By Emily Salines
Alchemy and Amalgam explores a comparatively un-researched quarter of the Baudelairean corpus (his translations from English) and relates them to the remainder of his works. It seeks to set up a hyperlink among translational and inventive writing, arguing for a reassessment of where of translation in Baudelaire’s writing technique. instead of a sideline in Baudelaire’s inventive actions, translation is therefore proven to be a relevant type of twin writing on the center of his works. Baudelaire’s translations from English, his consistent rewriting of pre-existing fabric (including his own), the doublets, the transpositions d’art, and the paintings feedback are all in response to an method of writing that is basically spinoff but additionally transformative. hence the Baudelairean scan illustrates the boundaries of romantic notions of originality, creativity and genius, reminding us that every one writing is intrinsically intertextual. It additionally indicates the complexity of translation as a sort of production on the center of recent writing.
The booklet is likely one of the first of its style to hyperlink the research the translational task of a huge author to his ‘creative’ writings. it's also one of many first to supply an built-in presentation of French 19th-century translation ways and to hyperlink them to questions of copyright and authorship within the context of the increase of capitalism and romantic perspectives of production and genius. It deals, hence, a brand new viewpoint either on translation historical past and on literary background.
Alchemy and Amalgam should be of curiosity to scholars of translation, comparative literature and French reports.
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Extra info for Alchemy and Amalgam: Translation in the Works of Charles Baudelaire
95 As Bandy notes, Edgar Allan Poe, sa vie et ses ouvrages (hereafter referred to as ouvrages) makes extensive use of American sources. Baudelaire used as a basis for his text an obituary by John Reuben Thompson, published in November 1849, and, to a much greater extent, a long review by John Moncure Daniel (March 1850) of the first two volumes of Poe’s works published by Redfield in New York. T. Bandy, ‘New Light on Baudelaire and Poe’, Yale French Studies, 10 (1952), 65-69; Edgar Allan Poe, sa vie et ses ouvrages, Édition commentée par W.
68 Similarly, in Gordon Pym, most place names and distances are expressed in English, as well as names of animals, and objects without equivalent in French. The very title of Le Cottage Landor uses an English word, and one can find in ‘Le Domaine d’Arnheim’ an incursion of English with the phrase ‘la fashion du moment’ (following the French vogue of the word ‘fa64 EAP, p. 248. EAP, p. 237. 66 EAP, p. 238. 67 EAP, p. 143. 68 EAP, pp. 326-27. The italics are Baudelaire’s; their effect is both to emphasize the foreign phrases and to create a distance from the foreign.
Poe, p. 384, EAP, p. 505 (emphases added). 87 Mary Ann Caws, ‘Insertion in an Oval Frame’, p. 110. 86 L’amour du métier? 45 Mary Ann Caws in the socket / bec pair may be compensated by the term ‘glacis’, evocative of a possibly morbid ‘glacé’. There are many other passages reminiscent of the style of Baudelaire’s poetry, and the prose poems in particular: The chateau into which my valet had ventured to make forcible entrance, rather than permit me, in my desperately wounded condition, to pass a night in the open air, was one of those piles of commingled gloom and grandeur which have so long frowned among the Appennines, not less in fact than in the fancy of Mrs Radcliffe.
Alchemy and Amalgam: Translation in the Works of Charles Baudelaire by Emily Salines