By Baudelaire, Charles; Baudelaire, Charles; Salines, Emily
Alchemy and Amalgam explores a comparatively un-researched zone 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 artistic writing, arguing for a reassessment of where of translation in Baudelaire’s writing approach. instead of a sideline in Baudelaire’s inventive actions, translation is hence proven to be a principal 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 in response to an method of writing that is primarily by-product but additionally transformative. hence 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 indicates the complexity of translation as a sort of production on the center of recent writing.
The ebook is among the first of its variety to hyperlink the examine the translational task of a massive 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 construction and genius. It bargains, for that reason, a brand new viewpoint either on translation heritage and on literary historical past.
Alchemy and Amalgam should 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
In La Chute de la maison Usher, Roderick and his sister are two sides of the same personality. 37 Walter Benjamin, ‘The Task of the Translator’, translated by Harry Zohn, in Theories of Translation, ed. by Rainer Schulte and John Biguenet (Chicago: Chicago University Press, 1992), pp. 71-82. 38 The importance of the paratext in the ‘transaction’ between author and readers has been established by Gérard Genette in Seuils (Paris: Seuil, 1987). L’amour du métier? 33 tantly, it presents his own reading of his author’s character, and reveals Baudelaire’s perception as central.
Kennedy, qui présidait le comité, et lui donna l’envie d’examiner lui-même les manuscrits. 106 What we have is a summary of ouvrages, and the much more controlling presence of Baudelaire’s voice. Baudelaire’s sense of affinity with Poe is expressed in the reference to ‘certains êtres déclassés’, while Poe’s enduring guignon, even in times of luck, is arguably implied in Baudelaire’s insistence on the fact that he won both prizes but was awarded only one. What we have in this passage, then, is an example of a gradual integration of the foreign text into Baudelaire’s prose, an integration made all the more visible by the co-existence of ouvrages and œuvres in the published corpus of Baudelaire’s works.
238. Le Poème du hachisch, ŒCI, p. 428. 58 The references to opium also take a Baudelairean tone in ‘Ligeia’, in particular in the description of the bedroom. 59 EAP, p. 476. 60 see ‘Que diras-tu ce soir’ and ‘Hymne’. 61 The figure of the albatros is present, while the sea is described in similar terms as in ‘L’Homme et la mer’. 62 EAP, p. 185. 63 EAP, p. 380. 64 In ‘La Chute de la maison Usher’, the oxymoron in ‘une nuit d’orage affreusement belle’ conjures up a Baudelairean aesthetics of opposition, while the phrase ‘antique bouquin’, by its mix of registers belongs fully to Baudelaire’s style rather than Poe’s.