By Baudelaire, Charles; Baudelaire, Charles; Salines, Emily
Alchemy and Amalgam explores a comparatively un-researched sector of the Baudelairean corpus (his translations from English) and relates them to the remainder of his works. It seeks to set up a hyperlink among translational and inventive writing, arguing for a reassessment of where of translation in Baudelaire’s writing approach. instead of a sideline in Baudelaire’s artistic actions, translation is therefore proven to be a imperative kind of twin writing on the center of his works. Baudelaire’s translations from English, his consistent rewriting of pre-existing fabric (including his own), the doublets, the transpositions d’art, and the artwork feedback are all according to an method of writing that's primarily by-product but additionally transformative. hence the Baudelairean test illustrates the boundaries of romantic notions of originality, creativity and genius, reminding us that every one writing is intrinsically intertextual. It additionally exhibits the complexity of translation as a kind of construction on the center of contemporary writing.
The ebook is among the first of its style to hyperlink the research the translational task of a huge author to his ‘creative’ writings. it's also one of many first to supply an built-in presentation of French 19th-century translation ways and to hyperlink them to questions of copyright and authorship within the context of the increase of capitalism and romantic perspectives of production and genius. It bargains, for that reason, a brand new point of view either on translation background and on literary background.
Alchemy and Amalgam can be of curiosity to scholars of translation, comparative literature and French experiences
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Extra resources for Alchemy and amalgam : translation in the works of Charles Baudelaire
297-98. 98 with from one exception (the extract from ‘The Black Cat’ is in fact translated by Mme Meunier, as W. T. Bandy points out). 97 L’amour du métier? 49 ture. There are some differences, however. First, and most visibly, the addition of an epigraph (two quotations: one from Poe’s ‘The Raven’ and one from Gautier’s ‘Ténèbres’), which has the effect of extending even more the intertextual web in which the text is caught. In addition, the long quotations from Poe’s tales present in ouvrages are omitted from the 1856 essay; in fact they were not necessary as the essay accompanied Baudelaire’s translations of some of Poe’s tales.
Poe, p. 384, EAP, p. 505 (emphases added). 87 Mary Ann Caws, ‘Insertion in an Oval Frame’, p. 110. 86 L’amour du métier? 45 Mary Ann Caws in the socket / bec pair may be compensated by the term ‘glacis’, evocative of a possibly morbid ‘glacé’. There are many other passages reminiscent of the style of Baudelaire’s poetry, and the prose poems in particular: The chateau into which my valet had ventured to make forcible entrance, rather than permit me, in my desperately wounded condition, to pass a night in the open air, was one of those piles of commingled gloom and grandeur which have so long frowned among the Appennines, not less in fact than in the fancy of Mrs Radcliffe.
31 Beside the presence of Baudelaire’s subjectivity in the choice of stories to be translated and subsequent organisation of the volumes, it is noteworthy at this stage to emphasize the recurrence of themes of interpretation and decoding at the core of many of Poe’s tales, and which may be seen as mises en abyme of the translating act, itself based on interpretation and decoding. 35 Even more strikingly, the final chapter of Gordon Pym, ‘Conjectures’, centres around the decoding of mysterious words in ancient tongues spelt out by the shape of some caves.
Alchemy and amalgam : translation in the works of Charles Baudelaire by Baudelaire, Charles; Baudelaire, Charles; Salines, Emily