ABSTRACT

The traditional definition of retranslation as the second or later rendering of a work into one same language is necessarily transformed when seen from a perspective informed by multimodality and intermediality. While the influence of multimodality on our understanding of translation practices has been variously discussed in the literature, little has been said about the relation between multimodality, intermediality and retranslation. Accordingly, this paper has two goals. Firstly, it seeks to discuss how multimodality and intermediality may have an effect on our theoretical knowledge of retranslation. Secondly, it aims to illustrate these theoretical observations through the analysis of different textualities originating in Bashir Lazhar, a one-character play by Québécois playwright Evelyne de la Chenelière. Of particular interest to build the present case study are the French and Spanish versions of the dramatic text as well as a specific stage performance delivered by French-Mexican actor and translator Boris Schoemann in Mexico City in 2012. The study will show how various semiotic codes interact through intermodal, intermedial retranslation practices in order to create new meanings in the performance text.

摘要

从多模态和中介性的角度来看，重新定义翻译的传统定义是将作品第二次或更晚翻译成一种相同的语言。虽然在文献中已经讨论了多模式对我们对翻译实践的理解的影响，但是关于多模式，中间性和重新翻译之间的关系却鲜有提及。因此，本文有两个目标。首先，它试图讨论多模态和中间性如何影响我们的重译理论知识。其次，它旨在通过对起源于巴希尔·拉扎尔（Bashir Lazhar）的不同文本的分析来说明这些理论观察。，这是魁北克剧作家埃夫林·德·谢尼埃尔（Evelyne de laChenelière）的一部单角剧。建立本案例研究特别有趣的是戏剧文本的法语和西班牙语版本，以及法裔墨西哥演员和翻译鲍里斯·舒曼（Boris Schoemann）2012年在墨西哥城发表的特定舞台表演。该研究将展示各种符号符号通过多式联运，中间重新翻译实践进行交互，以在演奏文本中创建新的含义。