Master of Science / Psychological Sciences / Richard J. Harris / Figurative language use is not limited to poetry or literature but is a ubiquitous part of speech. Studies that looked at figurative language comprehension have shown that some cognitive mechanisms, such as working memory, may be involved in figurative language comprehension. For example, individuals with high working memory span tend to produce deeper metaphor interpretations. The current work was interested in how working memory is involved in a particular figure of speech comprehension: idioms. An idiom is a phrase whose meaning cannot be simply deduced from the literal meanings of the words that comprise that idiom. Idioms can vary according to their compositionality, which refers to the extent with which meanings of the idiom constituents provide cues for the idiom's idiomatic meaning. A number of researchers agreed upon certain idioms being decomposable and other idioms being fixed. The two different types were used in the Main Study. Models of idiom comprehension also vary from traditional "lexical look-up" models that consider idioms as multi-word lexical units stored as such in speakers' mental lexicons to "nonlexical" models, such as the Configuration Hypothesis, that states that an idiom as a whole does not have a separate lexical representation in the mental lexicon. Both models are considered in this work. Finally, understanding idiomatic expressions may require inhibiting irrelevant literal information. For example, literal meanings of the words dogs and cats in an idiom it is raining cats and dogs have to be inhibited in order to gather the figurative meaning of the expression. Thus, the main objective of the current work was to assess the role of working memory in idiom comprehension, as well as to explore whether idiom compositionality had an effect on how fast idioms were interpreted, while also considering implications for the two main models of idiom comprehension. A Preliminary Study narrowed down the list of idioms to the 26 that were used in the Main study, ensuring that both types of idioms did not differ in familiarity or length. The Main Study consisted of four tasks: working memory (Operation span task), inhibition (reading with distractions), idiom comprehension, and familiarity. Seventy-three general psychology students participated in the Main Study. The data were analyzed by several regression analyses and t-tests. The main finding was that there seems to be a difference in a way the two accepted types of idioms are interpreted: fixed idioms were interpreted faster than decomposable idioms. This is consistent with the lexical lookup hypothesis but only for fixed idioms and suggests that readers may not have to analyze the literal word meanings of fixed idioms when interpreting them, thus making their interpretation faster, since retrieving is faster than computing. Neither familiarity nor idiom length could account for this difference. On the other hand, neither operation span nor the number of critical errors committed by participants on the inhibition task predicted how long it took participants to interpret either type of idioms. Several possible explanations for such results are discussed, as well as the limitations and future directions.

Le Popol Vuh est une œuvre littéraire aux dimensions mythologique et historique issue de la culture maya-quichée du Guatemala. Rédigé vers 1550 en langue quichée au moyen de l’alphabet latin suivant la phonétique espagnole, le texte a connu depuis le début du XVIIIe siècle de nombreuses traductions et retraductions. Ces versions diffèrent à bien des égards : format bilingue ou unilingue, composition du paratexte, titre, découpage en chapitres, précision du transfert, style littéraire, stratégie de traduction des noms de personnages et des toponymes, etc. En outre, le paratexte de ces différentes versions suggère l’existence d’un dialogue transhistorique émulateur entre leurs traducteurs successifs, en particulier vers l’espagnol, le français et l’anglais. Afin de mieux comprendre ces phénomènes, la présente thèse propose de décrire l’histoire des traductions et des retraductions du Popol Vuh vers l’espagnol, le français et l’anglais et d’avancer une explication aux caractéristiques de cette histoire. Pour ce faire, nous avons adop-té un cadre théorique bermanien (Berman, 1990, 1995) et une méthodologie adaptée au champ d’étude de l’histoire de la traduction et à notre objet d’étude (Berman, 1995; Lépinette, 1997; Pym, 1998). Nous avons d’abord constitué un catalogue de traductions et de retraductions du Popol Vuh en espagnol, en français et en anglais comme point de départ pour retracer, grâce à leur paratexte, les grandes lignes du dialogue transhistorique entre les auteurs des différentes versions du Popol Vuh dans ces langues. Une fois les interlocuteurs principaux identifiés, nous avons procédé à une analyse descriptive et comparative des approches adoptées par les traduc-teurs des versions identifiées comme les plus pertinentes dans l’histoire des