Keywords
artistic translation
enunciative responsibility
new media
How to Cite
Abstract
This article introduces the translator involved in the translation of art titles and art albums as an ambassador for art. Given the role of painting titles in the process of interpreting a work of art, but also in identifying it from other art products, the translator, as the artist’s spokesperson, has to perform a number of actions to enable the correct interpretation and identification of the work in the target culture. This is a very arduous and responsible task, which is particularly difficult in times of new media and the unlimited possibilities of digital reproduction and distribution of cultural goods. Based on the examples of translations of the titles of paintings by selected French painters published in Polish-language albums, the author shows the translator’s responsibility for the promotion and, above all, for the protection of the identity and integrity of works of art, especially those that belong to the public domain and are therefore deprived of proper protection.
References
Benjamin, W. (1939/2008). L’oeuvre d’art à l’époque de sa reproductibilité technique. Paris : Folio Plus Philosophie.
Biaduń-Grabarek, H. & Grabarek, J. (2012). Kilka uwag o przekładzie tytułów na podstawie tłumaczeń niemiecko-polskich i polsko-niemieckich. Rocznik Przekładoznawczy, 7, 11-26. DOI: https://doi.org/10.12775/RP.2012.001
Biasi P.-M. de (2012). Fonctions et genèse du titre en histoire de l’art. In P.-M. de Biasi. M. Jakobi & S. Le Men (éds.). La fabrique du titre. Nommer les oeuvres d’art (pp. 29-94). Paris : CNRS Editions.
Bosredon, B. (2002). Les titres de Magritte : surprise et convenance discursive. Linx, 42. https://journals.openedition.org/linx/. DOI: https://doi.org/10.4000/linx.577
Boyko, L. (2011). On translating titles in artistic discourse. Vertimos studijos, 4, 35-45. DOI: https://doi.org/10.15388/VertStud.2011.4.10571
Clouteau, I. (2004). Activation des oeuvres d’art contemporain et prescriptions auctoriales. Culture & Musées, 3, 23-44. DOI: https://doi.org/10.3406/pumus.2004.1186
Danto, A. (1989). La Transfiguration du Banal : une philosophie de l’art. Trad. C. Hary-Schaeffer. Paris : Éditions du Seuil.
Farchy, J. (2001). Le droit d’auteur est-il soluble dans l’économie numérique ? Réseaux, 6 (110), 16-40. DOI: https://doi.org/10.3917/res.110.0016
Grammenidis, S.P. (2011). Le concept de loyauté en traduction : d’un principe moral vers une stratégie traductionnelle. Forum – revue internationale d’interprétation et de traduction, 9 (2), 119-138. DOI: https://doi.org/10.1075/forum.9.2.06gra
Hoek, L.H. (1995). La transposition intersémiotique. Pour une classification pragmatique. In L.H. Hoek, K. Meerhoff (éds.). Rhétorique et image (pp. 65-80). Amsterdam : Editions Rodopi. DOI: https://doi.org/10.1163/9789004650619_008
Hung-Hsing, Ch. (2020). ENTITÉ – IDENTITÉ – IDENTIFICATION Ce que l’art contemporain fait à la philosophie. [Thèse pour obtenir le grade de docteur en esthétique soutenue le 10.12.2020 à l’École des Hautes Études en Sciences Sociales, Centre de Recherches sur les Arts et le Langage]. https://www.theses.fr/2020EHES0138.
Jakobi, M. (2016). Les titres d’oeuvres d’art : bilan historiographique. Textimage. Revue du dialogue texteimage. https://www.revue-textimage.com/12_varia_5/mjakobi1.html.
Joyeux-Prunel, B. (2014). Ce que l’approche mondiale fait à l’histoire de l’art. Romantisme, 1 (163), 63-78. DOI: https://doi.org/10.3917/rom.163.0063
Lacaze, G. (2015). Responsabilité et prise en charge énonciatives dans les titres d’articles de presse. Études de stylistique anglaise. 9. DOI: https://doi.org/10.4000/esa.792
Moirand, S. (2006). Responsabilité rt énonciation dans la presse quotidienne : questionnements sur les observables et les catégories d’analyse. Semen, 22. https://journals.openedition.org/semen/2798. DOI: https://doi.org/10.4000/semen.2798
Nord, Ch. (1992). Text Analysis in Translation Training. In C. Dollerup & A. Lindegaard (éds.), Teaching Translation and Interpreting (pp. 39-48). Amsterdam-Philadelphia : John Benjamins Publishing.
