Alchemy and Amalgam: Translation in the Works of Charles Baudelaire
Rodopi, 2004 - 301 pages
Alchemy and Amalgam explores a relatively un-researched area of the Baudelairean corpus (his translations from English) and relates them to the rest of his works. It seeks to establish a link between translational and creative writing, arguing for a reassessment of the place of translation in Baudelaire's writing method. Rather than a sideline in Baudelaire's creative activities, translation is thus shown to be a central form of dual writing at the core of his works. Baudelaire's translations from English, his constant rewriting of pre-existing material (including his own), the doublets, the transpositions d'art, and the art criticism are all based on an approach to writing which is essentially derivative but also transformative. Thus the Baudelairean experiment illustrates the limits of romantic notions of originality, creativity and genius, reminding us that all writing is intrinsically intertextual. It also shows the complexity of translation as a form of creation at the core of modern writing.
The book is one of the first of its kind to link the study the translational activity of a major writer to his 'creative' writings. It is also one of the first to provide an integrated presentation of French 19th-century translation approaches and to link them to questions of copyright and authorship in the context of the rise of capitalism and romantic views of creation and genius. It offers, therefore, a new perspective both on translation history and on literary history.
Alchemy and Amalgam will be of interest to students of translation, comparative literature and French studies.
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Translation as metaphor?
Annotated extract from Un Mangeur dopium
Index of source authors and translations
Autres éditions - Tout afficher
adaptations addition aesthetics alchemy already approach appropriation artistic Baude Baudelaire Baudelaire's Baudelaire's translations becomes bien c'est chapter choice clearly close concept concerns Confessions context corpus creation creative criticism d'une described dimension direct echoes ECII elements emphasizes English être example experience explored expressed fact fait foreign France French idea importance instance interpretation Jeune joujou language Letter literary property littéraire Mangeur d'opium metaphor nature noted opium original ouvrages painting Paris particularly passage phrase Poe's poem poetic poetry possible present prose published qu'il question Quincey Quincey's Quincey's text quoted reader reading reference relationship repetition Revue Salon seen shows similar source text story style subjectivity suggests tion tout traduction transformation translation transpositions Un Mangeur d'opium visual voice writing
Page 126 - La propriété étant un droit inviolable et sacré, nul ne peut en être privé, si ce n'est lorsque la nécessité publique, légalement constatée, l'exige évidemment, et sous la condition d'une juste et préalable indemnité.
Page 56 - Full many a gem of purest ray serene The dark unfathom'd caves of ocean bear : Full many a flower is born to blush unseen, And waste its sweetness on the desert air. Some village- Hampden, that, with dauntless breast, The little tyrant of his fields withstood, Some mute inglorious Milton here may rest, Some Cromwell guiltless of his country's blood. Th...
Page 182 - I feared to exercise this faculty; for, as Midas turned all things to gold that yet baffled his hopes and defrauded his human desires, so whatsoever things capable of being visually represented I did but think of in the darkness, immediately shaped themselves into phantoms of the eye; and by a process apparently no less inevitable, when thus once traced in faint and visionary colours, like writings in sympathetic ink, they were drawn out by the fierce chemistry of my dreams into insufferable splendour...
Page 56 - Art is long and Time is fleeting, And our hearts, though stout and brave, Still, like muffled drums, are beating Funeral marches to the grave.
Page 250 - ... tout est hiéroglyphique, et nous savons' que les symboles ne sont obscurs que d'une manière relative, c'est-à-dire selon la pureté, la bonne volonté ou la clairvoyance native des âmes. Or qu'est-ce qu'un poète (je prends le mot dans son acception la plus large) si ce n'est un traducteur, un déchiffreur...
Page 266 - ... should at least have sunk to a point of exhaustion from which all reascent, under my friendless circumstances, would soon have become hopeless. Then it was, at this crisis of my fate, that my poor orphan companion, who had herself met with little but injuries in this world, stretched out a saving hand to me. Uttering a cry of terror, but without a moment's delay, she ran off into...
Page 157 - Avez-vous éprouvé, vous tous que la curiosité du flâneur a souvent fourrés dans une émeute, la même joie que moi à voir un gardien du sommeil public, — sergent de ville ou municipal, la véritable armée, — crosser un républicain ? Et comme moi, vous avez dit dans votre cœur :
Page 54 - ON the Mountains of the Prairie, On the great Red Pipe-stone Quarry, Gitche Manito, the mighty, He the Master of Life, descending, On the red crags of the quarry Stood erect, and called the nations, Called the tribes of men together.
Page 193 - I often fell into these reveries upon taking opium ; and more than once it has happened to me, on a summer night, when I have been at an open window, in a room from which I could overlook the sea at a mile below me, and could command a view of the great town of L , at about the same distance, that I have sat from sunset to sunrise, motionless, and without wishing to move.
Page 229 - Delacroix, lac de sang hanté des mauvais anges, Ombragé par un bois de sapins toujours vert, Où, sous un ciel chagrin, des fanfares étranges 32 Passent, comme un soupir étouffé de Weber...