traductions et des retraductions du Popol Vuh, à savoir les versions de Ximénez (env. 1703), Brasseur (1861), Raynaud (1925), Recinos (1947), Edmonson (1971), Chávez (1978), Tedlock (1985) et Sam Colop (2008). Cette analyse comprend pour chaque version l’étude de son paratexte et d’un échantillon de traduction, en l’occurrence, l’épisode de la mort de Vucub-Caquix. Grâce à la méthodologie que nous avons adoptée, qui tient compte du profil, de l’horizon et de la position traductive du sujet traduisant, et qui éclaire l’analyse du texte traduit à la lumière de son paratexte, nous avons pu avancer des explications aux caractéristiques observées pour chaque version de notre corpus. Notre thèse permet ainsi de démontrer que les versions du Po-pol Vuh varient avec leur contexte au sens large, mais surtout avec la vision de l’œuvre quichée propre au cercle dans lequel évolue chaque traducteur, de même qu’elles varient en fonction de l’intention de chaque traducteur. Nous avons également confirmé que l’approche adoptée par les traducteurs du Popol Vuh semble être de plus en plus sourcière, même s’ils veillent, notam-ment dans le paratexte, à continuer d’accompagner le lecteur cible dans sa découverte d’un objet littéraire qui est le fruit d’un univers pour lui étranger, l’accessibilité de l’œuvre restant une priorité dans les divers projets de traduction analysés. Notre thèse constitue une étude de cas dont la méthodologie ne demande qu’à être testée dans le cadre de l’étude du cycle de retraductions d’autres textes autochtones américains anciens. Par ailleurs, elle invite aussi à interroger le rôle de la traduction dans le parcours littéraire de ce genre de textes. / The Popol Vuh is a literary work with mythological and historical dimensions that comes from the Mayan-Quichean culture of Guatemala. Written around 1550 in the Quichean language using the Latin alphabet according to Spanish phonetics, the text has been translated and retranslated many times since the beginning of the 18th century. These versions differ in many ways: bilingual or unilingual edition, composition of the paratext, title, division into chapters, precision of the transfer, literary style, strategy for translating character names and toponyms, etc. Moreover, the paratext of these different versions suggests the existence of an emulating transhistorical dialogue between their successive translators, particularly into Span-ish, French and English. In order to better understand these phenomena, this dissertation intends to describe the history of translations and retranslations of the Popol Vuh into Spanish, French and English and to offer an explanation of the characteristics of this history. To do so, we have adopted a Ber-manian theoretical framework (Berman, 1990, 1995) and a methodology adapted to the field of study of the history of translation and to our object of study (Berman, 1995; Lépinette, 1997; Pym, 1998). We began by compiling a catalog of translations and retranslations of the Popol Vuh into Spanish, French, and English as a starting point for tracing, through their par-atext, the main lines of the transhistorical dialogue between the authors of the different ver-sions of the Popol Vuh in these languages. Once the main interlocutors were identified, we proceeded to a descriptive and comparative analysis of the approaches taken by the translators of the versions identified as the most relevant in the history of translations and retranslations of the Popol Vuh, namely the versions by Ximénez (c. 1703), Brasseur (1861), Raynaud (1925), Recinos (1947), Edmonson (1971), Chávez (1978), Tedlock (1985) and Sam Colop (2008). This analysis includes for each version the study of its paratext and a translation sam-ple, in this case the episode of Vucub-Caquix's death. The methodology we have adopted, which takes into account the profile, horizon and translat-ing position of the translating subject, and which sheds light on the analysis of the translated text thanks to its paratext, enables us to put forward explanations of the characteristics ob-served for each version of our corpus. Thus our dissertation reveals that the versions of the Popol Vuh vary with their context in the broadest sense, but above all with the vision of the Quichean text specific to the circle in which each translator evolves, just as they vary accord-ing to each translator's intention. We have also confirmed that the approach adopted by the translators of the Popol Vuh seems to be increasingly source-oriented, even if they are careful, particularly in the paratext, to continue to help the target readers in their discovery of a literary work that is the fruit of a universe that is foreign to them, the accessibility of the work remain-ing a priority in the various translation projects analyzed. Our dissertation is a case study whose methodology could be tested for the study of the cycle of retranslations of other ancient Native American texts. Furthermore, it also invites us to ques-tion the role of translation in the literary journey of these texts.

