Facultatea de Litere / Faculty of Letters
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Item LITERATURA FRANCEZĂ DESPRE ABSURD: UN EXPORT ESTIC? (E. IONESCO ȘI LITERATURA ROMÂNĂ DE LA HOTARUL SECOLELOR XIX-XX)(2023) Taraburca, EmiliaConcepția despre absurd, răspândită în Europa la începutul și la mijlocul secolului al XX-lea prin studiile filozofilor germani și, în special, prin operele artistice ale lui J.-P. Sartre și A. Camus (de asemenea filozofi), își găsește expresia plenară în teatrul absurdului, una dintre cele mai expresive forme de protest, o semnificativă modalitate de a spune «nu» dispariției valorilor unei societăți care a demonstrat falimentul civilizației moderne. Lider incontestabil al teatrului absurdului este scriitorul român de limbă franceză Eugène Ionesco. În timp ce Camus susținea că precursori ai literaturii despre absurd și înstrăinare sunt Dostoievski și Kafka, pentru Ionesco, inclusiv prin felul de a «lucra» limbajul (deconstrucția limbajului academic), drept modele, în mare măsură, servesc opera lui Ion Luca Caragiale (care recurge în scrierile sale la «dialogul absurd», desemantizat de valențele sale tradiționale, când limbajul încetează a mai fi mesager de informație și cade în banalitate și în dezagregare) și cea a lui Urmuz, apreciat de critica literară ca precursor și părinte al absurdului, «unul dintre premergătorii revoltei artei universale» (E. Ionesco), a cărui moștenire artistică a fost preluată de T. Tzara în dadaism, iar apoi în suprarealism, realizând o deschidere spre literatura de avangardă europeană. La începutul secolului al XX-lea absurdul se regăsește și în dadaism, care, prin «poetica» asociațiilor libere și a supremației hazardului ce elimină orice intervenție a rațiunii umane, prin spectacolele scandaloase, considerate o sfidare a bunului-simț, a pregătit terenul pentru teatrul absurdului. În felul acesta, putem conchide că și opera scriitorilor români de la hotarul secolelor XIX-XX și de la începutul secolului al XX-lea poate fi atestată ca punct de referință și de pornire a literaturii franceze și universale despre absurd. The conception about Absurd spread in Europe in the early and mid-twentieth century, through German philosophers studies, but especially through the artistic works of J.-P. Sartre and A. Camus (professional philosophers also), finds its plenary expression in the Theater of the Absurd, one of the most expressive forms of protest, a significant modality to say «No» to the values disappearance of a society that has demonstrated modern civilization bankruptcy. The undisputed leader of the Theater of the Absurd is the Romanian French-language writer Eugene Ionesco. If Camus has argued that the forerunners of literature about Absurd and Alienation are Dostoevsky and Kafka, then for Ionesco, including through the way of «working» the language (deconstruction of academic language), as models largely serve the work of Ion Luca Caragiale (who uses in his writings the «absurd dialogue», desemanticized from its traditional valences, when language ceases to be a messenger of information and falls into banality and disaggregation) and that of Urmuz, appreciated by literary critics as the forerunner and father of the Absurd, «one of the anticipators of universal art revolt» (E. Ionesco), whose artistic heritage has been assumed by T. Tzara in Dadaism, and then in Surrealism, performing an opening to European avant-garde literature. At the beginning of the twentieth century, the absurd is also found in Dadaism, which through the free associations «poetics» and the hazard supremacy, that eliminates any intervention of human reason, through scandalous shows, considered as a defiance of common sense, has paved the way for the Theater of the Absurd ones. In this manner, we can conclude that the Romanian writers work of the 19th – 20th centuries limit and of the beginning of the 20th century can also be attested as a reference and starting point for the French and universal literature about Absurd.Item LA TERMINOLOGIE DU DOMAINE DE L’ARCHITECTURE DANS LE ROMAN DE VICTOR HUGO NOTRE-DAME DE PARIS ET DANS SA TRADUCTION EN ROUMAIN(2022) Zbanţ, LudmilaDans le présent article, nous nous sommes proposé l’examen des effets pragmatiques créés dans l’original et leur transfert dans la traduction