Traduction des connotations autonymiques dans trois romans de Michel Houellebecq

Abstract

This paper deals with the autonyms or the widespread, orthographically indeterminate use of italics and quotation marks in Slovene translations of three of Houellebecq’s novels, which have been elaborated by three different Slovene translators. Autonyms are divided into three main categories according to whether they convey the words of definite or indefinite individuals, the language of the narrator himself or the concepts and values of the whole society. Within the framework of a style often qualified as “white”, the extended use of italics and quotation marks with function of autonymic connotation allows the author to transmit to the reader very fine semantic nuances and contributes to the richness of his work. Like metaphorical networks, stylems such as the recurrent and extended use of italics and quotation marks require from the translator a preliminary work of interpretation and the development of a coherent strategy making it possible to preserve intact the function of these elements in the narrative. Although the three translations analysed can be considered as globally faithful to Houellebecq’s texts and made possible the notoriety of the French writer in Slovenia, none of them is distinguished by a rigorous and coherent treatment of autonymic connotations indicated by non-normative use of italics and quotation marks. The most frequent and damaging anomalies are the maintenance of these visual signs where the expressions indicated in French do not have to be in Slovenian or, on the contrary, their elimination where it is perfectly possible and appropriate to maintain them for the detailed understanding of the text. The author draws attention to possible solutions and opts for the elaboration of a consistent translation strategy for the treatment of the analysed elements.

Keywords

• Houellebecq
• autonyms
• italic
• contemporary French novel
• translatology
• literary translation