Hélène Jaccomard
Biographic Data
| ID | 1711378 |
|---|---|
| NAME | Hélène Jaccomard |
| GIVEN NAMES | Hélène |
| FAMILY NAME | Jaccomard |
| SIGNATURE | JACCOMARD H |
| AFFILIATIONS | The University of Western Australia |
| ORCID | 0000-0002-5005-0300 |
| VERIFIED | Yes |
| TOTAL WORKS | 15 |
| TOTAL CITATIONS | 2 |
| WORKS AS AUTHOR | 15 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1993 |
| LATEST PUBLICATION YEAR | 2020 |
| H-INDEX | 1 |
Cheerful or Merry?” Investigating Literary Translation Revision
In this paper I discuss the process of revision undergone by my translation into English of Yasmina Reza’s play Dans la luge d’Arthur Schopenhauer. Once the first draft was completed and in order to produce a natural-sounding final draft, I carried out a self-revision in collaboration with an English native-speaker, a playwright with some experience in transcreation. I will show how our respective interlanguages affected the final choices made. A…
Work Placements in Masters of Translation
In Australia work placements are an essential part of most postgraduate qualifications in Translation Studies as a way to guarantee graduates' job-readiness. Work placements, however, are not always run ethically and efficiently. This research paper analyzes the pragmatic and theoretical aspects of professional placements in Translation Studies, and reports on work placements of five Masters students at the University of Western Australia. The st…
Repenser la représentation de la violence dans le théâtre français contemporain
Violence has been a pervasive leitmotiv in French theatre for several decades. Michel Vinaver’s 11 septembre 2001 and Olivier Py’s Théâtres both deal with collective violence such as the attacks on the Twin Towers and the Algerian War of Independence. Ordinary, non-spectacular violence is the topic of Christine Angot’s La Peur du lendemain and Yasmina Reza’s Le Dieu du carnage. All four playwrights seem to support the view that the victims are ca…
L’humour comme arme
Le conflit est l’essence du théâtre, la chose est connue lorsqu’il s’agit de la tragédie, mais c’est également vrai pour la comédie. En prenant à titre d’exemple la pièce de Yasmina Reza, Le Dieu du carnage, l’article analyse les rapports en apparence paradoxaux entre la violence et l’humour. La pièce repose sur la théorie que la civilisation est incapable de contrôler la violence des instincts, avec des dialogues où l’humour fonctionne comme une…
Abolir la distance (sociale)? Le Quai de Ouistreham de Florence Aubenas à la lumière de Pierre Bourdieu
This article assesses Florence Aubenas's work of "immersion journalism" Le Quai d'Ouistreham in the light of Pierre Bourdieu's methods of investigation. The point is to find out whether the journalist's immersion in joblessness has the hallmarks of good fieldwork. It is true that the book provokes a radical change of mind in readers about the lives of the working poor, and this is a sign of a successful testimony. However, some crucial elements o…
Text Versus Stage
As a way of studying the decision-making process in theatre translation, one can examine Yasmina Reza's "Art" and its British and American translations, whose stage productions met with huge acclaim in Great Britain and the US. The translator of both texts, Christopher Hampton, chooses a target over a source approach, aiming first and foremost at performance rather than silent reading. This process of "domestication" of the French original for ad…
La Captation théâtrale, le plus pur des théâtres? Le cas d' 'Art' de Yasmina Reza
En son temps, André Bazin avait comparé sur le plan de leur théâtralité respective le théâtre et le théâtre filmé , expression qui recouvrait les films tirés de textes théâtraux aboutissant parfois à des 'croisements féconds', c'est-à-dire à un cinéma et un théâtre impurs . Ce qui est plus courant de nos jours, c'est le théâtre capté , lorsqu'une représentation enregistrée en public est montée sous forme de film pour être retransmise au cinéma, à…
Serge, un peu d'humour!" Homo ridens et "Art" de Yasmina Reza
Yasmina Reza has often bemoaned the fact that the success of her play Art was based on a misunderstanding: the audience laughed too much and badly. An analysis of the audience's reactions during the play's premiere - which happened to be filmed - allows an empirical observation of the nature, strength and frequency of laughter and other audible responses, such as clapping. If traditional comic devices are shown to work, other more tragic situatio…
For the Bicultural Happy Few Only
Written by Didier Coste, a French essayist, translator and academic who worked for some years in Australia, Days in Sydney is a unique bilingual novel. Instead of the accepted custom of the original text printed on the opposite page of its translation Days in Sydney contains no translation. It alternates French and English in a seamless fashion that is the antithesis of the conventions of bilingual texts, resulting in a truly heteroglossic text, …
Guerre d'Algérie dans la littérature beur
Jean-Pierre Boulé, HIV Stories
Harem ou galère
Du sexisme dans les écrits du sida
La thanatologie chez Hervé Guibert
Que brise Le livre brisé de Serge Doubrovsky
Doubrovsky's non-critical work has always admitted to its « autofictional » character. This neologism also serves to reflect upon the nature of autobiography. His fifth novel, sundered by the death of his wife, may well have broken, among other things, the limits of that distinction, or pushed reflexion fu rther
Repenser la représentation de la violence dans le théâtre français contemporain
Violence has been a pervasive leitmotiv in French theatre for several decades. Michel Vinaver’s 11 septembre 2001 and Olivier Py’s Théâtres both deal with collective violence such as the attacks on the Twin Towers and the Algerian War of Independence. Ordinary, non-spectacular violence is the topic of Christine Angot’s La Peur du lendemain and Yasmina Reza’s Le Dieu du carnage. All four playwrights seem to support the view that the victims are ca…
