Calenda - L鈥檃uteur face 脿 son traducteur : la g茅n茅alogie d鈥檜ne relation asym茅trique

<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="fr" lang="fr"> <head> <meta http-equiv="Content-type" content="text/html; charset=utf-8" /> <meta http-equiv="Content-language" content="" /> <link rel="shortcut icon" type="image/x-icon" href="favicon.ico" /> <title>Calenda - L鈥檃uteur face 脿 son traducteur : la g茅n茅alogie d鈥檜ne relation asym茅trique</title> <link rel="stylesheet" type="text/css" href="https://static-origin.openedition.org/openbarre_/styles/main.css?date=2018-11-06" /> <link rel="stylesheet" type="text/css" href="css/screen.css" media="screen, print" /> <link rel="stylesheet" type="text/css" href="css/print.css" media="print" /> <script type="text/javascript" src="js/jquery.js"></script> <script type="text/javascript" src="js/jquery-ui-1.8.17.custom.min.js"></script> <script type="text/javascript" src="js/jquery.form.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-fr.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-de.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-en.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-pt.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-es.js"></script> <script type="text/javascript" src="js/jquery.sprintf.js"></script> <script type="text/javascript" src="js/calenda.js"></script> <script type="text/javascript" src="js/common.js"></script> <meta name="twitter:card" content="summary" /> <meta property="og:type" content="article" /> <meta name="twitter:site" content="@calendaSHS" /> <meta property="og:url" content="https://calenda.org/1232212" /> <meta property="og:title" content="L鈥檃uteur face 脿 son traducteur : la g茅n茅alogie d鈥檜ne relation asym茅..." /> <meta property="og:description" content="Étape incontournable de la mise en circulation à l’internationale, la traduction se voit rapidement confrontée aux conséquences d’une nouvelle conjoncture socio-économique. 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La législation supranationale en matière du droit d’auteur, qui se constitue progressivement sous l’égide de la Société des Nations, met ainsi fin à la fois à la liberté de traduction et à un statut égalitaire du traducteur. Cet ouvrage se donne pour objectif de parcourir ce chemin dans le sens inverse en reconstituant la généalogie de ce rapport des forces en présence au sein du champ éditorial afin de saisir les tenants et les aboutissants du processus de professionnalisation des métiers d’écriture et ses effets pour les pratiques de traduction littéraire.</p> </div> </div> <div id="annonce"> <p class="intitule">Annonce</p> <div id="annonce-1232212-fr" class="tabContent" lang="fr" xml:lang="fr"> <h1>Argumentaire</h1> <p class="MsoNormal" style="text-align: left;">Jusqu’à une époque somme toute assez récente, la traduction était une activité très peu codifiée : non seulement n’était-elle guère soumise à une réglementation rigoureuse de ses pratiques, ce qui donnait lieu à des interprétations très libres des textes-sources, mais, qui plus est, l’acte de traduire n’instaurait pas automatiquement des rapports dissymétriques entre un démiurge souverain et son serviteur, interprète. En effet, l’évolution relativement autarcique des marchés nationaux du livre, dont chacun possédait son propre cadre légal, qu’il n’ambitionnait pas à faire respecter par les acteurs internationaux, s’accompagnait d’une absence de hiérarchie rigide entre différents producteurs des biens culturels : les traducteurs appartenaient à la République des Lettres au même titre que les auteurs de textes originaux de sorte qu’en préparant la première édition d’<em>&oelig;uvres complètes </em>de Charles Baudelaire, les éditeurs y intégraient sans hésitation ses traductions à côté des textes originaux de l’écrivain. La mondialisation accélérée du marché de l’imprimé au tournant du XX<sup>e</sup> siècle apporte la nécessité de contrôler la commercialisation internationale des livres et donc d’uniformiser les pratiques de leur fabrication dans les pays étrangers. Étape incontournable de la mise en circulation à l’internationale, la traduction se voit rapidement confrontée aux conséquences de cette nouvelle conjoncture socio-économique. La législation supranationale en matière du droit d’auteur, qui se constitue progressivement sous l’égide de la Société des Nations, met ainsi fin à la fois à la liberté de traduction et à un statut égalitaire du traducteur.