en roumain du roman de Victor Hugo Notre-Dame de Paris, notamment à travers une couche informative importante exprimée par la terminologie du domaine de l’architecture. La présence des éléments liés à l’architecture de la ville de Paris et plus directement à la cathédrale Notre-Dame est remarquable dans le roman et comporte de nombreuses charges informatives, pragmatiques, c’est-à-dire établissent un lien direct avec le lecteur. Nous considérons que cette construction permet à l’auteur de s’adresser à un public au-delà de l’époque historique évoquée dans le roman, allant directement vers le public de son époque en créant un message qui a le but d’éveiller chez ce public des sentiments patriotiques et pour cela Victor Hugo fait passer l’imaginaire du lecteur de l’espace de la ville de Paris et de la cathédrale Notre-Dame à l’époque du Moyen Âge vers la réalité de son temps et inversement. La structure pluri-textuelle (le texte dans le texte) qui permet l’utilisation dans un texte littéraire des espaces sémiotiques variés et les effets pragmasémantiques existant dans l’original se retrouvent presque parfaitement dans les traductions analysées ce qui est dû probablement à une distance culturelle partant des sources communes et donc facile à dépasser. This article examines the pragmatic effects created in the original and their conveyance in the Romanian translation of the novel Notre-Dame de Paris by Victor Hugo, in particular, via an important informative layer expressed by the architecture terminology. The occurrence of these elements in connection with the city of Paris, and directly with the Notre-Dame Cathedral is fascinating in the novel and includes multiple informative, pragmatic facts that directly relate to the reader. We believe that such a construction allows the author to address a public who is beyond the historical epoch invoked in the novel by directly targeting the public of his epoch through a message created to arouse patriotic feelings in this very public. Therefore, Victor Hugo shifts the reader’s imaginary from the space of the city of Paris and the Notre-Dame Cathedral during the Middle Ages towards the reality of his times and back again. The pluri-textual ensemble (a text inside a text) that allows the employment of different semiotic spaces and pragmatic and semantic effects in the original literary text perfectly fit into the analysed translations, most probably due to a cultural distance ensuing from common sources and subsequently, easy to overcome.Item CHALLENGES IN TRANSLATING LEGAL TERMINOLOGY(2023) Corcodel, SvetlanaThis research work is a proof of an attempt to find peculiar aspects of legal terminology as a part of the language vocabulary. It helped us understand better the process of terms evolution and their development within the framework of one specialized language. It is a kind of analysis and foreseeing of the legal terms creation, assimilation and their implementation into the actual specialized vocabulary. This research is a good source of information for terminologists helping them to choose what term should be used, what information and meaning it designates and when it should be used. This field needs a permanent study, because this specialized field is always in evolution that depends on the country development and progress.Item GUSTAVE FLAUBERT: ÎNTRE SENSIBILITATE ROMANTICĂ ȘI IMPARȚIALITATE REALISTĂ(2023) Gheorghiță, AnaArta obiectivă a unui romancier este ilustrată prin eforturile sale de a părea absent din narațiune, când, de fapt, prezența sa discretă se materializează plenar în ideile și concluziile conținute în fiecare rând scris. Stilul flaubertian este marcat de tendința spre impersonalitate și imparțialitate, aceste calități manifestânduse prin efortul intelectual al scriitorului de a se transpune în personajele sale. Gustave Flaubert a creat la confluența dintre două moduri de gândire și de percepere a lumii – romantismul și realismul, reușind să-și elaboreze propriul stil artistic, bazat pe combinația inconfundabilă dintre metoda științifică a realismului, însoțită de documentarea precisă și rigurozitatea descrierilor, pe de o parte, și imaginația debordantă, atenția sporită acordată trăirilor sentimentale ale personajelor, pe de altă parte. Astfel, atestăm în creația lui Gustave