Dix minutes avant l'heure aux montres de Dali by Sylvie Nicolas

By Sylvie Nicolas

Le 25 août 1998, Sylvie Nicolas est à Montréal où elle participe au dévoilement d’un cahier pédagogique auquel elle a collaboré, intitulé Est-ce ainsi que les filles vivent ? Pendant ce temps, trois brokers de los angeles DPJ débarquent chez elle, à Québec, et enlèvent sa fille. Presque dix ans plus tard, los angeles poète parvient à tracer les ravages que causent les erreurs sur l. a. personne.

Un livre pour les amateurs de poésie, les aventuriers de l’image, les cascadeurs du mot ou de l. a. métaphore, escouade tactique de l. a. parole vivante et exilés en tous genres.

Ce recueil constitue avant tout l. a. transcription lente et mesurée de toutes les conséquences que cet enlèvement entraîne. On n’a pas idée à quel element l’univers de Kafka est à deux doigts de nombreuses réalités. Peut-être suffit-il de dire qu’il s’agit d’une femme qui se retrouve malgré elle dans les coulisses d’un théâtre d’ombres, dans un scénario qu’elle n’aurait jamais envisagé, campée dans un rôle qu’elle n’aurait su imaginer. Peut-être suffit-il d’ajouter que cette bifurcation de sa vie se joue en moins de dix mins. Et que tout ce qui a été vécu avant revient se lover dans chacun des instants qui s’écoulent.

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Extra resources for Dix minutes avant l'heure aux montres de Dali

Sample text

In 1886, on the letters pages of the Academy, an argument occurred over how to translate “God Save the Queen” into Indian languages. Max Müller, the eminent scholar of Sanskrit and editor of the massive Sacred Books of the East, launched it with a letter complaining about two translations of the anthem that had appeared in Indian Antiquary. One was by an Indian translator, “Rám Dás Chhibhar of Lahor,” who had rendered the song in Panjabi. The other was by a British scholar, “Prof. ”61 Müller was dissatisfied with both efforts because they failed to preserve the rhyme and, especially, the meter of the English song.

31 Those prefaces that do say more – Arnold’s and Newman’s on Homer, FitzGerald’s to the Rubáiyát, Browning’s to the Agamemnon – remind us just how distinctive a grasp of literary culture, of ideas about translation practice, and of one’s own position within it a writer must have in order to communicate persuasively in this genre. For a contemporary reader, there is also the challenge of discerning the unnamed controversies A Victorian culture of translation 29 in which a translator participates.

The enthusiasm for comparative evaluation on the pages of periodicals also engenders the identification of authoritative translations and of key or telltale passages within an original text, the English rendering of which communicates about the mores, strategies, successes, and failures of an entire translation: the use of touchstones, that is, as a tool for exploring and evaluating translations. A penchant for comparative evaluation of translations and for the use of the touchstone as an evaluative tool – my sense of the term here is not quite congruent with that of Arnold, who brings us “touchstones” in “The Study of Poetry” (1880) – is evident in scores of translation reviews.

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