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Extra resources for The Nature of Translation: Essays on the Theory and Practice of Literary Translation

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Koptilov, «Transformacija chudozestvennogo obraza ν poeticeskom perevode» (La transformation de l'image litteraire dans la traduction de poesies), dans Teorija i kritika perevoda (La theorie et la critique de la traduction; red. B. A. Larin; Leningrad, 1962), pp. 34-41. 3 Roland Barthes, «L'activity structuraliste», dans ses Essais critiques (Paris, 1964), pp. 213-220. 4 Micha! Glowinski, Poetyka Tuwima a polska tradycja literacka (La poetique de [Julian] Tuwim et la tradition litteraire en Pologne; Varsovie, 1962); Janusz Slawii'iski, «Syrchronia i diachronia w procesie historycznoliterackim» (Synchronie et diachronie dans le processus historique litteraire), dans Proces historyczny w literaturze i sztuce (Le processus historique dans la litterature et les arts; Varsovie, 1967), pp.

21. a Viktor V. Koptilov, «Transformacija chudozestvennogo obraza ν poeticeskom perevode» (La transformation de l'image litteraire dans la traduction de poesies), dans Teorija i kritika perevoda (La theorie et la critique de la traduction; red. B. A. Larin; Leningrad, 1962), pp. 34-41. 3 Roland Barthes, «L'activity structuraliste», dans ses Essais critiques (Paris, 1964), pp. 213-220. 4 Micha! Glowinski, Poetyka Tuwima a polska tradycja literacka (La poetique de [Julian] Tuwim et la tradition litteraire en Pologne; Varsovie, 1962); Janusz Slawii'iski, «Syrchronia i diachronia w procesie historycznoliterackim» (Synchronie et diachronie dans le processus historique litteraire), dans Proces historyczny w literaturze i sztuce (Le processus historique dans la litterature et les arts; Varsovie, 1967), pp.

Le facteur embryonnaire et en meme temps determinant du contact du traducteur avec l'oeuvre — nous en reparlerons plus loin — est le moment oil il aborde l'oeuvre. L'oeuvre s'inscrit en tant qu'un ensemble dans la memoire de l'artiste par un echo particulier, par un signal complexe qui est difficile ä determiner. C'est souvent le sentiment d'un ton, d'une couleur, d'une chaleur, d'un goüt, d'un mouvement, de quelque chose qui est difficile ä exprimer par des mots. Et pourtant c'est la resonance fondamentale de l'oeuvre dans son ensemble, dans la memoire de l'artiste, la resonance de sa substance essentielle qui se manifeste par des elements et des rapports exterieurs, susceptibles d'etre decrits.

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