Flaubert două tendințe distincte: prima, care constă în admirația pentru Hugo și influența lui Chateaubriand, datorată adolescenței scriitorului petrecute în plină epocă a romantismului, și a doua, care se manifestă începând cu anul 1849, când disciplina realistă va înfrâna, dar nu va învinge definitiv, această natură pasionată și entuziasmată, deoarece inima sa va rămâne pentru totdeauna plină de tandrețe și sensibilă la orice zvâcnire de romantism. The objective art of a novelist is illustrated through his efforts to seem absent in the narrative, when, in fact, his discreet presence is fully materialized in the ideas and conclusions contained in each written line. The Flaubertian style is marked by the tendency towards impersonality and impartiality, these qualities being manifested by the writer’s intellectual effort to transpose himself into his characters. Gustave Flaubert has created at the confluence of two essential ways of thinking and perceiving the world – Romanticism and Realism, managing to develop his own artistic style, consisting of the unmistakable combination between the scientific method of Realism, accompanied by precise documentation and descriptions rigor, on the one hand, and the overflowing imagination, the increased attention paid to characters sentimental feelings, on the other hand. Thus, we attest in Gustave Flaubert’s creation two distinct tendencies: the first, which consists in admiration for Hugo and Chateaubriand’s influence, due to the writer’s adolescence spent in full Romantic era and the second, which is manifested since 1849, when Realistic discipline will restrain, but will not definitively overcome this passionate and enthusiastic personality, because his heart will forever remain full of tenderness and sensitive to any Romantic impulse.Item TRANSFERTS INTERSÉMIOTIQUES ET TRANSFERT DES SENS DANS LES COMÉDIES FRANÇAISES SOUS-TITRÉES EN ROUMAIN(2023) Grădinaru, AngelaCet article se focalise sur l’étude de la traduction de l’humour dans le domaine audiovisuel. Notre objectif est d’explorer la manière dont certains types d’humour sont traduits du français vers le roumain via le sous-titrage de la comédie La ch’tite famille, d’identifier les problèmes rencontrés par le traducteur dans le processus du transfert des expressions humoristiques, des jeux de mots dans ces productions audiovisuelles, de déterminer les solutions existantes auxquelles le traducteur peut recourir pour résoudre ces problèmes. La traduction de l’humour dans le domaine audiovisuel pose des défis qui sont soulignés par les contraintes propres à ce domaine et par les particularités du type de production audiovisuelle analysé. Le transfert de l’humour d’une langue à une autre et sa compréhension en traduction audiovisuelle peuvent se produire au niveau non verbal (images, sons, effets sonores) et au niveau verbal (expressions humoristiques, jeux de mots) qui sont des éléments importants pour recevoir et reproduire l’humour au niveau intralinguistique et interlinguistique. Le contenu sémiotique de la production audiovisuelle qui comporte quatre canaux: verbalauditif (dialogue, bruit de fond, etc.), non verbal-auditif (sons naturels, effets sonores, musique), verbal-visuel (sous-titrage, tout texte apparaissant dans le film comme des lettres, des livres, des journaux, de la publicité, etc.) et non verbaux-visuels (la composition de l’image, la position et le mouvement des caméras vidéo, etc.) contribuent à construire le sens et obligent le traducteur à condenser les éléments transmis dans le message à travers une seule dimension (le texte écrit). L’humour peut être conditionné par les mots qui sont utilisés intentionnellement (jeu de mots) et involontairement. Par conséquent, la simple substitution de ces mots par d’autres comme des synonymes ou des équivalents est parfois propice à la perte de l’effet humoristique. La majorité des problèmes auxquels un traducteur peut être confronté trouvent également leur origine dans des connotations socioculturelles. Les stratégies utilisées par le traducteur pour transférer des séquences comiques sont illustrées par des exemples tirés de la comédie française La ch’tite famille. The present article represents a study of humour in audiovisual translation. Our aim is to explore the way certain types of