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TD n°3: Thème 

Vendredi 6 Octobre

TEXTE 2: Boileau-Narcejac, Sueurs froides (1958)

 

He was discovering (aspect) the entire building / residential block (UK),

the tall windows decorated / adorned in the 1900 /turn of the century fashion, a balcony on which flower pots were lined up / a balcony lined up with flower pots. Higher up / above, there were the garrets and the sky, coloured in a slightly rusty blue. He looked down / he lowered his gaze/eyes; la Talbot was starting up/ driving off toward / was leaving for l’Étoile: [it was] Gévigne. Madeleine won’t / would not be long now / It would not be long before Madeleine arrives. He drank his boiling / piping coffee in one draught /gulp, smiled to himself / and smiled to himself. She had no reasons to go out / No reasons for her to go out… Yes she would! She will go out! Because of all that / the sunlight, this silent celebration / festival / festive silence within the foliage, those downy / fluffy seeds that were wandering / roaming around / drifting around / twirling around in the air… She will go out because he was waiting for her. 

(And) Suddenly, she appeared/ there she was on the sidewalk / pavement. Flavières

left his paper behind and crossed the avenue/ street. She was wearing a grey suit, very narrow /fitted around the waist / waist-hugging and was holding / carrying a black purse under her arm. She looked around as she finished putting/ slipping on a glove. A scarf of gossamer was shivering / jolted around her neck / chest. 

TD n°4: Thème 

Vendredi 13 Octobre

TEXTE 3 : Clélia Anfray, Le Coursier de Valenciennes (2012)

 Il n’y a pas de signe permettant de dater l’histoire, mais certains indices peuvent faire pencher pour les années 50 : « gommeux », « déveine », le repassage d’un mouchoir en tissu... 

Le narrateur est omniscient, visiblement extradiégétique, qui retranscrit les pensées du personnage par un discours indirect libre. ************ When he arrived on / ø rue des Capucins (mieux vaut garder la version française de la rue pour la couleur locale), he felt a vague sense of anxiety / apprehension rising within him / he was overcome by a vague feeling of anxiety / a vague feeling of anxiety gripped him. Where to start? Now was not the time to say what crossed his mind upfront / He couldn't afford to let out what was going through his mind / Saying upfront what was going through his head wouldn't do / wasn't an option (Attention à la structure française “Il ne s’agissait pas”). Quite the opposite / On the contrary. He must be tactful and deft / he had to handle himself with tact and skillfulness… His scorching forehead was dripping with sweat. He ran his hand through his disheveled moist / damp hair and felt / understood / realized that he was feverish. What a disgrace to feel that / Wasn’t that shameful / that entire body perspiring / exuding all over / from everywhere / sweating profusely from every pore like a breeding ground. As if it weren’t enough, he could feel that his legs were numb (“numb” est quasiment toujours employé en position attributive) and could barely hold him. Aggrieved / Offended / Resentful, he glanced at his damp calves / He cast an aggrieved glance at his damp calves glued to his flannel trousers like the slick back hair of a dandy. He could hardly have looked worse / He could hardly be less presentable. He would never have taken the risk of showing such sloppiness in front of a client / Never would he have dare to appear that sloppy in front of a client. Bloody tough luck, he mumbled while unfolding a handkerchief (he had ironed a fresh / clean one just in case) (“iron out” se dit plutôt de

manière figurée: “to iron out a problem”) (ici, “nouveau” est un abus de langage: on dira “fresh”) to sponge down / wipe the thin layer of sweat on / off his forehead. Then, he rubbed / scrubbed his leg frantically while moving about / motioning / gesticulating to loosen the trousers stubbornly sticking to his calves. He looked / glanced around. Not a soul there: his luck / how lucky.

