Cette thèse, au carrefour de la traductologie et des études littéraires, se présente sous la forme d’une étude de cas prenant pour point de départ les liens d’influence entre deux écrivains, l’Irlandais Lord Dunsany et l’Américain H. P. Lovecraft. Leurs œuvres se construisent autour de mondes fictionnels où se conjuguent panthéons originaux, visions oniriques et voyages fantastiques. Par une approche descriptive et contrastive, on se propose d’éclairer comment cette démarche mythopoétique fondatrice a également marqué les divers projets de traduction et retraduction qui se sont succédé sur un peu plus d’un siècle.Dans cette perspective, cette recherche se fonde sur une conception de la traduction au sens large comme réécriture et allie plusieurs points de vue (sociologique, culturelle, stylistique) afin d’analyser la manière dont ces œuvres et le mythe qu’elles véhiculent sont reçues et se transmettent. En effet, le mythe naît précisément de la répétition de récits sans cesse régénérés, laissant toujours place à la variation, et le plaisir du mythe vient en partie de ce que lecteur reconnaisse, dans l’histoire qu’on lui conte, un récit familier bien que renouvelé qui pourra faire naître en lui le désir de le transmettre à son tour en se l’appropriant.Il apparaît alors possible de distinguer la spécificité d’une traduction mythopoétique dans le cadre de ce pan particulier des littératures de l’imaginaire, et de mettre au jour une vision nouvelle du ludique en traduction : en faisant appel à la complicité de lecteurs-joueurs qui deviennent à leur tour agents de leur transmission et de leur réception dans le champ littéraire français, ces œuvres se font textes-mondes, s’ouvrent à la démultiplication, à la réécriture et au partage, et traduisent un désir d’enchantement participatif qui, jusqu’à aujourd’hui, n’a cessé d’aller croissant. / This dissertation stands at the crossroads of translation and literary studies and focuses on the case of two fantasy authors, Lord Dunsany and H. P. Lovecraft. One having inspired the other, they are both creators of fictional worlds marked by made-up cosmogonies, dream visions and fantasy journeys. Through comparison and contrast, we propose to highlight how the mythopoeic approach which their stories stem from has also shaped the various translation and retranslation projects in France over the past century.From this perspective, this research elaborates on a broad conception of translation as rewriting and relies on sociological, cultural and stylistic approaches in order to analyse how these works and the myth they convey have been received and transmitted. Indeed, myth is born from the endless repetition and regeneration of stories and includes variation as a characteristic; the pleasure derived from myth comes from the readers recognizing a familiar story under a new garment, before passing it on in their turn.It then becomes possible to delineate the specificity of mythopoeic translation as regards to this particular facet of fantasy literature, and to establish a new vision of play within translation: these works, triggering both attachment and complicity in readers who become players of a game of transmission, ensure their reception in the French literary field and become text-worlds. Demultiplied, rewritten, shared, they translate an evergrowing desire for participative enchantment.