humour are translated from French into Romanian via subtitling of the comedy La ch’tite famille (English title: Family is Family), to identify the problems the translator encounters in the process of rendering humour in these audiovisual productions, to determine the existent solutions the translator can resort to in order to solve these problems. Rendering humour in audiovisual translation poses some challenges which are emphasised by the constraints specific of this domain and by the peculiarities of the type of audiovisual production under analysis. The transfer of humour from one language into another and its understanding in audiovisual translation can occur at nonverbal level (images, sounds and sound effects) and at verbal level (humourous expressions, wordplay) which are important elements in receiving and reproducing humour at intralinguistic and interlinguistic level. The semiotic content of the audiovisual production that contains four channels: verbal-auditory (dialogue, background noise, etc.), nonverbal-auditory (natural sounds, sound effects, music), verbalvisual (subtitling, any text that appears in the film like letters, books, newspapers, advertising, etc.) and nonverbal-visual (the composition of the image, the position and movement of video cameras, etc.) contribute to building the meaning and compel the translator to condense the elements transmitted in the message through a single dimension (the written text). Humour can be conditioned by the words that are used intentionally (wordplay) and unintentionally. Therefore, the mere substitution of these words with others like synonyms or equivalents is sometimes conducive to the loss of the humorous effect. The majority of the problems a translator may face also originate in sociocultural connotations. The strategies used by the translator in transferring humorous units of meaning are illustrated through examples from the French comedy Family is Family.Item IDENTITÉ EN ACTION: LA DOUBLE VISÉE AXIOLOGIQUE DES TEXTES CIORANIENS TRADUITS EN FRANÇAIS(2023) Căpățînă, OxanaLa traduction représente une manière d’aborder la relation d’Émile Cioran avec la Roumanie, sans être victime de ses lignes provocatrices ni surmonter son récit compliqué. Si Cioran a catégoriquement refusé de parler de ses écrits roumains, les critiques occidentaux n’ont pas hésité à suivre son exemple. Pour certains, il était difficile d’imaginer pourquoi quelqu’un se soucierait de la culture roumaine «mineure» en premier lieu. On observe cependant une prédilection de Cioran pour l’élargissement de l’intuition acquise par le traducteur, qui porte non seulement sur le texte lui-même, mais aussi sur l’auteur. Cioran considère qu’une traduction est un jugement de valeur, un commentaire, un miroir dans lequel l’auteur peut facilement contempler les erreurs de son esprit. Ainsi, une traduction nous trahit plus que le texte ne nous trahit. L’intérêt de Cioran pour la traduction est également motivé par l’idée de l’identité. L’utilisation fréquente du pronom «nous» représente un lien entre sa position théorique sur le transfert traductionnel et ses textes traduits ou les traductions faites par lui-même en d’autres langues. Dans ces corpus, l’auteur se retrouve dans de multiples rôles imbriqués: la première personne (au pluriel) est l’auteur, mais aussi le traducteur. Et l’identité roumaine transparaît, volens nolens, dans ses messages français, impliquant de la clémence et de la noblesse, cette fois-ci. Translation represents a way to approach Cioran’s relationship with Romania, without falling victim to his provocative remarks or ironing out his complicated narration. If Cioran himself was hesitant to talk about his Romanian writings, Western critics in turn hastened to follow his example. Some critics have found it hard to imagine why anyone would care about Romanian «minor» culture, in the first place. Other comments on the translation process underline its importance for Cioran. For example, the insight gained by the translator extends not only through the text under consideration, but also towards the author. Cioran was thinking that translation is a judgment, a commentary or a mirror where the author can contemplate, at his ease, the faults of his mind. So, a translation betrays us more than it betrays our