Chinese Bridge 汉语桥

Mathias Pire (3e en partant de la gauche), entouré de ses professeur·e·s Manon Hayette, Jiang Ning et Kevin Henry

Le 21e concours de compétences en chinois 汉语桥 « Chinese Bridge » (Pont vers le chinois) pour les étudiants belges s’est tenu le dimanche 26 juin 2022 à l’Institut Confucius de Bruxelles, sous le patronage de la section Enseignement de l’Ambassade de la République populaire de Chine auprès du Royaume de Belgique. Encouragé par ses professeur·e·s et membres de ChinEAsT Kevin Henry (qui faisait partie du jury), Jiang Ning et Manon Hayette, Mathias Pire, étudiant de chinois en dernière année de Master à la Faculté de Traduction et d’Interprétation—École d’Interprètes Internationaux (FTI-EII) de l’Université de Mons, a remporté le premier prix du concours pour les étudiants de l’enseignement supérieur. Il représentera ainsi la Belgique dans cette catégorie lors de la finale mondiale du concours du « Chinese Bridge ».

The One

Couverture du premier tome de The One

Le 10 juin 2022 sont parus aux éditions Meian les deux premiers tomes d’un manhua 漫畫 taïwanais, de type shōjo 少女漫畫 (plutôt destiné à un public féminin, d’adolescents ou de jeunes adultes), traduit par votre serviteur (Loïc Aloisio) : The One (un extrait est disponible en cliquant sur le lien). L’autrice se nomme Nicky Lee 李崇萍, et le titre original de ce manhua est Duling fengsao 獨領風騷. En voici le synopsis :

Même si Teng Lele est la fille d'une mannequin célèbre, elle n'a pas vocation à entrer dans le milieu de la mode, jusqu'au jour où elle voit, dans un magazine, le mannequin numéro un dans le monde : Angus Lanson. Dès lors, elle comprend que le mannequinat est une forme d'art, ce qui fait naître en elle la vocation de devenir mannequin, elle aussi !

Dix-huit tomes au total ont été traduits, et devraient paraître tout au long de l’année 2022 et au cours de l’année 2023.

The 4th East Asian Translation Studies Conference (EATS4)

Du 30 juin au 2 juillet 2022 se tiendra à Paris la 4th East Asian Translation Studies Conference, sur le thème « On the Conflicting Universals in Translation: Translation as Performance in East Asia », à laquelle trois membres du service ChinEAsT participeront au sein du panel « Between the Universal and the Particular: French-Language Literature and Thought in 20th Century China » (Room 479C) de 16h à 18h aux côtés d’une collègue de l’Université de Paris (par ailleurs organisatrice du colloque) :

