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Specialising in academic translations in the humanities and social sciences. More information at <a href="http://www.susannicholls.com">www.susannicholls.com</a>
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Source text - French Amleth, cousin éloquent d’Hamlet.
La critique cite généralement comme une des sources principales de Hamlet la troisième histoire du cinquième tome des Histoires Tragiques , écrites par le prolifique homme de lettres français – ami de Ronsard et de Marguerite de Navarre, et pour une courte période historiographe de France – François de Belleforest (1530-1583). Comme le remarque consciencieusement Harold Jenkins, on ne peut affirmer avec une certitude « absolue » que Shakespeare ait eu une connaissance directe du texte de Belleforest. En effet, avant le Hamlet de Shakespeare, un autre Hamlet aujourd’hui perdu – surnommé par la critique Ur-Hamlet, vraisemblablement écrit par Thomas Kyd – existait déjà dès 1589 ; il n’est pas impossible d’imaginer que Shakespeare n’ait eu accès à « l’histoire tragique » du prince danois que par le relais de cette première adaptation théâtrale. Mais quelle que soit la relation de Shakespeare au Ur-Hamlet, la lecture du texte de Belleforest par le Barde n’en demeure pas moins l’hypothèse la plus probable et la plus généralement admise . Au-delà des ressemblances textuelles relevées de manière pertinente par Jenkins , rappelons que Shakespeare avait plutôt tendance à multiplier les sources et à faire feu de tout bois : même en s’inspirant de l’adaptation, il n’avait pas de raison de se priver de ce que pouvait lui apporter l’original français dont avait usé son prédécesseur, œuvre par ailleurs très appréciée (dans la tradition des Vies Parallèles de Plutarque), rééditée sept fois avant la fin du siècle après sa parution en 1570. Les Histoires tragiques de Belleforest devaient certainement figurer à côté des Essais de Montaigne sur l’étagère « françoise » de la librairie shakespearienne.
Notes
Nous utilisons ici le texte de Belleforest et sa traduction anonyme de 1608 (The Historie of Hamblet), proposés par l’édition bilingue de Sir Israël Gollancz dans The Sources of Hamlet, Frank Cass and co. LTD. 1967, p. 164-311 ; lorsque des parties du texte français ont été omises dans la traduction de 1608, nous le traduisons nous-même et l’indiquons en proposant l’original entre parenthèses. Le texte en anglais peut aussi être lu dans l’ouvrage de Geoffrey Bullough, Narrative and Dramatic Sources of Shakespeare, vol.VII, Major Tragedies: Hamlet, Othello, King Lear, Macbeth, New York, Columbia University Press ; London and Henley, Routledge and Kegan Paul Ltd., 1973, p. 81-124 (voir les pages d’introduction sur Belleforest, p. 10-11).
Sur l'identification du texte de Belleforest comme une des sources principales (« main source »), voir Hamlet, (éd. H. Jenkins), op. cit., p. 89-96 ; Tragédies I, Pléiade, p. 1418 ; Henri Suhamy, Shakespeare, Paris, Editions de Fallois, 1996, Livre de Poche, p. 164. Stuart Gillespie dans Shakespare’s Books, A Dictionary of Shakespeare Sources, (London
Translation - English Amleth, Hamlet’s eloquent cousin.
One of the principal sources of Hamlet commonly cited by Shakespearean critics is the third tale of the fifth volume of Histoires Tragiques , written by the prolific French man of letters François de Belleforest (1530-1583, a friend of Ronsard’s and Marguerite de Navarre’s who was also, briefly, the official writer of the history of France. As Harold Jenkins conscientiously remarked, it cannot be stated with absolute certainty that Shakespeare had any direct knowledge of Belleforest’s text. In fact, before Shakespeare’s Hamlet, another Hamlet already existed, dating from 1589, although the text has since been lost. Dubbed Ur-Hamlet by the critics, it was most likely written by Thomas Kyd. It is not unimaginable that Shakespeare’s only access to the “tragic history” of the Danish prince was this first theatrical adaptation. But whatever the relationship between Shakepeare and Ur-Hamlet, the most likely, generally accepted hypothesis remains that of the Bard having read Belleforest's text . Over and above the relevant textual similarities identified by Jenkins , it is worth keeping in mind that Shakespeare tended to use a variety of sources, drawing on any material available: even if the adaptation provided his chief inspiration, why not also make use of whatever he could glean from the French original his predecessor had used? Belleforest’s text was, furthermore, very popular (in the tradition of Plutarch’s Lives): first published in 1570, it ran to seven editions by the end of the century. Belleforest’s Histoires tragiques would surely have figured next to Montaigne’s Essais amongst the French volumes in Shakespeare’s library.
Notes.