TD n°5: Thème

Vendredi 20 Octobre

TEXTE 4: Jean Echenoz, Un An (1997) Certaines tournures de l’extrait sont un peu elliptiques : on devra les étoffer ou choisir un verbe différent en anglais (« après qu’on se fut extrait des tunnels »). Le narrateur est visiblement extradiégétique ; il est clairement omniscient. Quand il s’agit de la description physique de Victoire, l’auteur utilise un article zéro avec une apposition nominale, ce qui est assez fréquent. L’auteur a fait le choix de l’efficacité pour certaines structures : « sens de la marche et zone fumeurs côté fenêtre » (tout le complément circonstanciel est en apposition). ********* When this story begins, Victoire does not know Bordeaux even slightly / knows very / precious little about Bordeaux, or more generally about the south-west of France, but she knows February well enough / but she does know February, which, along with March, is one of the worst months to spend / to be spent in Paris (nécessité d’étoffement). Although it was not that bad / a bad thing to escape that time period, she would rather it be / was in / under other circumstances / she would have preferred to do so […]. However, / Yet, since / as she had no memory of the hours preceding Felix’s death, she was afraid she might be suspected of causing it (l’ancrage temporel est souvent neutralisé en anglais: on n’est pas obligé de recourir à l’infinitif passé quand il n’y a pas d’ambiguïté). But first, she did not wish to have to explain herself, second, she would have been unable to, as, lastly, she was not even sure that she had no part in it.

Once the train had come out / pulled out of the tunnels, Victoire, deafened / a deafened Victoire locked herself (up) inside the toilets to add up the sum she had withdrawn / taken out from the bank – she had cleared most of her checking account (US) / current account (UK). The sum, split up in large notes / bills, amounted to nearly forty-five thousand francs — in other words, enough to keep going for some time. Then, she studied herself / took a

close look at herself in the mirror: a young woman, aged twenty-six, slim and nervous, determined-looking, with offensive green eyes on the lookout / her green eyes on the offensive, on her guard, black hair done in a rough bob / styled in the shape of a rough helmet / her dark hair done into a windswept helmet. She easily wiped out all emotion from her face, she easily had every feeling vanish (factitif) / letting any of her feelings disappear into thin air, yet she was not feeling overconfident (euphémisme acceptable ici) and went / got / walked back to her seat. In her forward-facing window seat in the smoking area, Victoire tried her best to organize and arrange her memories of the night before, but she still could not manage to reconstruct the course of the evening. She knew that she had spent the morning alone after Félix’s leaving for the workshop, then she had had lunch with Louise before running into LouisPhilippe at the Central, in the late afternoon.