text. Therefore, Cioran’s interest in translation is like a place where one gets an idea of identity. The use of «we» in his fragmented texts links his theoretical position to the current state of Cioran’s translated texts, where he finds himself in multiple overlapping roles: the first person plural is the author, but also the translator. But his Romanian identity appears, volens nolens, in his French messages, denoting clemency and nobility, this time.Item QUELQUES STRATÉGIES DE TRADUCTION EN ROUMAIN DES RÉALITÉS DE LA SOCIÉTÉ FRANÇAISE CONTEMPORAINE (À PARTIR DU ROMAN SÉROTONINE DE MICHEL HOUELLEBECQ)(2023) Zbanț, Ludmila; MANOLI, IonLa traduction littéraire connaît à l’heure actuelle des influences visibles dues aux nouvelles réalités qui se créent dans l’espace des relations interhumaines. Si traditionnellement, on mettait l’accent sur le caractère national d’un texte littéraire dépendant de la réalité socioculturelle de son origine, ce qui influençait en effet les compétences requises pour le bon exercice d’un traducteur littéraire, à présent, le choix du cadre conceptuel et respectivement des stratégies de traduction sont fortement influencés par les changements des contenus et des formes des œuvres littéraires et de leur reflet par le biais des courants littéraires enregistrés au niveau global. Les corpus littéraires nous offrent des contenus qui reprennent la perspective transculturelle issue du mouvement de la globalisation dans tous les domaines et celui des belles lettres n’en est pas une exception. Cette constatation pousse vers une réévaluation des principes et des techniques de traduction à appliquer pour ce type de texte et, en premier lieu, nous comprenons que le traducteur doit posséder des connaissances spécifiques, qui vont au-delà des deux langues et deux cultures, parties de la traduction. Dans ces circonstances, la localisation du texte sera conjuguée aux poly-systèmes, c’est-à-dire, l’étude des phénomènes littéraires ainsi que de leurs traductions requiert une perspective internationale, voire mondiale. Le roman Sérotonine de Michel Houellebecq est un modèle de ce type et notre étude visera une approche actualisée des stratégies de traduction à partir des compétences d’un traducteur et de son rapport avec les destinataires de son travail. Literary translation is currently undergoing visible influences due to the new realities that are being created in the area of interhuman relations. If traditionally the emphasis was on the national character of a literary text depending on the socio-cultural reality of its origin, which in fact influenced the skills required for the proper exercise of a literary translator, then nowadays the choice of the conceptual framework and of the translation strategies respectively is strongly influenced by the changes in the contents and forms of the literary works and their reflection through international literary movements. The literary corpus offers us content that reflects the transcultural perspective of globalisation in all fields including literature. This observation leads to a re- evaluation of the principles and techniques of translation to be applied to this type of text and, first of all, we understand that the translator must have specific knowledge that goes beyond the two languages and two cultures that are part of the translation. In these circumstances, the localisation of the text will be combined with polysystems, which means that the study of literary phenomena as well as their translation requires an international, even global perspective. Michel Houellebecq’s novel Serotonin is a model of this type, and our study aims at an updated approach of translation strategies based on the translator’s skills and his/ her relationship with the recipients of his/ her work.Item CREAȚIA LUI NIKOS KAZANTZAKIS ȘI FRANȚA – ÎNTRE ATRACȚIE ȘI RESPINGERE(2023) Grossu-Chiriac, CristinaNikos Kazantzakis (1883-1957) est un des plus profonds écrivains de la littérature européenne, un des écrivains grecs les plus traduits, un fervent combattant de la culture, de la liberté et de l’Esprit. Né en Crète, éduqué dans une école catholique française de Naxos, le français devient presque sa deuxième langue maternelle. La langue et la culture françaises l’ont beaucoup alimenté et influencé dans sa