References throughout are to Belleforest’s text and its anonymous 1608 translation (The Historie of Hamblet) from Sir Israël Gollanc’s bilingual edition in The Sources of Hamlet (Frank Cass and Co., 1967), pp. 164-311; parts of the French text omitted by the 1608 are supplied in my own translation with the French original in parentheses. The English text is also available in Geoffrey Bullough’s Narrative and Dramatic Sources of Shakespeare, vol. VII, Major Tragedies: Hamlet, Othello, King Lear, Macbeth (New York: Columbia University Press, London and Henley: Routledge and Kegan Paul, 1973), pp. 81-124 (see the introductory pages on Belleforest, pp. 10-11).
On the identification of Belleforest’s text as one of Shakespeare’s “main sources”, see H. Jenkins, ed., Hamlet, op. cit., p. 89-96; Tragédies I, Pléiade, p. 1418; Henri Suhamy, Shakespeare (Paris: Editions de Fallois, 1996, Livre de Poche), p. 164. In Shakespare’s Books, A Dictionary of Shakespeare Sources (London
French to English: Guattari and Anti-psychiatry
Source text - French 18
Une alternative à la psychiatrie ?
On a souvent confondu La Borde et l’antipsychiatrie, présentant la clinique de Loir-et-Chair comme l’expression française de ce courant. Il suffit d’entendre son directeur Jean Oury pour se convaincre qu’un fosse sépare la psychothérapie institutionnelle et les thèses de l’anti-psychiatrie. A La Borde, on fait de la psychiatrie et on l’assume. « Il (Félix) a été fasciné, vers la même époque, par les anti-psychiatres. C’est de là que vient le nouage qui s’est fait, dans la tête mal informée des gens, entre La Borde et l’antipsychiatrie. Ca me met toujours en rage. » Oury considère que les antipyschiatres sont « des esthètes très dangereux . J’aimais bien Basaglia pour son caractère impulsif, mais pas pour son politique. Les malades sortaient le matin, rentraient le soir et l’hôpital était fermé. Des malades ont physiquement disparu. C’est peut-être cela l’antipsychiatrie concrète, on supprime les malades, ils disparaissent. »
from the biography of Deleuze and Guattari by François Dosse.
Translation - English An alternative to psychiatry?
Anti-psychiatry and La Borde have often been treated as one and the same, as if the clinic in the Loir-et-Cher were the French version of the movement. Listening to the director of La Borde, Jean Oury, it is clear that institutional psychotherapy and anti-psychiatric theories are incommensurable. At La Borde, they practiced psychiatry fully accepting all it entailed. “At about the same time, Félix was fascinated by the anti-psychiatrists. That was how La Borde and anti-psychiatry became confused in the minds of people who didn’t really know anything about it. It always infuriates me .” Oury considered that the anti-psychiatrists were “very dangerous aesthetes. I liked Basaglia’s impetuous personality, but I didn’t like his policies. His patients left in the morning and came back at night; in between the hospital was closed. Patients literally disappeared. That may be what anti-psychiatry is in its concrete form: the hospital does away with its patients, they disappear .”
Anti-psychiatry
Anti-psychiatry came into being in Italy in 1961. Franco Basaglia decided to abandon the principle of locking up patients with mental disorders, opening all the hospital departments and organizing meetings which everyone could attend. After the first shock was over, Basaglia was supported by the psychiatrists in his hospital, which held more than fifty meetings a week. They noted several spectacular cases of progress in hospital patients who had been vegetating in the same state for fifteen to twenty years. They could even send others home, so great was the improvement in their state of mental health. Following this first stage, Basaglia decided to study other experimental psychiatric projects elsewhere in Europe. He went to La Borde in 1965, accompanied by another representative of Italian anti-psychiatry, Giovanni Jervis. However, Basaglia was critical of institutional psychotherapeutic practices, which he felt were overly oriented toward reform, integration and conformism. At the time, his declared goal was to destroy the institution. The movement which Basaglia founded later on, “Psichiatria Democratica”, called for psychiatric hospitals to be closed down once and for all.
In the climate of political radicalization of 1960s Italy, the anti-psychiatric movement was a force to be reckoned with. Guattari did not agree with Basaglia’s more extreme positions. By 1970, he wondered if things weren’t “spiralling out of control” and worried about the “desperate” character of the enterprise. Guattari also criticized the irresponsible nature of some of the positions Basaglia had adopted, such as refusing to administer drugs on the pretext that they merely covered up the doctor’s inability to form a real relationship with the patient. Guattari got to the point of wondering if, with the best intentions in the world, anti-psychiatry might not lead to denying madmen their right to be mad. Basaglia’s denial of the institution would therefore be a denial, in the Freudian sense, of the singularity of mental illness.
