By Emily Salines
Alchemy and Amalgam explores a comparatively un-researched region 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 strategy. instead of a sideline in Baudelaire’s inventive actions, translation is therefore proven to be a primary kind of twin writing on the middle 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 is primarily spinoff but additionally transformative. therefore the Baudelairean test illustrates the boundaries of romantic notions of originality, creativity and genius, reminding us that each one writing is intrinsically intertextual. It additionally exhibits the complexity of translation as a kind of construction on the center of contemporary writing.
The e-book is without doubt one of the first of its variety to hyperlink the examine the translational task of an enormous 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, as a result, a brand new point of view either on translation background and on literary background.
Alchemy and Amalgam may be of curiosity to scholars of translation, comparative literature and French reports.
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Additional info for Alchemy and Amalgam: Translation in the Works of Charles Baudelaire
54 Alchemy and Amalgam To the Mountains of the Prairie, To the Great Red Pipe-Stone Prairie. Similarly, in ‘L’Enfance d’Hiawatha’, the first stanza summarizes more than a page of Longfellow’s verse. In the prose version, however, the above passage is still present, a fact which suggests greater intervention on the part of the Baudelaire in the verse version:110 Par les rivières et par les prairies vinrent les guerriers de toutes nations, Delawares et Mohawks, Choctaws et Comanches, Shoshonies et Pieds-Noirs, Pawnies et Omawhas, Mandans et Dacotahs, Hurons et Ojibways; tous les querriers se rassemblèrent, attirés par le signal de la Pipe de Paix, sur le Coteau de la Prairie, dans la grande Carrière de Terre de Pierre Rouge.
In ‘Les Souvenirs de M. 68 Similarly, in Gordon Pym, most place names and distances are expressed in English, as well as names of animals, and objects without equivalent in French. The very title of Le Cottage Landor uses an English word, and one can find in ‘Le Domaine d’Arnheim’ an incursion of English with the phrase ‘la fashion du moment’ (following the French vogue of the word ‘fa64 EAP, p. 248. EAP, p. 237. 66 EAP, p. 238. 67 EAP, p. 143. 68 EAP, pp. 326-27. The italics are Baudelaire’s; their effect is both to emphasize the foreign phrases and to create a distance from the foreign.
92 Caws, p. 104. 93 Caws, p. 111. 94 Berman, L’Épreuve de l’étranger, p. 16. 91 L’amour du métier? 47 these texts show, on Baudelaire’s part, concerns of closeness and faithfulness to their originals. This is not to say, however, that they are carbon-copies of the sources – a concept in itself alien to the act of translation. On the contrary, they involve, to varying degrees, the intervention of the translator. At the most superficial levels, this intervention may appear in mistranslations, through which, consciously or not, the translator modifies the text.