L’Albanie est demeurée longtemps l’un des pays européens les plus méconnus. Ce pays qui depuis la fin du XVe siècle était resté pendant presque cinq cents ans sous la domination ottomane était un mystérieux avant-poste de l’Islam au cœur de l’Europe. Ce fut seulement au tout début des années 1800 qu’on commença à l’inclure parmi les destinations du « Grand Tour ». Cette recherche a visé à dégager les typologies de la représentation par lesquelles les écrivains et les artistes européens donnèrent les « images » par lesquelles l’Albanie fut conçue par les étrangers. Les sources abordées vont du début du XIXe siècle aux années 1940. À partir d’un corpus primaire comprenant les Souvenirs de la Haute-Albanie du consul français Alexandre Degrand, L’Albania de l’écrivain-journaliste italien Ugo Ojetti, et High Albania de l’Anglaise Mary Edith Durham, le champ d’observation s’est élargi à inclure un large éventail de textes allant des journaux de voyage aux œuvres fictionnelles aux articles de presse. Une attention particulière a été portée au côté proprement figuratif des œuvres littéraires, consistant en des gravures, des croquis et d’autres formes de la visualisation ; leur observation a constitué un outil complémentaire aux fins de l’identification du réseau historico-conceptuel où prit forme l’image de l’Albanie. Enfin, une étude à part entière a été consacrée à des ouvrages se déroulant dans de pays fictionnels inspirés de l’Albanie ; rédigés entre la fin du XIXe et nos jours, ils montrent une concentration de clichés et de stéréotypes, constituant ainsi un test réactif pour détecter certaines des sources de l’image de l’Albanie dans le courant dominant contemporain. / Albania has long been one of the less known European countries. This country which had remained for nearly five hundred years under Ottoman rule was a mysterious outpost of Islam in the heart of Europe. It was only in the early 1800s which it began to be considered worthwhile to include among the Grand Tour destinations. This research has been aimed at detecting and identifying representation patterns through which writers and European artists shaped the « images » by which Albania was conceived by foreigners. The sources range from early XIXth to the 1940s. Starting from a primary corpus consisting of Souvenirs de la Haute-Albanie by the French consul Alexandre Degrand, L’Albania by the Italian writer Ugo Ojetti, and High Albania by the English Mary Edith Durham, our observation field widened to include a broader survey of works ranging from travel diaries and fictional novels to newspaper articles. A prominent place belongs to the iconological corpus, namely to the engravings, sketches and other representational forms through which European literature illustrated Albanian subjects. Observing them has been a complementary tool for identifying the historical and conceptual framework in which the image of Albania took shape. Finally, a specific study has been devoted to works taking place in fictional countries inspired by Albania. Written from the late XIXth century to the present day, they show a rather high concentration of clichés and stereotypes scattered throughout European literature, thus acting as a reactive test to detect some of the sources of the current image of Albania. / Pur essendo nel cuore del Mediterraneo, l’Albania è stata a lungo uno dei Paesi europei meno conosciuti. Agli occhi del resto d’Europa, questo Paese rimasto per quasi 500 anni sotto la dominazione ottomana rappresentava un misterioso avamposto dell’Islam di fronte alle coste italiane; fu soltanto agli inizi del 1800 che cominciò a essere considerato una meta da inserire fra le tappe del Grand Tour.Questa ricerca ha mirato a identificare i modelli di rappresentazione attraverso cui viaggiatori, scrittori e artisti europei hanno visto l’Albania, le sue tradizioni e il suo popolo, dando così origine a quelle che sarebbero diventate le sue «immagini» nella percezione collettiva. Le fonti vanno dai primi del XIX secolo, quando il Paese entrò nel pantheon della letteratura internazionale grazie al "Childe Harold" di Lord Byron, al 1940.Il corpus originario, costituito dai "Souvenirs de la Haute-Albanie" del console francese Alexandre Degrand, da "L’Albania" dello scrittore-giornalista italiano Ugo Ojetti, e da "High Albania" dell’inglese Mary Edith Durham, cui è stata dedicata un’attenzione particolare per la sua complessa e innovativa opera etno-antropologica, si è ampliato fino a comprendere un campo d’indagine che va dai diari di viaggio ai resoconti diplomatici, dalla narrativa alla stampa periodica.Inoltre, nella convinzione che nella creazione dell’immagine dell’Altro un posto rilevante spetta alla rappresentazione visuale in se stessa, è stata dedicata particolare attenzione al campo figurativo, consistente in dipinti, schizzi e altre forme della visualizzazione attraverso cui l’arte e la letteratura europea hanno rappresentato temi e motivi albanesi. La loro osservazione ha fornito ulteriori strumenti di analisi del quadro storico e concettuale in cui ha preso forma l’immagine dell’Albania. Infine, uno studio specifico è stato dedicato a una tipologia di rappresentazione alquanto particolare, fatta di testi narrativi ambientati in paesi immaginari ispirati all’Albania. Scritti tra la fine del XIX secolo e i giorni nostri, essi offrono un’elevata concentrazione di cliché e stereotipi sparsi nella letteratura di viaggio, fornendo un repertorio utile a individuare alcune delle fonti dei più diffusi modelli di rappresentazione dell’Albania.

Syftet med denna uppsats är att fokusera de queera ögonblicken i J.R.R. Tolkiens trilogi The Lord of the Rings för att visa att det queera finns i kulturen på samma sätt som det icke-queera. När är de två hobbitarna Frodos och Sams relation queer? Vad gör den queer? Hur kan vi förstå denna queerhet i termer av homosocialitet och homoerotik? Uppsatsen är inspirerad av Tiina Rosenbergs queera läsningar, jag använder mig dessutom av Adrienne Richs teori om "lesbisk kontinuitet" och Sedgwicks resonemang om manligt homosocialt begär. Jag har kommit fram till att Frodos och Sams relation rör sig mellan mer och mindre queerhet. Då den inte är statisk kan den inte förstås som renodlat homosocial eller homoerotisk. Däremot kan den ses som en del av en manlig samkönad kontinuitet, vilken inkluderar allt ifrån homosocialitet till homoerotik.

This study arranges symptoms of polarity into a causal sequence# beginning with the origin of contrarieties and ending with the ultimate effect. The origin is considered as the fall of man, denoting both a mythic concept and a specific act of betrayal. This study argues that a sense of separateness precedes the fall or act of separation; the act of separation produces various kinds of fragmentation; and the fragments are reunited through paradox. Therefore, a causal relationship exists between the "fall" motif and the concept of paradox.

No description available.

No description available.

Despite considerable research on the British North American colonies and their political relationship with Britain before 1776, little is known about the administration of Nova Scotia from the perspective of Lord Halifax’s Board of Trade in London. The image that emerges from the literature is that Nova Scotia was of marginal importance to British officials, who neglected its administration. This study reintegrates Nova Scotia into the British Imperial historiography through the study of the “official mind,” to challenge this theory of neglect on three fronts: 1) civil government in Nova Scotia became an important issue during the War of the Austrian Succession; 2) The form of civil government created there after 1749 was an experiment in centralized colonial administration; 3) This experimental model of government was highly effective. This study adds nuance to our understanding of British attempts to centralize control over their overseas colonies before the American Revolution.