  • Florence Xiangyun Zhang (Université de Paris) : « Je or nous? Translating the Universal of the Singular Plural »A psychiatrist, philosopher and theorist of decolonisation, Frantz Fanon is an author that cannot be categorised. Although he has been relatively ignored for decades in France, he has enjoyed great popularity in the USA and many other countries. His first book, Peau noire, masques blancs (Black Skin, White Masks), was translated into English in 1967, and then re-translated in 2008; while his last and most famous essay, Les Damnés de la terre (The Wretched of the Earth), was published in English and other languages since 1963, and retranslated in 2004. However, historical circumstances did not allow the Martinican author to get well known in China during the Cold War years, and none of his works had been introduced into Chinese before 2005. It is from the perspective of a retranslation of Black Skin, White Masks in Chinese that we approach this work. Although there are many different Fanonian studies, everyone agrees that, apart from its philosophical and psychological content, Black Skin, White Masks is also a literary work. Its style is both academic and poetic, rich in philosophical, psychological, psychoanalytical and ethnological references, critical quotations from literary works, long narrative passages, meticulous descriptions and lyrical exclamations. This paper aims to illustrate the singular problems that this essay presents for translators. This is especially true when Fanon juxtaposes the pronouns “I” and “we” in a disturbing fashion, as the linguistic subject blurs the distinction between thought and existence (is the person a real figure or a mere construct?) and mixes singular feeling and plural pathos. Indeed, the first translation of Black Skin, White Masks into English suggests an attempt to “re-arrange” these subjects. Through an in-depth analysis of Fanon’s language, we could detect the singularity of the “we” and the plurality of the “I”, from which the universal of Fanon’s thought could be transmitted.
  • Kevin Henry (Université de Mons) : « A bird’s-eye view: On the Translations of Maeterlinck and The Blue Bird in China »Our paper, which intersects the fields of literature, translation and Chinese studies, is part of a research project in the University of Mons. This initiative, financed by the National Fund for Scientific Research of French-speaking Belgium (FNRS), aims at investigating the position of French-speaking Belgian literature in the global cultural heritage, through the lens of translation. In a first step, we will introduce the genesis and the main lines of this enterprise, which includes setting up a bibliographic database and a text corpus online that will provide an exhaustive list of the translations of works by French-speaking Belgian writers. That tool, which fills a major gap, intends to offer a collection of relevant quantitative data to answer the following questions: Which works by Belgian authors have been translated? Thanks to which mediators have they been produced? Based on these premises, we will outline our personal project, devoted to the influence of the symbolist playwright Maurice Maeterlinck, to date the only Belgian Nobel Prize winner for literature (1912), within the Chinese world. We will show that, from the 1920s onwards, this prominent figure of Belgian symbolism was well known, translated and appreciated in China. Thus, during the so-called Republican period (1911–1949), more than twenty translations of his plays were issued, some of them by major authors such as Mao Dun, Dai Wangshu and Tian Han. After the Maoist interlude, two new anthologies of Maeterlinck’s works were then released in 1982 (theatre) and 1997 (all genres); subsequently, between 2000 and 2018, translations of the playwright’s essays were the subject of at least 37 publications (in the form of monographs or anthologies). In the last section, we will discuss the case of the play L’Oiseau bleu (The Blue Bird), which, after three Chinese versions during the Republican period, gave rise to more than 150 translations or (intersemiotic) adaptations from the 1980s onwards, in a very wide variety of formats. Using a model combining translation criticism, qualitative corpus analysis and sociology of translation, we will show that the so-called retranslation hypothesis is not confirmed when we see the evolution of The Blue Bird in China, towards a complete reappropriation of the fictional material of the play. At the end, we will try, through the assessment of two renditions of this “fairy play”, to understand its exceptional fate in China.
  • Manon Hayette (Université de Mons) : « Deconstructing the Chinese Différance: An Analysis of the Reception of Derrida’s Essay Of Grammatology in China »The French philosopher, Jacques Derrida, who created and embodied the deconstruction movement, was one of the most influential post-structuralist thinkers of his time, and consequently, one of the most controversial personalities of the 20th century (Stocker, 2006, back cover). Derrida’s works such as the Of Grammatology (De la Grammatologie, 1967a), Speech and Phenomena (La Voix et le Phénomène 1967b) and Writing and Difference (L’Écriture et la Différence, 1967c), in which he coined some of his most revolutionary concepts such as Différance, Logocentrismn and Aporia, have been incredibly successful and have established his reputation as an intellectual in Europe as well as in the United States. Despite this n, prominence, Derrida was still disregarded by his peers, who considered deconstruction a “fake philosophy” because of its applications in domains such as linguistics, literature and cultural studies (Stocker, 2006, 3–6). However, the harsh criticism against Derrida has not impeded the global and lasting impact of his thinking, even beyond the Western world. Concerning China, a concrete illustration of Derrida’s influence can be found in the numerous productions that have been issued about the philosopher and deconstruction since the “reform and opening” policy in the early 1980s. Indeed, the National Library of China displays almost 3,500 works on Derrida, the first being an article by the expert in comparative literature 张隆溪 Zhang Longxi published in the literary magazine 读书 Dushu (which was instrumental in introducing Western philosophy in China) in 1983, with quotations from Writing and Difference and Of Grammatology. However, it is quite striking to observe that the Chinese readers had to wait until 1999 to get their hands on the complete version of Derrida’s most notorious essay, Of Grammatology, which will be further studied in the present communication. This essay was translated under the title 《论文字学》Lun wenzixue by 汪堂家 Wang Tangjia, an influent professor at Fudan University and specialist of modern French philosophy. After an introduction to Derrida’s work and a look at its transfer into Chinese from an historical point of view, the translations of the above-mentioned key terms of deconstruction (Difference, Logocentrism and Aporia) will be investigated in Wang Tangjia’s version of Of Grammatology through the lenses of translation criticism and corpus analysis tools, to determine how the Chinese academic public was able to grasp Derrida’s thinking.
  • Loïc Aloisio (Université de Mons) : « Translation and Reception of French-language Science Fiction Literature in China, From the Late Qing (1860-1911) to Date »Chinese science fiction has acquired a sudden visibility in recent years, notably thanks to the recognition provided twice by the Hugo Award, for the best novel in 2015 (《三体》 The Three-Body Problem, by 刘慈欣 Liu Cixin) and for the best novelette in 2016 (《北京折叠》 Folding Beijing, by 郝景芳 Hao Jingfang). Science fiction literature in China has nonetheless more than a hundred years’ history in which it has experienced tumultuous development. The Chinese were first introduced to SF through several translations of Western and Japanese works, which had a great impact on promoting and supporting the rise and flourishing of the genre in the country. It is well known that throughout the 20th century successive translation waves occurred in China in line with the political climate of the time. Indeed, the Maoist period was marked by the massive influx of productions from the Soviet Union, including science fiction novels and short stories. Concurrently, since the end of the 19th century, the English-written SF works have been the most prevalent in the Chinese polysystem. But what about French-language science fiction literature? Apart from Jules Verne, who was the first Western SF writer introduced in the Middle Kingdom, which French-speaking authors have been translated in Chinese, and what significance have they had in China since the late Qing? That is what this paper aims to clarify, by looking at authors from the nineteenth century (such as Jules Verne and J.-H. Rosny aîné) to the twenty-first century (such as Elisabeth Vonarburg and Alain Damasio). We will try to find out the proportion and the importance of French-language science fiction works in the literary SF landscape in China, including productions from France, Belgium, Switzerland, Quebec, and other French-speaking countries.

Pour le programme complet, voir la page dédiée ICI.

ChinEAsT : Chinese and East Asian Translation

Ce carnet de recherche a pour but de publier les activités auxquelles les membres du Service de Traduction, Langues et Cultures chinoises et est-asiatiques (ChinEAsT) de la Faculté de Traduction et d’Interprétation – École d’Interprètes internationaux (FTI-EII) de l’Université de Mons participeront ou qu’ils organiseront (journées d’études, colloques, workshops, publication d’ouvrages, etc.), ainsi que tout ce qui a trait aux recherches menées par ses membres (traduction, littérature, enseignement des langues et de la traduction, etc.). Ainsi, le carnet de recherche pourra servir à publier des projets de recherches, des résultats de recherches, des comptes rendus d’ouvrages ou d’articles, des articles de veille scientifique, des appels à contribution ou à communication, etc. Le public visé par le carnet est à la fois composé de spécialistes des domaines de recherches des membres de ChinEAsT (traducteurs, traductologues, critiques littéraires, académiques, chercheurs, etc.), qui seront le public principalement visé, que de curieux de l’Asie de l’Est et de ses langues.