Cette étude porte sur la nouvelle conception du langage que Martin Heidegger a élaborée de 1934 à 1938. Il faut entendre cette découverte du langage de deux façons. Premièrement, dès 1934, c’est la conception heideggérienne du langage qui paraît transformée : dégagé du cadre de l’analytique existentiale, le langage est de plus en plus compris dans l’horizon de l’être même. Deuxièmement, c’est le langage de Heidegger qui se métamorphose. À la suite de son approfondissement de la poésie de Friedrich Hölderlin, Heidegger déploie un tout nouveau vocabulaire philosophique. Ces quatre années sont donc décisives pour la conceptualité et la nouvelle orientation de la pensée de Heidegger. Pour analyser cette double transformation du rapport de Heidegger au langage, cette étude procèdera en deux temps. Dans un premier temps, nous proposons de nous pencher sur cette période décisive dans la pensée Heidegger dans la mesure où elle est marquée, comme nous entendons le montrer, par un tournant vers la question du langage et de la poésie. Ce tournant possède trois moments. Nous comprenons le cours de l’été 1934 La logique comme question en quête de l’essence du langage (GA 38A) comme la première documentation du moment logique du tournant vers le langage et la poésie de la pensée heideggérienne du milieu des années 1930. Débutant par des considérations logiques, le cours se termine de manière énigmatique sur la question de la poésie, qui annonce ainsi le cours du semestre suivant de l’hiver 1934-1935 Les hymnes de Hölderlin, La « Germanie » et « Le Rhin » (GA 39). Nous comprenons ce cours comme étant la documentation du moment poétique du tournant vers le langage dans le cours de 1934-1935 et dont nous montrerons qu’il est fondamental pour comprendre la découverte de la question du langage par Heidegger. Finalement, le questionnement logico-poétique fera apparaître un moment métaphysique dans le cours Introduction à la métaphysique (GA 40) de l’été 1935. Ces trois cours peuvent chacun être compris à la lumière des différents moments logique, poétique et métaphysique de la pensée heideggérienne du langage et de la poésie du milieu des années 1930. Cette période de la pensée de Heidegger doit être comprise comme la matrice conceptuelle de sa nouvelle conception du langage, qui posera la base de ce que l’on peut appeler la pensée du « second » Heidegger. Dans un deuxième temps, nous nous intéresserons à deux conférences décisives de cette période, L’Origine de l’oeuvre d’art et Hölderlin et l’essence de la poésie (1936), et à l’important iii manuscrit, alors non publié, des Beiträge zur Philosophie, dans lesquels Heidegger expose et approfondit sa nouvelle conception du langage. Dans ses trois versions de L’origine de l’oeuvre d’art (1931-1932, 1935 et 1936) et dans sa conférence sur Hölderlin de 1936, Heidegger présente publiquement pour la première fois sa nouvelle conception du langage et de la poésie. Les notions exposées dans ces conférences joueront un rôle central dans Les apports à la philosophie. De l’événement appropriant (1936-1938), qui peut être compris comme l’aboutissement de la remise en chantier de la pensée heideggérienne du langage du milieu des années 1930. Dans la continuité de ses réflexions présentées dans les cours de ces années, Heidegger propose de lire la poésie hölderlinienne comme naissant de l’expérience de la fuite des dieux et étant l’annonce prophétique d’un autre commencement de l’histoire. Penser le langage et la poésie reviendrait ainsi à penser le « projet poétique de l’être » : ayant accueilli la dispensation de l’être, le poète serait celui qui pourrait fonder le commencement de l’histoire. Si Heidegger se concentre sur la question du langage et de la poésie dans le milieu des années 1930, c’est afin de rendre possible un autre commencement de l’histoire, dont Hölderlin serait l’annonciateur. La visée de cette étude consiste à lire les cours, conférences et manuscrits non publiés des années 1934 à 1938 comme étant le lieu où Heidegger élabore sa nouvelle