چکیده:
Traduire les oeuvres de Al-e Ahmad, en recréant le rythme de la langue parlée dans la
langue cible est un travail difficile. Ayant utilisé des phrases cadencées et saccadées, plein d’allitération et de figure de style, il donne un rythme particulier à son écriture. Par une étude traductologique concentrée sur les réflexions d’Henri Meschonnic, nous tentons à dégager les difficultés et impasses de la traduction de l’oeuvre d’Al-e Ahmad à travers la traduction d’Une pierre posée sur une tombe, son oeuvre posthume. Pour arriver à ce but, nous allons étudier le rythme des phrases de Al-e Ahmad sous trois axes : rythme linguistique, rythme rhétorique et rythme poétique. Nous allons constater que les problèmes d’ordre linguistique causés par la déviation grammaticale et phonologicale d’une part et des problèmes d’ordre culturel, liés aux contextes traditionnels iraniens d’autre part sont des obstacles qui rendent difficile le travail du traducteur et l’ont parfois poussé à utiliser certaines façons d’adaptation causant ainsi une perte importante du rythme langagier de Al-e Ahmad. Etant donné que ce livre n’est pas encore traduit en français, les parties proposées sont effectuées par l’auteur de l’article.
ترجمه اثار ال احمد، با حفظ و رعایت زبان شفاهی و لحن وی در زبان مقصد کاری بس دشوار است. وی با استفاده از جملات اهنگین، سکتهای و مملو از ارايههای ادبی ریتم خاصی به نوشتار خود بخشیده است. در این پژوهش با توسل به رویکرد انری مشونیک در حوزه ترجمهشناسی، برانیم تا مشکلات و چالشهای ترجمه اثار ال احمد را در کتاب سنگی بر گوری بررسی نماییم. برای نیل به این مقصود، ریتم جملات این نویسنده را به سه دسته ریتم زبانی، ریتم بلاغی و ریتم شاعرانه تقسیم و سپس با ارايه ترجمه، بررسی مینماییم. مشکلات زبانی ناشی از انحراف دستوری و واجی از یک سو و از سوی دیگر مساله فرهنگی که در ارتباط با سنت ایرانیان است، از جمله مواردی است کار مترجم را دشوار کرده و وی را مجبور به استفاده از انطباق در ترجمه میکند. از این رو، ریتم زبان ال احمد در ترجمه بازافرینی نمیشود. از انجا که این کتاب هنوز به زبان فرانسه ترجمه نشده است، قسمتهای پیشنهادی توسط نویسنده مقاله ترجمه شده است.
Recreating Al-e Ahmad’s spoken language and ton in translation is a difficult
task. His rhythmic and irregular sentences, full of alliteration and figure of speech characterize his
writing. Through a translation study focused on the reflections of Henri Meschonnic, we tried to identify
the difficulties and impasses of the translation of Al-e Ahmad's literary works by studding the translation
of his posthumous book, A Stone upon A Grave. To achieve this goal, we study the pace of Al-e Ahmad's
sentences under three axes: linguistic rhythm, rhetorical rhythm and poetic rhythm. We’ll find that the
linguistic problems caused by grammatical and phonological deviation on the one hand, and cultural
problems linked to the traditional Iranian context, on the other hand, are obstacles that make the
translator's task difficult, pushing him to use certain adaptations which may lead to a significant loss of
Al-e Ahmad's language rhythm. Since this book is not yet translated into French, the proposed parties
are selected by the author of the article.
In this research, we propose to analyze the challenges posed by writer's book, A Stone upon A Grave.
In this perspective, we will first categorize the linguistic rhythm of this writer into three axes: linguistic,
rhetoric and poetic rhythm, according to Meschonnic's theory on orality and rhythm. We explain the
peculiarities of his writing and then by translating few sentences taken from inside this book, we will
demonstrate how the colloquial style and spoken language as well as the rhythm of Djalal Al-e Ahmad's
writings could be translated into French and what are the obstacles and shortcomings.
To begin this research, we asked ourselves the following questions for which we will try to find
suitable answers. Here are our questions:
1. What are the peculiarities of Al-e Ahmad's writing? 2. How could the translator convey and make
understandable the cultural, religious and syntactic elements of Al-e Ahmad's work in French? How can
the translator recreate the rhythmic language of this Iranian writer in French?