TD n°6: Thème

Vendredi 3 Novembre

TEXTE 5: Christophe Boltanski, La Cache (2015) Rappe l:Né c e s s i t éd ’ u nec o h é r e n c ec ul t u r e l l et o uta ul o n gd ’ u nt e x t e:onc h oi s i ts o i t l ’ a ng l a i sb r i t a n n i qu e ,s o i tl ’ a n g l a i sa mé r i c a i n ,e to ns ’ yt i e n t . g oo ut s i de= ut s i de/c ut( Ih a dn e v e rs e e nt h e mc o me/c o mi n go o me/c o mi n go r e s t e rda nsl epé r i mè t r edes apr o pr i é t é/g oo ut=s o r t i rdec he zs o i )o nf o oto nt h e i ro wn nc o nc e r t/t o g e t h e r–p e r f or mi n g/c a r r y i n go u tt h i sv e r ys i mp l ea c t i o nwh i c h o re v e ni t r o l l i nga l o ng/wa nde r i nga l o ngt c on s i s t si ns hepa v e me n t .Th e ywou l dn o tv e nt u r eo u to f t ho utac a r a t e d/Si t t i ngs t h eho u s ewi i d eb ys i d e ,s h i e l d e d/s h e l t e r e db yt h ec a rb o d y , .Se we v e rl ms y b e h i n da na r mo ur p l a t e/øa r mo ur pl a t i n g ,e v e ni fi twa sl i g h t/ho i g h t/fli . I n o v ea r o undi nœuv r abl e/e Pa r i s ,t he ydr nawh i t eFi a t5 0 0Lu s s o .As i mp l e ,h a n d y/ma a s y a v e ct i r e t s ) ,c nt he i rl e v e l ,wi t hi t s t o h a n d l e( o mf o r t i n g/r e a s s u r i n gc a rwhi c hs u i t e dt h e m /o r a dua t e dupt o7 r o u n d n e s s ,i t sd wa r f l i k es i z e ,i t ss p e e d o me t e rwh i c hg 5mi l e sp e rh o u r ,i t s o f ko fs o undo b i c y l i n dr i ce n g i nei nt h eb a c k,wh i c hl e to u tawh e e z el i k et h ek fa no l d nghy.Th e ywo u l dp a r ki ti nt h ec o b bl e dy a r ds ot h a ti tf a c e dt he s pu t t e r i n g/s p l u t t e r i n gdi g a t e ,r e a dyt og o ,a l o n gt h ema i nwi n g ,n e a r l ys t u c kt ot h ewa l l ,l i k et h er e s c u es p a c ec a p s u l e ur ne dt o wa r ds/a ng l e dt o wa r dst h e o far o c k e t … I t sf r o n tr i g h td oo rwa si n v a r i a b l yt ki t c h e n ’ se n t r a n c e .Tor e a c hi t ,t h e yo n l yh a dt oc r o s sas ma l ls t o nes t a i r c a s e .I no r d e rt og o l pt he m do wn,ane x t r as t e pha dbe e nc a r v e dmi dhe i g hti nt o d o wnmo r ee a s i l y/Tohe pa r tofa no t he r .On c et h e ywe r ed o wn s t a i r s ,t h e yo nl yh a dt od i v ei n t ot h ep a s s e n g e r c omp a r t me n t ,gr i p p i n gt heh a n d l e .Th e ywo u l dn o tl e a v ea n y o n eb e h i ndt h e m.Wewo ul da l l g ot o g e t h e r .Sh e ,be h i n dt h ed r i v i n gwh e e l .He ,n e x tt oh e r .J e a nÉl i e ,An n ea n dI ,pi l e dupi n t h eb a c k s e a t . v e r s i z e dg l a s s e s ,wi t hal i g h tb r o wnf r a mea n do v a l ,s l i g ht l y Sh ewo r ev e r yl a r g e/o t i n t e dl e n s e s .

TD n°8: Thème 

Vendredi 17 Novembre

CORRECTION DST: Mathias ÉNARD, Boussole, 2015

Convention en thème et en version : on ne met pas de note du traducteur. La syntaxe du texte s’amuse à reprendre le rythme de la soutenance, qui n’en finit pas. On pouvait essayer de suivre le même procédé en anglais, en jouant, comme dans le texte de départ, sur la présence de parenthèses et de tirets. Soutenance = dissertation defense, PhD defense, viva I was / had been in Paris for a short while / I was passing through Paris and I was happy to be able to attend a dissertation defense “en Sorbonne” (on peut garder l’expression française) for the first time, and that it was hers / that it should be hers / and hers at that, but once the surprise and amusement to discover how dilapidated the hallways, classroom and jury were had worn away / faded away / but beyond the surprise [….], relegated at the far end of God knows which department lost in the maze of knowledge, where, one after the other, five eminent / high-ranked / respected professors / bigshots / top dogs were to / were going to show (off) what little interest they had for / in the text supposed to be examined / studied / discussed, while displaying / deploying superhuman efforts – just like me, seated in the room – so as not to fall asleep, this exercise filled me with bitterness and melancholy and, just as we were leaving this place (a Spartan classroom, with its desks / tables made of cracked and dented lowquality / cheap wood, which did not display / exhume knowledge but rather distracting graffiti / doodles and gum that was stuck to them / stuck underneath) in order to let these people debate / reach / come to a decision, I was overwhelmed by a powerful desire to take to my heels / make a run for it / run away / down the boulevard Saint-Michel and walk by the bank of the river so as not to face Sarah and have her guess my impressions on the infamous / famous dissertation defense, that must have been so important to her.

