La question du capital symbolique et la représentation de la variation linguistique dans les traductions de best-sellers pour le public jeune adulte:
O Teorema Katherine, de John Green, et O verão que mudou minha vida, de Jenny Han
DOI :
https://doi.org/10.26512/belasinfieis.v11.n1.2022.38930Mots-clés :
Études de Traduction. Marques d’oralité. Capital symbolique. Fiction littéraire. Fiction de genre.Résumé
Cet article présente les résultats de recherches sur les marques d’oralité dans des dialogues d'œuvres traduites associées à la fiction littéraire et aux best-sellers de fiction de genre. Il a été remarqué que des best-sellers de « fiction de genre » de John Grisham, d’Agatha Christie et de Troy Denning partagent deux aspects : a) les auteurs ne disposent pas de capitaux symboliques élevés dans le domaine des études littéraires, et b) ils présentent peu de marques d’oralité dans les dialogues traduits. Or, les œuvres de « fiction littéraire » de Philip Roth, d’Hemingway, de Kazuo Ishiguro, et celles de « fiction de genre » de Shirley Jackson et de Philip K. Dick ont indiqué un capital symbolique élevé dans la sphère des études littéraires et on compte de nombreuses marques d’oralité dans les traductions de leurs œuvres. Il n’est pas improbable qu’une partie des traductions de fiction de genre, notamment celles dépourvues de capital symbolique et à plus grande portée commerciale (BOURDIEU, 2015), puisse être influencée par une perception conservatrice, de la part des traducteurs/éditeurs, en ce qui concerne la représentation de la variation linguistique. Néanmoins, dans des livres de littérature jeune adulte de John Green et de Jenny Han, il a été observé plusieurs marques d’oralité quoique aucun de deux auteurs ne fasse de large écho dans les études littéraires. On considère que la forte présence de marques d’oralité dans certaines œuvres de littérature jeune adulte à faible statut symbolique peut être conditionnée par d’autres facteurs, comme l’urgence de créer, pour un jeune lectorat, une vraisemblance linguistique entre des dialogues fictifs et des discours « concrets » des adolescents, puisqu’ils sont les personnages centraux des romans jeunes adultes.
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