Despite the difficulties that we have mentioned in this article, such as the linguistic, lexical,
phonological, cultural and religious problems linked to the Persian language-culture, the translators of
the works of Al-e Ahmad such as Lazard and Kotobi still managed to make the author's bittersweet
humor understandable and tried to find a compromise between a translation targeted at the reader and
the semantic necessities of remaining as faithful as possible to the author, while recreating, as much as
possible, the language rhythm of the text.
In this perspective, we point out that the translation influences the cultural evolution of Iranian society by opening it to an unknown world, by enriching its vocabulary - despite the limits and standards to be respected - while facilitating its written or spoken communication. (Damadi, 1994, pp. 57-58). In this sense, this work intends to open new paths for researchers and for those who want to further discover the work of Al-e Ahmad or other writers, in order to make Persian literature translated into French more accessible.
To translate Al-e Ahmad's work, the translator must be attentive to the various language levels used by the writer and choose an appropriate style for each of these works, so as not to give the receiver the impression that all these writings have been written in the same way. In translating the Al-e Ahmad's works, one should try to write in a style that will be the dynamic equivalent of the style of each passage from the original. It is absolutely necessary to avoid giving to his works a difficult and sophisticated aspect which is foreign to him.
As regards the difficulties relating to the choice of the lexicon and the translation of proverbial expressions, an al-e Ahmadian text and its French translation can never be perfectly superimposable. The translator tends to obtain a translation that is faithful to the original text, but there are still cultural subtleties difficult to translate.
Regarding the recreation of rhetorical and poetic rhythms in the target language, we must allude to the difficulties which lead the translator to adopt various strategies. In deconstructing the al-e Ahmadian text, the translator must consider the specificity of his writings, whether it is an autobiography, a short story or an essay. He must analyze the style and rhythm of his language. The translator must consider the socio-cultural context of the text and try to reconstruct it in the linguistic context of his own country.
To conclude, this research allowed us to better understand the obstacles in the translation of the rhythm of the spoken language by Al-e Ahmad which are rooted rather in the style of this writer because he tended to use reduplication, to remove elements of sentences, to displace phonemes and to use cultural elements in his writing. This forces the translator to transform the rhythm of the spoken language using semantic substitution or the strategy of explaining the meaning. It should be pointed out that the most important difficulty lies in the fact that there is no French equivalent, sufficiently precise, capable of rendering the true meaning of the word of the original work. As a result, fidelity to the original text may suffer from this situation and possibly lose its neutrality.
Today, Al-e Ahmad’s work and its translation still demand much more in-depth study and professionally developed critiques which will open up more windows to various areas of research.
خلاصه ماشینی:
Nous allons constater que les problèmes d'ordre linguistique causés par la déviation grammaticale et phonologicale d'une part et des problèmes d'ordre culturel, liés aux contextes traditionnels iraniens d'autre part sont des obstacles qui rendent difficile le travail du traducteur et l'ont parfois poussé à utiliser certaines façons d'adaptation causant ainsi une perte importante du rythme langagier de Al-e Ahmad.
Al-e Ahmad, de même que la majorité des écrivains iraniens a une tendance très particulière pour tout ce qui relève de la stylistique : son langage dans ses nouvelles est un langage rythmique, basé sur la répétition, la juxtaposition, la suppression des éléments de la phrases, le déplacement des phonèmes, la suppression des verbes, le déplacement des éléments de la phrase, emploi de la réduplication etc.
OBJECTIF DE LA RECHERCHE Dans cette recherche, nous nous proposons d'analyser les défis que lancent le livre de cet écrivain, Une pierre posée sur une tombe; dans cette perspective, nous allons tout d'abord catégoriser le rythme langagier de cet écrivain en trois axes : rythme linguistique, rhétorique et poétique selon la théorie de Meschonnic sur l'oralité et le rythme et relever les particularités de son écriture et ensuite en proposant des traductions pour quelques phrases tirées à l'intérieurs de ce livre, nous allons démontrer comment le style familier et le langage parlé ainsi que le rythme des écrits de Djalal Al-e Ahmad pourraient être traduits en français et quels sont les obstacles et les lacunes.