https://ogma.newcastle.edu.au/vital/access/ /manager/Index ${session.getAttribute("locale")} 5 https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:28783 The Dead Heart was produced only eleven years after it was first translated provides a rare opportunity to deduce, via comparative analysis of a number of key extracts, the translation strategies at the heart of these two competing translation projects, as commissioned by rival publishing houses. Indeed, given the short timeframe involved, the second translation could not have been designed to amend an out-dated text. This article will also test the main theory of retranslation, the “Retranslation Hypothesis”, which was developed by eminent translation theorist Antoine Berman. According to Berman, an initial translation always tends towards the assimilationist approach whereas retranslations tend to be closer to the original text, typically being commissioned once the author has been accepted into the target culture. These retranslations tend also to correct any potential flaws in the initial translation. It will be seen that this hypothesis is only partly borne out in this case. Furthermore, we shall speculate as to whether the unfaithfulness of the initial translation was not, perversely, a key element in the novel’s considerable success in France.]]> Tue 26 Feb 2019 13:19:11 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:25585 Sat 24 Mar 2018 07:35:15 AEDT ]]> https://ogma.newcastle.edu.au/vital/access/ /manager/Repository/uon:27138 The Dead Heart is American author Douglas Kennedy's first novel. It was first translated into French in 1997 as Cul-de-sac. It was this translation that made Kennedy a household name in France and that gave The Dead Heart its identity as a roman noir. In the space of just 20 years the novel has been translated twice into French and adapted twice more, as a film and now as a graphic novel. Elsewhere, we have analyzed this trajectory from the perspective of retranslation and the ostensible differences between the two translation Skopoi, and the use of paratextual branding to target specific reading publics. Focusing on the graphic novel allows us here to go beyond the problematics of translation and to broaden the scope of our study of textual adaptation. It also allows us to reassess the originality of the source text.]]> Sat 24 Mar 2018 07:33:02 AEDT ]]>