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Theorizing the Peregrinations of Anglo/Québécois Literature in Translation

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Theorizing the Peregrinations of Anglo/Québécois Literature in Translation Université de Montréal Theorizing the Peregrinations of Anglo/Québécois Literature in Translation par Marie Leconte Études anglaises, Département de littératures et de langues du monde Faculté des arts et des sciences Thèse présentée à la Faculté des arts et des sciences en vue de l’obtention du grade de Philosophiæ Doctor (Ph.D.) en études anglaises Avril, 2019 © Marie Leconte, 2019 Université de Montréal Département de littératures et de langues du monde, Faculté des arts et des sciences Cette thèse intitulée Theorizing the Peregrinations of Anglo/Québécois Literature in Translation Présentée par Marie Leconte A été évaluée par un jury composé des personnes suivantes Manuel Meune Président-rapporteur Lianne Moyes Directeur de recherche Robert Schwartzwald Membre du jury Jane Koustas Examinateur externe Résumé Théoriser les pérégrinations de la littérature anglo/québécoise en traduction avance que la littérature anglo-québécoise fait partie intégrante de la littérature québécoise, et la preuve se situe dans ses œuvres traduites. Bien que la revendication semble évidente, elle n’a pas pour autant été examinée en ce qui concerne le contenu même des écrits de cette littérature. Basée sur l’histoire sociolittéraire de la littérature anglo-québécoise et sa théorisation, développée au cours du premier chapitre, cette étude cherche à comprendre la mécanique même de la traduction culturelle de l’anglais au français, tel qu’elle se déroule dans deux romans anglo-québécois contemporains, Cockroach (2008) de Rawi Hage et Lullabies for Little Criminals (2006,) de Heather O’Neill, et leur traduction. À l’aide d’une lecture stéréoscopique, une technique d’analyse comparative qui place le texte original et sa traduction côte à côte lors de leur lecture, les textes littéraires sont analysés en vue de détecter ce que je nomme un glitch. Le glitch est une anomalie socioculturelle dans laquelle l’encodage d’un interprétant thématique en provenance du texte original est incapable de traverser et de s’insérer dans la langue de traduction. Il peut être le résultat d’une mauvaise interprétation involontaire, ou bien la conséquence d’un choix délibéré. À cette fin, l’interprétant thématique, soit l’information reliée aux valeurs et aux croyances de la culture cible, et leur cohérence sociale, agit comme outil informatif. Ce qui motive la recherche d’un glitch n’est pas normatif, mais est né d’un besoin de comprendre la transformation culturelle qui s’opère en traduction. L’application de cette technique de lecture à Cockroach et à Lullabies for Little Criminals, et leur traduction respective, a comme objectif de découvrir des glitchs. Autrement dit, les textes ont été sondés afin de trouver des différences culturelles mutuellement exclusives ne pouvant se démarquer qu’en employant cette technique de lecture parallèle. Du fait que le roman Cockroach de Hage a été traduit au Québec, les différences intertextuelles reliées aux interprétants thématiques du roman original sont complexes et profondément ancrées. Un lien canonique à Kafka, un jeu sophistiqué entre langues (le français et l’anglais en l’occurrence) et la transformation habile de l’intraduisibilité culturelle dans la traduction constituent les chemins d’une analyse qui illustre la façon dont la superposition culturelle affecte la traduction culturelle. Le roman de O’Neill, Lullabies for Little Criminals, a été traduit et sa traduction publiée à Paris, ce qui soulève une analyse comparative tout autre que celle de Cockroach et sa traduction. Le manque de sensibilité socioculturelle québécoise de la traduction a permis d’illustrer comment le concept d’americanicité, notion bien ancrée en littérature québécoise, est ignoré dans le texte qui a été traduit de l’autre côté de l’Atlantique. Cette thèse établit néanmoins un lien solide entre le roman de O’Neill et la littérature québécoise via une œuvre classique de cette littérature, L’avalée des avalés de Réjean Ducharme, dont la mention figure explicitement dans le roman de O’Neill. Mots-clés : traduction, littérature, traduction littéraire, culture, traduction culturelle, français, anglais, Québec, Montréal, Anglo-Québécois, littérature québécoise, littérature anglo- québécoise, roman contemporain, sociolinguistique, sociologie de la littérature, sociologie de la traduction. i Abstract Theorizing the Peregrinations of Anglo/Québécois Literature in Translation argues that Anglo-Québécois literature is an inherent part of Québécois literature, and the proof for this is found in its translated works. Although a seemingly obvious claim, this position has not been subject to scrutiny when it comes to how the content of the texts themselves