By Emily Salines
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 procedure. instead of a sideline in Baudelaire’s artistic actions, translation is therefore proven to be a vital 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 in accordance with an method of writing that's basically spinoff but in addition transformative. therefore the Baudelairean scan 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 kind of construction on the middle of recent writing.
The ebook is among the first of its variety to hyperlink the research the translational job 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 techniques 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 this reason, a brand new standpoint either on translation background and on literary background.
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
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. T. Bandy to state that It is curious to observe that the passages that were sacrificed in 1856 were, for the most part, precisely those which were the distinctly original ones, expressing Baudelaire’s own ideas and owing nothing to Daniel or Thompson.
505. Letter to Michel Lévy, 9 March 1865, CII, p. 471. 79 Letter to Madame Paul Meurice, 18 February 1865, CII, pp. 467-68. (Very similar comments were made in a letter to Michel Lévy on 15 February 1865). 78 42 Alchemy and Amalgam Ironically, such criticisms could easily be applied to the anglicism noted earlier. However, the principle underlying this condemnation of another translation – that a French translation must read like French, and not like translated English, but still render the original text accurately – seems to have been the guiding principle of Baudelaire’s translations of Poe.
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.
Alchemy and Amalgam: Translation in the Works of Charles Baudelaire by Emily Salines
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