pensée et sa création. Nikos Kazantzakis a beaucoup lu en français, a traduit un grand nombre d’œuvres du français en grec (y compris des livres pour les enfants), une grande partie de sa correspondance étant menée en français. Il a même écrit deux romans directement en français, par exemple Toda Raba et Kapetan Elia. Cependant sa relation avec la France, un pays où il a souvent séjourné, est assez contradictoire, étant marquée par des hauts et des bas. L'article porte sur les influences françaises, sur les attirances et les rejets dans l’œuvre du grand Crétois, qui, malgré tout, reste un écrivain profondément grec. Nikos Kazantzakis (1883-1957) is one of the most profound writers of European literature, one of the most translated Greek writers, a fervent fighter for culture, freedom and human dignity. Born in Crete, educated in a French Catholic school in Naxos, than studying later also in Paris (1907-1909), French has become almost as a second mother tongue for the greek writer. The French language and culture greatly nourished and influenced him in his thinking and creation. Nikos Kazantzaki read extensively in French, translated a large number of works from French into Greek (including children’s books), with much of his correspondence being conducted in French. He even wrote novels directly in French – Toda Raba and The Rock Garden, for exemple. However, his relationship with France, a country where he often stayed, is rather contradictory, being marked by ups and downs. The article focuses on the French influences, on the attractions and rejections in the work and thinking of the great Cretan, who despite everything remains a profoundly Greek writer.Item EMINESCOLOGIA ȘI EXTREMUL ORIENT ÎN DIALOGURILE LUI MIHAI CIMPOI(ProLibra, 2022) Stajila, EmiliaThe literary critic Mihai Cimpoi lets the curtain fall and presents us with some dialogues with the representatives of China and Japan. Reading these scholarly discussions, we can dive among the Alpha and Omega of Mihai Eminescu’s works subtleties, we also manage to pick from the precious seeds of universality and crystallize interculturality – the basis of precious axiology. Academician Mihai Cimpoi’s dialogues with the representatives of China and Japan profile the attitude of society in the Far East towards the values identified in Romanian literature, towards our Light (which the Chinese consider to be theirs). These discussions develop the props of universal literary criticism and offer a new grid for presenting interculturality, a spectrum of ideas woven in a friendly atmosphere, a constructive dialogue between personalities of phenomenal erudition.Item DIALOGUL INTERCULTURAL ÎN CREAŢIA LUI LUCIAN BLAGA(CEP USM, 2020) Fonari, VictoriaDintre multe aspecte cercetate şi estimate în creaţia filosofică al lui Lucian Blaga unul fundamental îl constituie gândirea mitică şi gândirea magică. În lucrarea sa Trilogia valorilor îşi argumentează viziunea selectând argumente din varii spaţii culturale. Respectiv, percepem în studiul său un dialog dintre miturile Greciei antice, panteonul zeităţilor popoarelor germanice, legendele poporului român, explicarea simbolisticii ritualului triburilor africane etc. Această modalitate de investigare a noţiunilor relevă tendinţa de a nu cădea în capcana generalizării fără argumente esenţiale. De aceea, dialogul cultural este bine echipat, din optica unui obiectiv fundamental, a depista legităţi de a aproba sau a contesta opinii cu privire la viziunea lumii din optica gândirii arhetipale. Gândirea mitică îl ghidează spre o stipulare într-o poziţionare de atitudine fie de acceptare, fie de respingere a teoriilor lui S. Freud şi ale lui G. Jung. Mitul este cercetat multiplan, perspectiva trecerii de la haos la ordine din cultura elină îi oferă posibilitatea de a dezvălui tangenţa dintre lumea olimpică şi lumea uraniană. Comparatismul dintre viziunile filosofilor antici greci şi miturile germane explică diferenţierile de concepte vitale ale acestor două spaţii. Lui Lucian Blaga, însă, îi reuşeşte să valorifice noţiunile şi dintr-o optică pragmatică cerută de ştiinţă actualmente. Concomitent, concluziile la care ajunge autorul permit explicarea intervenţiei mitului antic prin publicitate, texte artistice, filme, tablouri, în viaţa cotidiană a omului din epoca IT.