The Lord of the Rings trilogy is greatly diverse in species, races, and ethnicities which is a fact that over the decades has engendered great scholarly discussions about hidden racism in the literary work. Therefore, an analysis of intercultural matters and encounters realized throughout the story is relevant for detecting a possible racist ideology. By applying the postcolonial concept “Othering,” which is an act of differentiation, this essay analyzes racist instances in the story, and the result of or opposition to those, in order to indicate the presence of an anti-Othering ideology in the trilogy. The analysis is conducted through discussion of Othering of other species/races/ethnicities caused by blind trust in one’s own group, Othering inside one’s own group, Othering of other species/races/ethnicities, and discussion about instances of multicultural acceptance. Considering Tolkien’s relationship to nature, this discussion also extends to Othering of nature. Consequently, this essay concludes how The Lord of the Rings trilogy arguably is against Othering since the story generally presents the act as negative to others, oneself, and/or one’s beloved as well as contains instances which simply convey a positive view of multiculturalism. / Sagan om ringen trilogin är väldigt mångfaldig i arter, raser och etniciteter vilket genom årtionden har genererat storskaliga akademiska diskussioner om förekomsten av en dold rasism i det litterära verket. Därmed är en analys av de interkulturella angelägenheter och möten som tar plats under berättelsens gång relevant för att upptäcka en möjlig rasistisk ideologi. Genom att applicera det postkoloniala konceptet ”Othering”, vilket är en differentieringsakt, analyserar denna uppsats rasistiska instanser i berättelsen och resultatet av eller oppositionen till dessa för att indikera förekomsten av en motståndsideologi till ”Othering” i trilogin. Analysen genomförs genom diskussioner om ”Othering” av andra arter/raser/etniciteter orsakade av blind tilltro till ens egen grupp, ”Othering” inom ens egen grupp, ”Othering” av andra arter/raser/etniciteter och diskussion om instanser av multikulturell acceptans. Med tanke på Tolkiens relation till naturen sträcker sig även denna diskussion till ”Othering” av naturen. Denna uppsats drar följaktligen slutsatsen att Sagan om ringen trilogin är emot ”Othering” eftersom berättelsen generellt sett presenterar aktionen som negativ för andra, en själv och ens älskade, såväl som innehåller instanser som helt enkelt förmedlar en positiv syn på multikulturalism.

The motif of twins is one that permeates strongly throughout the Harry Potter series. Fred and George as a pair are immensely popular with fans, and the “very curious” twinship of Harry and Voldemort’s wands is a relationship greatly explored in the saga. In my paper, I shall further explore this prominent Potter motif and delve into the origins and symbolism behind this twinship. I will also recall the dark conclusion to the tale of the Weasley twins. The death of Fred as related to the series’ theme as a whole and the death of Harry in the attempt to remove his parasitic twin, Voldemort’s unintended horcrux, will be discussed. There will also be exploration of missing and broken twins, for example, where is Romulus since we know a Remus? Why are Padma and Parvati in different houses? What is the symbolism of Harry’s broken wand? I will discuss how Voldemort’s creation of horcruxes is an intentional twinning of his self, and thus a mutation of nature. An exploration of numerology in relation to this twin discussion will also be included. This paper will show that the motif of twins is not just an interesting addition to the Potter novels but rather a tie-in to the story’s core of insisting on duality when the truth is in wholeness.

Thesis advisor: Pheme Perkins / Psalm 110:1 was not a Second Temple messianic proof-text. Yet, it became the early Christian text par excellence for articulating exaltation Christology: Jesus was exalted to God’s right hand (Acts 2:33, 34-35; 5:31; 7:55-56; Rom 8:34; Col 3:1; Eph 1:20; 1 Pet 3:22; Heb 1:3, 13; 8:1; 10:12; 12:2) and κύριος of the cosmos (Phil 2:9-11). Therefore, this unprecedented and singular use of Ps 110:1 by early Christians requires an explanation. This dissertation argues that the unparalleled Christian use of Ps 110:1 is indebted to a Greco-Roman royal ideological concept: rulers as sharers of divine/sacred space, which consisted of three elements: temple sharing, throne sharing, and joint temples of imperials and gods. Greek cities and Roman period provinces made autocrats sharers of sacred space to show appreciation for concrete royal benefactions and to acknowledge the piety of monarchs and divine approval of their regimes. Early Christians adopted two of these practices—temple sharing and throne sharing—for similar purposes, creating a unique variant of the Greco-Roman royal practice and using scripture to justify it (Ps 110:1). Consequently, early Christian use of Ps 110:1, exaltation Christology, and Jesus’s Lordship are indebted to royal messianism. / Thesis (PhD) — Boston College, 2018. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Theology.