</p> <p class="MsoNormal" style="text-align: left;">L’ouvrage collectif <em>L’Auteur face à son traducteur</em>, publié aux presses universitaires François-Rabelais dans la collection « Traduire dans l’histoire », propose aux chercheurs appartenant aux champs disciplinaires les plus variés (études littéraires et culturelles, histoire, sociologie, droit, économie, linguistique) de parcourir ce chemin dans le sens inverse en reconstituant la généalogie de ce rapport des forces en présence au sein du champ éditorial afin de saisir les tenants et les aboutissants du processus d’harmonisation des marchés nationaux de l’écrit, qui détermine, depuis un siècle, les pratiques de traduction littéraire. Quatre aspects de cette question nous semblent mériter une attention particulière :</p> <p class="MsoListParagraphCxSpFirst" style="text-align: left;">a) la mise en regard de la codification du métier de traduction<a title="" href="#_ftn1" name="_ftnref1">[1]</a> (formation, certifications, formalisation des contrats, réseaux professionnels, prix et récompenses aux meilleurs traducteurs, etc.) avec la consolidation du corpus des lois en matière du droit d’auteur et de la propriété intellectuelle : La comparaison de la chronologie de ces deux processus révèle-t-elle une évolution parallèle ? Dans quelle mesure la stabilisation et le durcissement du droit d’auteur se traduisent-ils par un contrôle accru sur la production et la circulation des textes ? La subordination du travail des traducteurs au principe de respect de l’intégrité de l’&oelig;uvre originale ne se solde-elle pas par une standardisation de la production culturelle ?</p> <p class="MsoListParagraphCxSpMiddle" style="text-align: left;">b) l’histoire de traduction et l’histoire littéraire/culturelle : Quels rapports existent-ils entre le sacré de l’écrivain et la marginalisation d’autres métiers du livre, dont celui de traducteur littéraire ? L’autonomisation progressive du champ littéraire, que Pierre Bourdieu met en évidence dans <em>Les Règles de l’art</em>, n’aurait-elle pas eu une face plus sombre ? Les contraintes économiques et juridiques de la production des textes, considérées comme étant étrangères à l’art, dont se virent affranchis un petit groupe de créateurs reconnus, ne furent-ils simplement externalisées, transférées aux métiers « secondaires » du champ littéraire (traducteurs, correcteurs, éditeurs, libraires, etc.) ? Quel fut le rôle que les grands litiges entre les écrivains et leurs traducteurs (ceux de Nabokov ou de Becket sont sans doute des plus notoires) jouèrent dans la redéfinition de leurs métiers et dans la construction d’un rapport asymétrique entre l’écrivain et le traducteur littéraire ?</p> <p class="MsoListParagraphCxSpMiddle" style="text-align: left;">c) la typologie des collaborations possibles entre l’auteur et le traducteur littéraire. Examiner la diversité des formes d’interaction entre l’écrivain et le traducteur permet de révéler une diversité des pratiques impressionnantes : d’un laisser-faire bienveillant à de longues et pointilleuses discussions épistolaires en passant par des procès judiciaires intentés aux auteurs des traductions jugées infidèles, la traduction réciproque des deux pairs, ou encore l’auto-traduction, les façons de concevoir et de mener à bien la traduction d’un texte littéraire sont pourtant historiquement et culturellement marquées. Que disent de nous nos façons de réaliser la traduction d’un auteur vivant ? Quelles modifications ce <em>modus operandi</em> a-t-il subi au cours de l’histoire littéraire et/ou culturelle ? Les face-à-face entre quelques écrivains contemporains et leurs traducteurs, que nous prévoyons dans le cadre de ce colloque, pourraient nous permettre de jeter un éclairage supplémentaire sur les formes que nos sociétés confèrent au dialogue entre l’écrivain et le traducteur.