French to English: History of a French journal
Source text - French C’est l’une des grandes revues de la deuxième moitié du XXe siècle. Ce fut aussi pendant longtemps la plus discrète. En juin 1946, paraît le premier numéro de Critique, revue générale des publications françaises et étrangères (voir diapo n° 1 : première de couverture du n° 1, juin 1946). Après des débuts difficiles, marqués par deux changements d’éditeur et une interruption d’un an, elle trouve son équilibre aux Éditions de Minuit à partir de la fin 1950. Dirigée par Georges Bataille, Critique se propose de recenser et de commenter les ouvrages les plus importants parus en France et à l’étranger, dans tous les domaines de la connaissance : histoire, sciences, littérature, philosophie... Ce faisant, elle accompagne la naissance et le développement des sciences humaines en France. Elle contribue à l’émergence du «nouveau roman», de la «nouvelle critique» et du structuralisme. Sous la direction de Jean Piel, collaborateur et successeur de Bataille, elle encourage le projet intellectuel d’auteurs comme Roland Barthes, Michel Foucault, Jacques Derrida, Gilles Deleuze ou Michel Serres. C’est la grande revue des années 60 et 70 en France et la grande revue française à l’étranger (aux États-Unis notamment).
Cette conférence s’organise en trois parties de longueur inégale. Dans la première partie, je retracerai l’histoire de Critique, depuis sa fondation en juin 1946 jusqu’à la disparition de Jean Piel en janvier 1996 (sur une période de cinquante ans, donc — voir photocopie : tableau synoptique). Dans la deuxième partie, je reviendrai sur la formule éditoriale de Critique : Critique est une revue bibliographique, une revue de critique des livres. Les articles qu’elle publie s’attachent toujours à commenter, éventuellement à discuter, les thèses contenues dans un livre mis en exergue. Cette formule est unique au monde (si l’on excepte des organes de presse comme le Times Literary Supplement ou la New York Review of Books). Je terminerai cette présentation par quelques remarques concernant l’évolution récente de Critique et ce que la revue signifie aujourd’hui.
Translation - English Critique was one of the major journals of the second half of the twentieth century. For a long time, it was also the least well known. The first issue of Critique, revue générale des publications françaises et étrangères [general review of French and foreign publications] came out in June 1946 (see slide 1: cover page of issue No. 1, June 1946). After a shaky start, marked by two changes of publisher and a year-long interruption, the journal found its feet at the Éditions de Minuit towards the end of 1950. Edited by Georges Bataille, Critique aimed to provide an inventory of the most important works published both in France and abroad, across all fields of knowledge: history, science, literature, philosophy…. In doing so, it accompanied the birth and development of the human sciences in France. It contributed to the emergence of the nouveau roman, of New Criticism and of Structuralism. Edited by Jean Piel, Bataille’s colleague and successor, it encouraged the intellectual career of authors such as Roland Barthes, Michel Foucault, Jacques Derrida, Gilles Deleuze and Michel Serres. It was the major journal of the 1960s and 1970s in France, and the major French journal abroad (particularly in the United States).
This paper is divided into three parts of different length. In the first part, I shall trace the history of Critique from when it was founded in 1946 up to the death of Jean Piel in January 1996 — and thus over a period of fifty years (see handout: synoptic table). In the second part, I shall pay particular attention to Critique’s editorial format as a bibliographical journal, a critical review of books. The texts published by Critique always aim to provide a commentary, and possibly a criticism of the theses contained in the book listed at the head of the article. This format is unique in the world of publishing (with the exception of newspapers like the Times Literary Supplement or the New York Review of Books). I shall conclude my presentation with a few remarks concerning the recent evolution of Critique and what the journal stands for today.
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PhD - Universite de Paris VIII
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Years of experience: 27. Registered at ProZ.com: Nov 2007.
I am a freelance French-English translator specializing in academic texts (particularly French literature, philosophy, theory, history, psychoanalysis and linguistics).
I also translate documents in other fields where style and precision are important, such as advertising, journalism, tourism, websites and literature.
A former lecturer in French at the University of London, where I also taught advanced translation studies, I have sound linguistic knowledge and specialist knowledge in French literature and philosophy (I have a doctorate from the University of Paris 8 Vincennes). I have been translating for over ten years; for the last four years I have been translating on behalf of overworked French colleagues (mainly academic papers and book chapters). This year I have registered in Spain as a freelancer working in a wider variety of areas. I translate up to 2,000 words a day.
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Born in Australia, I have lived and worked in France and the UK. I left academia and moved to Spain five years ago to write, translate, and bring up my three young children. My interests, apart from contemporary literature and philosophy, include yoga, ecology and permaculture.
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