Poppelard, M.-D. (2002). Ce que fait l’art. Paris : P.U.F., Collection Philosophies. DOI: https://doi.org/10.3917/puf.popel.2002.01
Régimbeau, G. (1998). Accès thématiques aux d’art contemporaines dans les banques de données. Documentaliste. Sciences de l’Information, 35, 1, https://hal.science/hal-00747251.
Torres, M.-H.C. (2012). Parlons du traducteur : rôle et profil. Traduire, 227. DOI: https://doi.org/10.4000/traduire.479
Walkiewicz, B. (2019). Autour de la traduction des titres de tableaux. Neophilologica, 31, 415-434. DOI: https://doi.org/10.31261/NEO.2019.31.25
License
Copyright (c) 2024 Barbara Walkiewicz
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.
- The Author hereby warrants that he/she is the owner of all the copyright and other intellectual property rights in the Work and that, within the scope of the present Agreement, the paper does not infringe the legal rights of another person.The owner of the copyright work also warrants that he/she is the sole and original creator thereof and that is not bound by any legal constraints in regard to the use or sale of the work.
- The Author grants the Purchaser non-exclusive and free of charge license to unlimited use worldwide over an unspecified period of time in the following areas of exploitation:
2.1. production of multiple copies of the Work produced according to the specific application of a given technology, including printing, reproduction of graphics through mechanical or electrical means (reprography) and digital technology;
2.2. marketing authorisation, loan or lease of the original or copies thereof;
2.3. public performance, public performance in the broadcast, video screening, media enhancements as well as broadcasting and rebroadcasting, made available to the public in such a way that members of the public may access the Work from a place and at a time individually chosen by them;
2.4. inclusion of the Work into a collective work (i.e. with a number of contributions);
2.5. inclusion of the Work in the electronic version to be offered on an electronic platform, or any other conceivable introduction of the Work in its electronic version to the Internet;
2.6. dissemination of electronic versions of the Work in its electronic version online, in a collective work or independently;
2.7. making the Work in the electronic version available to the public in such a way that members of the public may access the Work from a place and at a time individually chosen by them, in particular by making it accessible via the Internet, Intranet, Extranet;
2.8. making the Work available according to appropriate license pattern Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0) as well as another language version of this license or any later version published by Creative Commons. - The Author grants the Adam Mickiewicz University in Poznan permission to:
3.1. reproduce a single copy (print or download) and royalty-free use and disposal of rights to compilations of the Work and these compilations.
3.2. send metadata files related to the Work, including to commercial and non-commercial journal-indexing databases. - The Author declares that, on the basis of the license granted in the present Agreement, the Purchaser is entitled and obliged to allow third parties to obtain further licenses (sublicenses) to the Work and to other materials, including derivatives thereof or compilations made based on or including the Work, whereas the provisions of such sub-licenses will be the same as with the attributed license pattern Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0)or another language version of this license, or any later version of this license published by Creative Commons. Thereby, the Author entitles all interested parties to use the work, for non-commercial purposes only, under the following conditions:
4.1. acknowledgment of authorship, i.e. observing the obligation to provide, along with the distributed work, information about the author, title, source (link to the original Work, DOI) and of the license itself.
4.2. the derivatives of the Work are subject to the same conditions, i.e. they may be published only based on a licence which would be identical to the one granting access to the original Work. - The University of Adam Mickiewicz in Poznań is obliged to
5.1. make the Work available to the public in such a way that members of the public may access the Work from a place and at a time individually chosen by them, without any technological constraints;
5.2. appropriately inform members of the public to whom the Work is to be made available about sublicenses in such a way as to ensure that all parties are properly informed (appropriate informing messages).
Other provisions
- The University of Adam Mickiewicz in Poznań hereby preserves the copyright to the journal as a whole (layout/stylesheet, graphics, cover design, logo etc.)