do this. Building on the socio-literary history and the theorization of Anglo-Québécois literature and its translation, elaborated upon in the first chapter, this thesis seeks to understand the actual mechanics of translating culture from english into French. This is undertaken on two contemporary Anglo-Québécois novels—Cockroach (2008) by Rawi Hage and Lullabies for Little Criminals (2006) by Heather O’Neill—and their translations. With the use of stereoscopic reading, a comparative analytical technique that requires the original text and the translation be read side by side, the texts are analysed in order to detect what I am calling a glitch. The glitch is a sociocultural anomaly whereby the encoded thematic interpretant found in the original is unable to cross into the translated language. It can be the result of either an unconscious misinterpretation or a willful transformation by the translator. To this purpose, the thematic interpretant, in other words the information relating to the values and beliefs of the target culture and their social coherence, serves as the expository tool. The drive behind searching for a glitch is not normative but born of a need to understand the cultural transformation occurring in translation. In applying this reading technique to Cockroach and Lullabies for Little Criminals, and their respective translations, the goal is to uncover glitches. In other words, the texts are probed for mutually exclusive cultural differences that demarcate themselves only when read using stereoscopic reading. Given that the translation of Hage’s Cockroach was undertaken and published in Quebec, the intertextual differences related to the various thematic interpretants employed in the original are complex and deeply seated. A canonical link to Kafka, a sophisticated play between languages (French and english in this case) and the skillful transformation of cultural incommensurability in the translation constitute the object of an analysis that illustrates how cultural superposition affects cultural translation. O’Neill’s Lullabies for Little Criminals was translated and published in Paris. This produces a different sort of comparison. The translation’s lack of Québécois sociocultural sensibility is used to demonstrate how the concept of Americanicity, a notion well entrenched in Québécois literature, is ignored in this transatlantic translation. This thesis nonetheless establishes a solid link between O’Neill’s novel and Québécois literature via the comparison, explicit in Lullabies, with a classic work of Québécois literature, Réjean Ducharme’s L’avalée des avalés. Key Words: translation, literature, culture, literary translation, cultural translation, French, english, Quebec, Montreal, Anglo-Québécois, Quebec literature, Anglo-Québécois literature, contemporary novel, sociolinguistics, sociology of literature, sociology of translation. ii Table of Contents Résumé ......................................................................................................................................... i Abstract ........................................................................................................................................ ii Table of Contents ...................................................................................................................... iii Acknowledgements ..................................................................................................................... v Introduction ................................................................................................................................. 7 Chapter 1: (Re)defining the field with Anglo-Québécois Literature and Translation ............... 34 Chapter 2: (Dis)embodied Languages in Cockroach (2008) and Le cafard (2009) ................ 102 Chapter 3: (Dis)located Languages in Lullabies for Little Criminals (2006), L’avalée des avalés (1966) and La ballade de Baby (2008) .................................................................................... 173 Concluding on a Sense of Continuance ................................................................................... 217 Works Cited ............................................................................................................................. 224 Annexe 1 ..................................................................................................................................... ix Annexe 2 .................................................................................................................................. xiii Annexe 3 ................................................................................................................................ xviii Annexe 4 ...................................................................................................................................
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