conception du langage. Nous tâcherons de montrer en quoi cette nouvelle conception du langage de Heidegger doit être comprise à partir de son effort incessant de combattre l’hégémonie de la conception techniciste de l’être. / This study focuses on the progressive development of Martin Heidegger’s new conception of language from 1934 to 1938. This new conception of language must be understood in at least two ways. Firstly, Heidegger’s conception of language appears transformed in 1934: freed from the existential analytics, language, for Heidegger, is now understood in the horizon of Being. Secondly, it is Heidegger’s language itself that is transformed. Following his discovery of Friedrich Hölderlin’s poetry, Heidegger deploys a whole new philosophical vocabulary. These four years are thus decisive for Heidegger’s conceptuality and vocabulary. In order to analyze this double transformation of Heidegger’s relationship to language, this study will proceed in two steps. First, we propose to look at this decisive period in Heidegger’s thought insofar as it is marked, as we intend to show, by a turn toward the question of language and poetry. This turn has three moments. We understand the summer course of 1934 Logic as the Question Concerning the Essence of Language (GA 38A) as the first documentation of the logical moment of the turn in Heideggerian thought toward the question of language and poetry in the mid-1930s. Beginning with logical considerations, the course ends enigmatically on the question of poetry, thus foreshadowing the following winter 1934-1935 semester’s course Hölderlin’s Hymn “Germania” and “The Rhine” (GA 39). We understand this course as documenting the poetic moment of the turn to language in the 1934-1935 course, which we will show that it is fundamental to understanding Heidegger’s discovery of the question of language. Finally, the logico-poetical questioning will give way to a metaphysical moment in the course Introduction to Metaphysics (GA 40) of the summer 1935. These three courses can each be understood in the light of the different logical, poetical and metaphysical moments of Heidegger’s thought on language and poetry in the mid-1930s. This period of Heidegger’s thought should be understood as the conceptual matrix of Heidegger’s new conception of language, which will lay the foundation of what we will have retained as the thought of the “second” Heidegger. Secondly, we will focus on two conferences (of which we now have many versions) and the unpublished manuscript of the Beiträge zur Philosophie in which Heidegger expounds and deepens his new conception of language. In his three versions of The Origine of the Work of Art v (1931-1932, 1935 and 1936) and in his conference Hölderlin and the Essence of Poetry (1936), Heidegger publicly exposes for the first time his new conception of language and poetry. These ideas will play a central role in his Contributions to Philosophy. The Event (1936-1938), which can be understood as the culmination of Heidegger’s thought of language in the 1930s. In the continuity of the reflections presented in his lecture courses of the mid-1930s, Heidegger proposes to read Hölderlinian poetry as the experience of the flight of the gods and the prophetic announcement of another beginning of history. To think language and poetry would be to think the “poetic project of Being”: having heard Being’s dispensation, the poet would be the one who could ground a new the beginning of history. If Heidegger focuses on the question of language and poetry in the mid-1930s, it is in order to make possible another beginning of history, of which Hölderlin would be the herald. The aim of this study is to understand the courses, conferences, and unpublished manuscripts from 1934 to 1938 as the place where Heidegger elaborates his new conception of language. This thesis will show how Heidegger’s new conception of language is to be understood as one the main pillars of his ongoing effort to overcome the hegemony of the technicist conception of Being.

