This article deals with cultural adaptation and censorship in translation. We start by introducing the different kinds of censorship in texts, including self-censorship. Translation appears to be a special type of rewriting (Lefevere) and reveals the influence of ideological and cultural power: this can explain biases in translators’ choices. As a case in point, we analyse three translations of Maurice Leblanc’s novel Le bouchon de cristal (1912), published in 1951, 2010 and 2012 (the last one is by the author of the present paper). The first version in particular tries to hide some unpleasant and “outlaw” sides of the protagonist, Arsène Lupin. In other excerpts, older translations deliberately manipulate the original text by omitting allusions to sexuality or by attributing angel-like connotations to a female character.
Retraduire Maurice Leblanc : Arsène Lupin et l’affaire des censeurs
TALLARICO, Giovanni Luca
2016-01-01
Abstract
This article deals with cultural adaptation and censorship in translation. We start by introducing the different kinds of censorship in texts, including self-censorship. Translation appears to be a special type of rewriting (Lefevere) and reveals the influence of ideological and cultural power: this can explain biases in translators’ choices. As a case in point, we analyse three translations of Maurice Leblanc’s novel Le bouchon de cristal (1912), published in 1951, 2010 and 2012 (the last one is by the author of the present paper). The first version in particular tries to hide some unpleasant and “outlaw” sides of the protagonist, Arsène Lupin. In other excerpts, older translations deliberately manipulate the original text by omitting allusions to sexuality or by attributing angel-like connotations to a female character.
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