</p> <p class="MsoListParagraphCxSpLast" style="text-align: left;">d) la traduction et le marché du livre : La position subordonnée du traducteur, telle qu’elle apparaît dans le rapport de Pierre Assouline, commandé par le CNL<a title="" href="#_ftn2" name="_ftnref2">[2]</a>, ne pourrait-elle pas être mise en rapport avec le mode de production des objets livres et avec la structure du marché des biens culturels ? Aussi pourrions-nous, par exemple, nous interroger si l’exigence de qualité de traduction, garantie par la fixation des normes et la standardisation des procédés, ne cache pas une taylorisation du processus de traduction visant à augmenter le rendement en en minimisant les coûts. De façon similaire, il serait possible de se poser la question si la mise en valeur de la figure de l’Écrivain, ayant pour corollaire l’occultation de la part créative du travail du traducteur, n’est pas une des manifestations de l’économie de vedettariat, qui, selon Françoise Benhamou, constitue un modèle dominant l’industrie culturelle contemporaine.</p> <p class="MsoNormal" style="text-align: left;">L’ouvrage collectif <em>L’Auteur face à son traducteur</em> entend offrir aux chercheurs de tous les domaines des sciences humaines et sociales une possibilité d’interroger les pratiques culturelles contemporaines à partir de la place qu’y occupe le travail des traducteurs.</p> <h1>Calendrier</h1> <p style="text-align: left;">(des assouplissements sont envisageables) </p> <ul> <li class="MsoNormal"> <h3>1<sup>er</sup> mars 2025 : clôture d’appel à contribution</h3> </li> <li class="MsoNormal">1<sup>er</sup> mai 2025 : remise des textes</li> <li class="MsoNormal">1<sup>er</sup> juin 2025 : retour des fiches d’évaluation des rapporteurs (double évaluation à l’avaugle)</li> <li class="MsoNormal">15 juillet 2025 : remise des textes remaniés</li> <li class="MsoNormal">1<sup>er</sup> novembre 2025 : dépôt du tapuscrit au comité éditorial des presses universitaires</li> </ul> <p class="MsoNormal" style="text-align: left;">Les propositions de contribution contenant un titre, une présentation synthétique de l’article proposé (300 mots) et une courte notice bio-bibliographique doivent être envoyées à <strong>anna.krykun@univ-tours.fr </strong></p> <h3 class="MsoNormal">avant le 1er mars 2025.</h3> <p class="MsoNormal" style="text-align: left;">Les notifications d’admission vous seront communiquées dans les huit jours qui suivent l’envoi de la proposition. </p> <h1>Comité scientifique</h1> <ul> <li>Lucile Arnoux-Farnoux, MCF en littérature comparée, Université de Tours</li> <li>Georges L. Bastin, Professeur en histoire de la traduction et en traductologie, Université de Montréal</li> <li>Jenny Brumme, Professeur de traduction et linguistique appliquée, Université Pompeu Fabra, Barcelone</li> <li>Marie-Françoise Cachin, Professeur émérite en littérature britannique, Université Paris-Diderot</li> <li>Cécile Frérot, Maître de conférences HDR en linguistique et traductologie, Université de Grenoble-Alpes</li> <li>Yves Gambier, Professeur de linguistique, Université de Turku</li> <li>Olivia Guillon, Maître de conférences en économie, Université Sorbonne Paris-Nord</li> <li>Alexandra Hillinger, Professeur agrégée en linguistique et traductologie, Université de Laval</li> <li>Martine-Emmanuelle Lapointe, Professeur agrégée en littératures francophones, Université de Montréal</li> <li>Florence Lautel-Ribstein, Maître de conférences HDR en traductologie et littérature anglaise, Université d’Artois</li> <li>Susan Pickford, Professeur assistante d’études du monde anglophone, Université de Genève</li> <li>Tiphaine Samoyault, Professeur des universités en littérature générale et comparée, Paris III Sorbonne-Nouvelle</li> <li>Peter Schnyder, Professeur émérite en littérature française et européenne, Université de Haute Alsace</li> <li>Sévérine Sofio, Chargée de recherche en sociologie, CNRS</li> <li>Marie Vrinat-Nikolov, Professeur des universités en langue et littérature bulgares, INALCO</li> </ul> <p style="text-align: left;"></p> <h1>Notes</h1> <p class="MsoFootnoteText" style="text-align: left;"><a title="" href="#_ftnref1" name="_ftn1">[1]</a> <em>Code des usages pour la traduction d’une &oelig;uvre de littérature générale, </em>signé qu’Olivier Mannoni et Antoine Gallimard signent le 17 mars 2012 au nom de l’Association des Traducteurs Littéraires de France et du Syndicat National de l’Édition, qu’ils présidaient à l’époque, en offre un exemple par excellence.