This dissertation examines the function of textual communities in England from the early Middle Ages until the early modern period, exploring the ways in which cultures and communities are formed through textual activities other than writing itself. I open by discussing the characteristics of a textual community in order to establish a new understanding of the term. I argue that a textual community is fundamentally based on activity carried out in books and that perceptions of linguistic distance stimulate this activity. Chapter 1 investigates Bede (c. 673–735) and his interest in multilingualism, coupled with his exploration of the boundaries between the written and spoken forms of English. Picking up on an element of Bede's work, I argue in Chapter 2 that Alfred (r. 871–899) and his grandson Æthelstan (r. 924/5–939) found new ways to make textuality the defining quality of the emerging West Saxon kingdom. In Chapter 3, I focus on the intralingual distance in the textual community surrounding the works of Ælfric (c. 950–1010) and Wulfstan (d. 1023). I also discuss the role of contemporary or near-contemporary manuscript use in forming a textual community at the intersection of ecclesiastical and political power. In Chapter 4, I examine the activities of a textual community in the West Midlands in the twelfth and thirteenth centuries. By glossing Old English texts and rethinking English orthography, this textual community both renewed the work of Anglo-Saxon writers and enabled the activity I discuss in Chapter 5. Chapter 5 argues for a more constructive rationalization of the curatorial and editorial activities of Matthew Parker (1504–1575) than has been presented hitherto. I argue that Parker's cavalier methods of conserving and editing his books in fact represent responses to the textual models he found in those manuscripts. An appendix presents the text and translation of the preface to Parker's edition of Asser's Life of King Alfred. I close with a discussion of the production and use of books, followed by an illustration of the ongoing importance of textual community in England by highlighting the layers of use in a single manuscript (Oxford, Bodleian Library, MS Hatton 20) that links together the chapters of this dissertation.

This study examines the effects of Song and Involvement Load on the acquisition and retention of lexical items by beginner learners of Italian. Lexical acquisition is investigated via an incidental learning experiment that is based on the premise that growth in L2 vocabulary results from rehearsal and repeated exposure to lexical items in a variety of contexts. More specifically, the study hypothesizes that Song contributes to subvocal rehearsal, a mechanism that facilitates the retention of phonological information. In addition, the study hypothesizes that Involvement Load, as posited by Laufer and Hulstijn (2001), contributes to retention through “elaborate processing”(Craik & Tulving, 1975) of lexical items. In order to evaluate participants‟ lexical acquisition, an experiment with pretest/posttest design was carried out. Participants were divided into one of five groups consisting of a Control Group and four treatment groups. Treatment groups were exposed to a Song either in a sung condition or read as a poem (i.e. without music) while the Control Group completed only the pretest and posttests. Treatment groups also completed lexical tasks designed with either low or high levels of Involvement Load. The pretest and posttests (administered at four and eight weeks respectively after the pretest) were based on Paribakht and Wesche‟s (1996) Vocabulary iii Knowledge Scale. It was hypothesized that in the case of both short-term acquisition (four weeks after the pretest) and retention (eight weeks thereafter) (i) participants exposed to Song would obtain higher scores than participants only exposed to the lyrics; (ii) participants completing High Involvement tasks would score higher than participants completing Low Involvement tasks; and (iii) the effects of Song would be greater than the effects of Involvement Load on test scores. Results indicated that at both posttests, participants exposed to Song obtained higher scores than participants only exposed to lyrics (p=0.004). Additionally, participants carrying out High Involvement tasks scored higher than participants carrying out Low Involvement tasks (p=0.017). However, a comparison of the strength of the effects of Song and Involvement Load on acquisition and retention of target items yielded inconclusive results (p=.383). The validation of many of the hypotheses suggests that song and involvement load are effective in the acquisition and retention of L2 lexical items and should be implemented in the L2 curriculum.

This dissertation examines the function of textual communities in England from the early Middle Ages until the early modern period, exploring the ways in which cultures and communities are formed through textual activities other than writing itself. I open by discussing the characteristics of a textual community in order to establish a new understanding of the term. I argue that a textual community is fundamentally based on activity carried out in books and that perceptions of linguistic distance stimulate this activity. Chapter 1 investigates Bede (c. 673–735) and his interest in multilingualism, coupled with his exploration of the boundaries between the written and spoken forms of English. Picking up on an element of Bede's work, I argue in Chapter 2 that Alfred (r. 871–899) and his grandson Æthelstan (r. 924/5–939) found new ways to make textuality the defining quality of the emerging West Saxon kingdom. In Chapter 3, I focus on the intralingual distance in the textual community surrounding the works of Ælfric (c. 950–1010) and Wulfstan (d. 1023). I also discuss the role of contemporary or near-contemporary manuscript use in forming a textual community at the intersection of ecclesiastical and political power. In Chapter 4, I examine the activities of a textual community in the West Midlands in the twelfth and thirteenth centuries. By glossing Old English texts and rethinking English orthography, this textual community both renewed the work of Anglo-Saxon writers and enabled the activity I discuss in Chapter 5. Chapter 5 argues for a more constructive rationalization of the curatorial and editorial activities of Matthew Parker (1504–1575) than has been presented hitherto. I argue that Parker's cavalier methods of conserving and editing his books in fact represent responses to the textual models he found in those manuscripts. An appendix presents the text and translation of the preface to Parker's edition of Asser's Life of King Alfred. I close with a discussion of the production and use of books, followed by an illustration of the ongoing importance of textual community in England by highlighting the layers of use in a single manuscript (Oxford, Bodleian Library, MS Hatton 20) that links together the chapters of this dissertation.

