION TAMOULE DE L’ANTHOLOGIE DE LA NOUVELLE QUÉBÉCOISE ACTUELLE THÈSE SHARAN KUMAR SUBRAMANIAN DOCTORAT EN LINGUISTIQUE PHILOSOPHIAE DOCTOR (PH. D.) Québec, Canada © Sharan Kumar Subramanian, 2014 Résumé La traduction a une longue histoire au Tamil Nadu. C’est une tradition qui remonte au IIIe siècle av. J.-C. Les toutes premières traductions sont des adaptations d’œuvres sanscrites, appelées transcréations, qui commencent pour de bon au VIe siècle de notre ère. La traduction d’œuvres anglaises débute au XIXe siècle. Au XXe siècle, les œuvres russes, françaises, latino-américaines et scandinaves sont traduites vers le tamoul. La traduction de la littérature québécoise voit le jour en 1995. Les premières traductions à paraître sont Le libraire de Gérard Bessette et Encore cinq minutes de Françoise Loranger. En 1997 apparaît la traduction de La vie en fuite de Denis Bélanger. En 2002, les pièces Les Belles-Sœurs de Michel Tremblay et Leçon d’anatomie de Larry Tremblay sont traduites. En 2008, La distraction de Naïm Kattan et l’Anthologie de la nouvelle québécoise actuelle sont traduites vers le tamoul. Dans la traduction tamoule de l’Anthologie de la nouvelle québécoise actuelle, nous constatons un nombre significatif d’omissions. Nos recherches montrent que les omissions peuvent être divisées en trois catégories, à savoir les métaphores, les descriptions d’ordre sexuel et les descriptions qui présentent des problèmes d’ordre linguistique. Dans la présente recherche, nous cherchons à découvrir les méthodes adoptées par les traducteurs indiens anciens et contemporains pour traduire les œuvres littéraires vers le tamoul, ce qui nous permettra de mieux comprendre les méthodes de traduction adoptées pour traduire vers le tamoul les nouvelles québécoises, en vue entre autres d’étudier le rôle du sens suggestif et du délice esthétique en traduction littéraire. Au moyen d’une lecture phénoménologique moniste des omissions, nous souhaitons relever l’importance de comprendre et de reproduire les huit correspondances, à savoir la corrélation, la compatibilité, la contiguïté, le rythme, les déterminants, les changements mimétiques, les émotions fugaces et le délice esthétique. La recherche devrait contribuer à mieux comprendre le rôle de l’interprétation dharmique, de l’herméneutique analogique et du principe des huit correspondances en traduction littéraire. Il convient de noter que notre objectif n’est pas de prescrire une approche globale qui s’étend à tout type de traduction, ni de décrire l’activité traduisante du point de vue de l’effet. Nous ne tenons qu’à ouvrir le débat sur l’art traductif par rapport à une nouvelle façon d’aborder la traductologie, en mettant l’accent sur ce que nous appelons la phénoménologie moniste du traduire. iii Abstract Translation in Tamil Nadu has a hoary past. It is a tradition that dates back to the 3rd century B.C. The very first translations into Tamil are adaptations of Sanskrit works, called transcreations that appear in the sixth century C.E. The translation of English works begins in the nineteenth century. In the twentieth century, Russian, French, Latino-American and Scandinavian works are translated into Tamil. The translation of Quebec literature gets under way in 1995. That year, Le libraire by Gérard Bessette and Encore cinq minutes by Françoise Loranger are translated into Tamil. In 1997, La vie en fuite by Denis Bélanger is translated into Tamil. In 2002, the plays Les Belles-Sœurs by Michel Tremblay and Leçon d’anatomie by Larry Tremblay are translated. In 2008, La distraction by Naïm Kattan and Anthologie de la nouvelle québécoise actuelle are translated into Tamil. Our analyses show that there are a significant number of omissions in the Tamil translation of the Anthology. The omissions fall under three categories, namely omissions of metaphors, omissions of sensual descriptions and omissions of words/phrases owing to lack of equivalents. This research seeks to discover the methods used by the ancient and contemporary Indian translators to translate literary works into Tamil. This would help us better understand the translation methods adopted to translate Quebec novels into Tamil, and the role of suggestive meaning and aesthetic relish in literary translation. Through a Monist Phenomenological reading of the omissions, we propose to stress the importance of comprehending and recreating the eight correspondences, namely the correlation, the compatibility, the contiguity, the rhythm, the determinants, the mimetic changes, the transient states of mind and the aesthetic relish. This research should contribute to a better understanding of the role of dharmic interpretation, analogical hermeneutics and the principle of eight correspondences in literary translation. It is worth noting that our goal is not to put forth a one size fits all approach that is suited for all kinds of translation, nor to describe the translation process from the point of view of aesthetic response. Our sole aim is to kick start the debate on the art of translation from the perspective of a novel approach to Translation Studies, focussing on what could be named the Monist Phenomenology of translation. v Table des matières Résumé ........................................................................................................................................... iii Abstract ........................................................................................................................................... v Table des matières......................................................................................................................... vii Remerciements ............................................................................................................................. xiii Introduction ..................................................................................................................................... 1 Chapitre 1 : La traduction au Tamil Nadu .................................................................................... 25 1.1 La tradition de traduction au Tamil Nadu .......................................................................... 25 1.2 Les grands traducteurs d’œuvres étrangères et indiennes ................................................. 27 1.3 L’activité traduisante selon les traducteurs tamouls .......................................................... 29 1.4 L’activité traduisante selon les théoriciens tamouls de la traduction ................................ 40 1.5 Le rôle de la Sahitya Akademi dans le développement de l’activité traduisante ................ 49 1.5.1 Les prix de traduction attribués par l’Akademi ........................................................... 51 1.5.2 Les traductions en tamoul publiées par l’Akademi...................................................... 51 1.6 Perspectives nationales – le statut professionnel du traducteur en Inde............................ 52 1.7 La traduction d’œuvres québécoises ................................................................................... 54 Chapitre 2 : Éthique en traduction littéraire et histoire de la censure en Inde .............................. 57 2.1 Éthique et morale en Occident ............................................................................................ 57 2.1.1 Prolégomènes au Dharma, au Karma et au Moksā ..................................................... 64 2.1.2 Éthique en traduction littéraire ................................................................................... 72 2.1.3 Vers l’herméneutique analogique de l’interculturalité ................................................ 89 2.1.4 Vers une éthique dharmique du traducteur ............................................................... 116 2.2 Qu’est-ce que la censure ? ................................................................................................ 129 2.2.1 L’histoire de la censure en Inde ................................................................................. 130 2.2.2 Les différents types de censure en Inde...................................................................... 134 2.2.3 Le fondamentalisme religieux .................................................................................... 136 2.2.4 Le sexe et l’obscénité en Inde .................................................................................... 145 2.2.5 Le négationnisme ....................................................................................................... 154 2.2.6 Conclusions ................................................................................................................ 160 vii Chapitre 3 : Phénoménologie moniste du traduire ...................................................................... 165 3.1 Pratyabhijñā, ou doctrine de la reconnaissance .............................................................. 165 3.2 La philosophie shivaïte du langage .................................................................................. 178 3.3 La métaphysique du mot et le holisme cognitif de Bhartrhari .......................................... 182 3.4 La compréhension du sens contextuel en linguistique occidentale et en linguistique indienne ................................................................................................................................... 194 3.5 L’allusion en poétique tamoule et sanscrite ....................................................................
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