</p> <p class="notice" style="text-align: left;"><a title="" href="#_ftnref2" name="_ftn2">[2]</a> <span class="notice-label"><strong> </strong></span>Pierre Assouline, <em>La Condition du traducteur</em>, Paris : Centre national du livre, 2011.</p> </div> </div> <div id="categories" class="cat"> <p class="intitule">Cat茅gories</p> <ul> <li><a href="search?primary=fsubject&fsubject=276">Repr茅sentations</a> (Cat茅gorie principale)</li> <li><a href="search?primary=fsubject&fsubject=259">Esprit et Langage</a> > <a href="search?primary=fsubject&fsubject=276">Repr茅sentations</a> > <a href="search?primary=fsubject&fsubject=277">Histoire culturelle</a></li> <li><a href="search?primary=fsubject&fsubject=259">Esprit et Langage</a> > <a href="search?primary=fsubject&fsubject=267">Langage</a> > <a href="search?primary=fsubject&fsubject=268">Linguistique</a></li> <li><a href="search?primary=fsubject&fsubject=259">Esprit et Langage</a> > <a href="search?primary=fsubject&fsubject=267">Langage</a> > <a href="search?primary=fsubject&fsubject=269">Litt茅ratures</a></li> <li><a href="search?primary=fsubject&fsubject=302">P茅riodes</a> > <a href="search?primary=fsubject&fsubject=312">脡poque moderne</a></li> <li><a href="search?primary=fsubject&fsubject=259">Esprit et Langage</a> > <a href="search?primary=fsubject&fsubject=270">Information</a> > <a href="search?primary=fsubject&fsubject=273">Histoire et sociologie du livre</a></li> <li><a href="search?primary=fsubject&fsubject=302">P茅riodes</a> > <a href="search?primary=fsubject&fsubject=317">脡poque contemporaine</a></li> <li><a href="search?primary=fsubject&fsubject=200">Soci茅t茅s</a> > <a href="search?primary=fsubject&fsubject=201">Sociologie</a> > <a href="search?primary=fsubject&fsubject=211">Sociologie de la culture</a></li> </ul> </div> <div id="eventformats"><br></div> <div id="dates"> <p class="intitule">Dates</p> <ul> <li>samedi 01 mars 2025</li> </ul> </div> <div id="motscles"> <p class="intitule">Mots-cl茅s</p> <ul> <li>traduction, litt茅rature, champ 茅ditorial, march茅 du livre, professionnalisation</li> </ul> </div> <div id="contacts"> <p class="intitule">Contacts</p> <ul> <li>Anna Krykun<br/><em>courriel :</em> anna [dot] krykun [at] univ-tours [dot] fr<br/></li> </ul> </div> <div id="refurl"> <p class="intitule">URLS de r茅f茅rence</p> <ul> <li><a href="https://icd.univ-tours.fr">ICD</a></li> </ul> </div> <div id="source"> <p class="intitule">Source de l'information</p> <ul> <li>Anna Krykun<br/><em>courriel :</em> anna [dot] krykun [at] univ-tours [dot] fr</li> </ul> </div> <div id="license"> <p class="intitule">Licence</p> <p><a rel="license" href="https://creativecommons.org/publicdomain/zero/1.0/"><img alt="CC0-1.0" class="cc" src="images/cc0-88x31.png" /></a> Cette annonce est mise 脿 disposition selon les termes de la <a rel="license" href="https://creativecommons.org/publicdomain/zero/1.0/">Creative Commons CC0 1.0 Universel</a>.</p> </div> <div id="citation"> <p class="intitule">Pour citer cette annonce</p> <p>芦 L鈥檃uteur face 脿 son traducteur : la g茅n茅alogie d鈥檜ne relation asym茅trique 禄, <span class="category">Appel 脿 contribution</span>, <em>Calenda</em>, Publi茅 le lundi 10 f茅vrier 2025, <a class="url" href="https://doi.org/10.58079/13abe">https://doi.org/10.58079/13abe</a></p> </div> </div> </div> </div> <div id="news" class="column last"> <div id="imprimable"> <a id="impression" onclick="javascript:window.open('1232212?formatage=print', '', 'menubar=yes,toolbar=no,scrollbars=yes,width=800,height=600');return false;" href="1232212?formatage=print">Imprimer</a> <a id="signaler" 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