This study examines the effects of Song and Involvement Load on the acquisition and retention of lexical items by beginner learners of Italian. Lexical acquisition is investigated via an incidental learning experiment that is based on the premise that growth in L2 vocabulary results from rehearsal and repeated exposure to lexical items in a variety of contexts. More specifically, the study hypothesizes that Song contributes to subvocal rehearsal, a mechanism that facilitates the retention of phonological information. In addition, the study hypothesizes that Involvement Load, as posited by Laufer and Hulstijn (2001), contributes to retention through “elaborate processing”(Craik & Tulving, 1975) of lexical items. In order to evaluate participants‟ lexical acquisition, an experiment with pretest/posttest design was carried out. Participants were divided into one of five groups consisting of a Control Group and four treatment groups. Treatment groups were exposed to a Song either in a sung condition or read as a poem (i.e. without music) while the Control Group completed only the pretest and posttests. Treatment groups also completed lexical tasks designed with either low or high levels of Involvement Load. The pretest and posttests (administered at four and eight weeks respectively after the pretest) were based on Paribakht and Wesche‟s (1996) Vocabulary iii Knowledge Scale. It was hypothesized that in the case of both short-term acquisition (four weeks after the pretest) and retention (eight weeks thereafter) (i) participants exposed to Song would obtain higher scores than participants only exposed to the lyrics; (ii) participants completing High Involvement tasks would score higher than participants completing Low Involvement tasks; and (iii) the effects of Song would be greater than the effects of Involvement Load on test scores. Results indicated that at both posttests, participants exposed to Song obtained higher scores than participants only exposed to lyrics (p=0.004). Additionally, participants carrying out High Involvement tasks scored higher than participants carrying out Low Involvement tasks (p=0.017). However, a comparison of the strength of the effects of Song and Involvement Load on acquisition and retention of target items yielded inconclusive results (p=.383). The validation of many of the hypotheses suggests that song and involvement load are effective in the acquisition and retention of L2 lexical items and should be implemented in the L2 curriculum.

La coédition de traductions faites au Québec, puis diffusées sous la marque d’un éditeur français, est une pratique à laquelle ont recours les éditeurs pour accroître le rayonnement de leurs titres. Ces coéditions s’effectuent selon des modalités variées dont l’évolution est parfois imprévisible. Dans le processus, les éditeurs et les traducteurs sont amenés à faire des compromis sur la langue d’arrivée afin de rejoindre les publics cibles outre-Atlantique. En quoi consistent ces compromis? Sont-ils terminologiques, lexicaux, culturels ou purement subjectifs? Comment sont-ils perçus par les traducteurs et les éditeurs? Ce mémoire explore ces questions par le biais de quatre études de cas de coéditions de traductions par des éditeurs et des traducteurs littéraires du Québec. L’analyse montre que ces compromis, qu’ils soient ou non culturels, affectent peu la qualité du français mais qu’ils créent parfois chez les éditeurs et les traducteurs un sentiment de domination culturelle de la part de la France. Ce discours est cependant nuancé par les types de pratiques de coédition et par la position des traducteurs dans la structure de l’édition. Un meilleur encadrement des pratiques de coédition et une valorisation du statut du traducteur dans le champ littéraire pourraient contribuer à atténuer certaines tensions liées à la coédition. / The copublishing of the translated version of literary books in Quebec and then distributed under a French publishing brand, is a practice used by editors to broaden the outreach of their books. The process of copublishing is carried out through various methods which tend to evolve in an unpredictable way : editors and translators make compromises about the target language in order to reach their cross-Atlantic markets. What is the nature of these compromises? Are they terminological, lexicographical, cultural or merely subjective? How are they perceived by translators and publishers? This essay explores these questions through the study of four cases of literary works copublished by publishers and literary translators from Quebec. The analysis demonstrates that these compromises, be they cultural or not, have little impact on the quality of French in the copublishing market, which is often in France. But they sometimes create a feeling of cultural dominance on the part of France. This discourse is however nuanced by the type of copublishing practice and the position occupied by translators within the publishing structure. A clearer framework for copublishing practices and a better status for the translator of literary works would contribute to mitigate some of the tensions related to copublishing.