Serge, un peu d'humour!" Homo ridens et "Art" de Yasmina Reza
Yasmina Reza has often bemoaned the fact that the success of her play Art was based on a misunderstanding: the audience laughed too much and badly. An analysis of the audience's reactions during the play's premiere - which happened to be filmed - allows an empirical observation of the nature, strength and frequency of laughter and other audible responses, such as clapping. If traditional comic devices are shown to work, other more tragic situatio…
Que brise Le livre brisé de Serge Doubrovsky
Doubrovsky's non-critical work has always admitted to its « autofictional » character. This neologism also serves to reflect upon the nature of autobiography. His fifth novel, sundered by the death of his wife, may well have broken, among other things, the limits of that distinction, or pushed reflexion fu rther
La thanatologie chez Hervé Guibert
Du sexisme dans les écrits du sida
Harem ou galère
Jean-Pierre Boulé, HIV Stories
Guerre d'Algérie dans la littérature beur
For the Bicultural Happy Few Only
Written by Didier Coste, a French essayist, translator and academic who worked for some years in Australia, Days in Sydney is a unique bilingual novel. Instead of the accepted custom of the original text printed on the opposite page of its translation Days in Sydney contains no translation. It alternates French and English in a seamless fashion that is the antithesis of the conventions of bilingual texts, resulting in a truly heteroglossic text, …
Serge, un peu d'humour!" Homo ridens et "Art" de Yasmina Reza
Yasmina Reza has often bemoaned the fact that the success of her play Art was based on a misunderstanding: the audience laughed too much and badly. An analysis of the audience's reactions during the play's premiere - which happened to be filmed - allows an empirical observation of the nature, strength and frequency of laughter and other audible responses, such as clapping. If traditional comic devices are shown to work, other more tragic situatio…
Text Versus Stage
As a way of studying the decision-making process in theatre translation, one can examine Yasmina Reza's "Art" and its British and American translations, whose stage productions met with huge acclaim in Great Britain and the US. The translator of both texts, Christopher Hampton, chooses a target over a source approach, aiming first and foremost at performance rather than silent reading. This process of "domestication" of the French original for ad…
La Captation théâtrale, le plus pur des théâtres? Le cas d' 'Art' de Yasmina Reza
En son temps, André Bazin avait comparé sur le plan de leur théâtralité respective le théâtre et le théâtre filmé , expression qui recouvrait les films tirés de textes théâtraux aboutissant parfois à des 'croisements féconds', c'est-à-dire à un cinéma et un théâtre impurs . Ce qui est plus courant de nos jours, c'est le théâtre capté , lorsqu'une représentation enregistrée en public est montée sous forme de film pour être retransmise au cinéma, à…
Repenser la représentation de la violence dans le théâtre français contemporain
Violence has been a pervasive leitmotiv in French theatre for several decades. Michel Vinaver’s 11 septembre 2001 and Olivier Py’s Théâtres both deal with collective violence such as the attacks on the Twin Towers and the Algerian War of Independence. Ordinary, non-spectacular violence is the topic of Christine Angot’s La Peur du lendemain and Yasmina Reza’s Le Dieu du carnage. All four playwrights seem to support the view that the victims are ca…
L’humour comme arme
Le conflit est l’essence du théâtre, la chose est connue lorsqu’il s’agit de la tragédie, mais c’est également vrai pour la comédie. En prenant à titre d’exemple la pièce de Yasmina Reza, Le Dieu du carnage, l’article analyse les rapports en apparence paradoxaux entre la violence et l’humour. La pièce repose sur la théorie que la civilisation est incapable de contrôler la violence des instincts, avec des dialogues où l’humour fonctionne comme une…
Abolir la distance (sociale)? Le Quai de Ouistreham de Florence Aubenas à la lumière de Pierre Bourdieu
This article assesses Florence Aubenas's work of "immersion journalism" Le Quai d'Ouistreham in the light of Pierre Bourdieu's methods of investigation. The point is to find out whether the journalist's immersion in joblessness has the hallmarks of good fieldwork. It is true that the book provokes a radical change of mind in readers about the lives of the working poor, and this is a sign of a successful testimony. However, some crucial elements o…
Work Placements in Masters of Translation
In Australia work placements are an essential part of most postgraduate qualifications in Translation Studies as a way to guarantee graduates' job-readiness. Work placements, however, are not always run ethically and efficiently. This research paper analyzes the pragmatic and theoretical aspects of professional placements in Translation Studies, and reports on work placements of five Masters students at the University of Western Australia. The st…
Cheerful or Merry?” Investigating Literary Translation Revision
In this paper I discuss the process of revision undergone by my translation into English of Yasmina Reza’s play Dans la luge d’Arthur Schopenhauer. Once the first draft was completed and in order to produce a natural-sounding final draft, I carried out a self-revision in collaboration with an English native-speaker, a playwright with some experience in transcreation. I will show how our respective interlanguages affected the final choices made. A…
Art (13 works) · Humanities (9 works) · Philosophy (7 works) · Philosophy (7 works) · History (5 works) · History (5 works) · Sociology (5 works) · Linguistics (4 works) · Literature (4 works) · Art history (3 works)