TD n°9: Thème

Vendredi 1er Décembre

TEXTE 6: Irène Némirovsky, Suite française ([1942] 2004) Dans ce texte, l’auteure s’amuse à resémantiser certains mots qui ont été lexicalisés et qui, au départ, sont empruntés au contexte de la guerre. Elle s’amuse à jouer sur les doubles sens. The shadow / darkness gradually / slowly took over the lawn; you could still see the softened glow / shine of the golden decorations on the uniforms, the blond hair of the Germans, the brass instruments of the musicians on the terrace. All the brightness of the day, fleeing from the earth, seemed to take shelter in the sky for a short while; shell-shaped pink clouds surrounded the full moon, which was strangely coloured in a very pale green, like pistachio sorbet would be, and had an ice-hard transparency – it was reflected in the lake. Exquisite scents of grass, fresh hay and wild strawberries filled the air (« fill up » voudrait ici dire « saturer »). The music was still playing. All of a sudden, the torches, held up by soldiers, lit up: they illuminated the disordered / littered table and the empty glasses, because the officers gathered around the lake, singing and laughing. You could hear the sound of champagne corks popping in lively, cheerful bangs. (Dans des traductions universitaires, mieux vaut respecter le système de ponctuation canonique : on supprime le tiret introductif et l’on met des guillemets.) “Oh! the bastards”, the French said, but without too much of a grudge / not too grudgingly, for all cheerfulness is always contagious and disarms any feeling of hatred, “to think that it is our wine that they are drinking…” Incidentally, the Germans seemed to enjoy that champagne so much (and they paid such a good price for it!) that the French were obscurely flattered by their good taste. “They are enjoying themselves, thank goodness it is not always the war. Don’t worry about it, they haven’t seen the last of it / they’re in for some more. They say it will be over this year.”

TD n°11: Thème 

Vendredi 15 Décembre

CORRECTION DST 2 : Marguerite Duras, Un Barrage contre le Pacifique

(1950) So, it was for the last time, that evening (mieux que « night »), that, around five p.m., the rough / grating sound (« rêche »: sensation désagréable, irritante, résistance au toucher) of Joseph’s carriage / cart / wagon could be heard / was to be heard on the track / trail in the distance, near Ram (« nearby » s’emploie seul en tant qu’adverbe ou par antéposition en tant qu’adjectif). The mother nodded in agreement. (« hocher la tête » → forcément un mouvement vertical). “It’s early. Business must have been low.” Soon, you could hear the whip cracking and Joseph shouting, and the carriage appeared on the track. Joseph was in the front. On the back seat, there were two Malaysian women. The house was going very slowly; it was scraping the track with its legs / hooves more than it was walking. Joseph was whipping it, but he might as well have been whipping the track, since it could not have been less responsive (« insensitive» a plutôt le sens d’ « indifférent», en anglais). Joseph stopped near the bungalow. The women got / stepped off the carriage and walked on / continued on foot towards Kam. Joseph jumped / hopped off the carriage, took the horse by its bridle, left the track and took a turn into / onto a small path that led to the bungalow. The mother was waiting for him on the embankment in front of the verandah / the porch. “It won’t move forward / won’t keep going at all anymore” Joseph said. Suzanne was sitting under the bungalow, her back resting against a stilt (« stilt » signifie aussi « échasse »). She stood up and walked to the embankment without, however, leaving the shade (« shade» insiste plus que « shadow» sur la volonté de se protéger du soleil). Joseph started unharnessing the horse. He was feeling very hot and drops / beads of sweat were trickling down from under his helmet onto his cheeks. Once he had unharnessed the

horse, he took a few steps away from it and gave him a close look. It was the week before that he had thought of / come upon an idea for this transportation service as a way to try and make a little money....