Réalisé en codirection avec Hélène Buzelin / Depuis le début des années 1980, le milieu théâtral québécois manifeste un intérêt croissant pour Tchekhov. Pourtant, les pièces traduites ne répondent pas à la tendance qui, dans le Québec des années 1970-1980, consistait à adapter les classiques du théâtre étranger de façon ethnocentrique, notamment en les traduisant en québécois. Pour Tchekhov, les traducteurs et les praticiens semblent davantage préoccupés par la dimension dramaturgique de la langue que par l'adaptation au contexte sociolinguistique d'accueil. Intriguée par ce phénomène, nous avons cherché à le vérifier et à le comprendre dans le présent mémoire en analysant trois traductions québécoises d’Oncle Vania, représentées entre 1983 et 2001. Notre travail se trouve au carrefour de deux disciplines : la traductologie et l’analyse dramaturgique. Il cherche à démontrer l’ancrage proprement dramaturgique des différentes stratégies de traduction d’Oncle Vania en étudiant la série de leurs concrétisations, du texte source jusqu’à la mise en jeu cible. Le corpus se compose de deux traductions à visée mimétique et d’une réécriture. Dans l'Oncle Vania de Michel Tremblay (1983), l'idiolecte du personnage de Marina a été traduit en joual de façon à recréer l'effet dramaturgique source. Dans Uncle Vanya (1993), une production anglaise du Théâtre du Centaur, les répliques de Sérébriakov ont été traduites en français par Jean-Louis Roux, l'interprète du personnage, et mettent en valeur plusieurs traits distinctifs de celui-ci. La troisième pièce à l'étude est une réécriture de la pièce par Howard Barker, (Uncle) Vanya, traduite au Québec par Paul Lefebvre (2001). La vulgarité de la langue de cette pièce a été traduite de façon sémantique pour recréer la relation déstabilisante spectacle/spectateur propre au Théâtre de la Catastrophe de Barker. Très différentes les unes des autres, ces versions d'Oncle Vania démontrent que la traduction peut s'inscrire, en tant que processus d'analyse dramaturgique, au sein de la critique et de la réflexion sur l'œuvre de Tchekhov. En effet, ces traductions semblent participer davantage de l'histoire globale de l'interprétation du théâtre de Tchekhov en français que d’un projet sociopolitique. Ce mémoire contribue ainsi aux études de traductologie, en y intégrant des modalités d’analyse dramaturgique et apporte un nouvel éclairage à l’histoire de la traduction théâtrale au Québec. / Since the beginning of the 1980’s, Quebec's theatrical milieu interest for Chekhov plays is growing. However, the translated plays do not reflect the tendency which, in the 1970’s and the 1980’s, consisted in adapting the foreign classics of theater in an ethnocentric way, especially by translating them into québécois French. For Chekhov, the translators and the practitioners seemed more worried about the dramaturgic aspects of the language than by the sociolinguistic adaptation of the plays to the context of reception. Intrigued by this phenomenon, we tried to verify and understand it by analyzing three Uncle Vania plays translated and produced in Quebec between 1983 and 2001. Our work is at the crossroads of two disciplines : traductology and dramaturgical analysis. It tries to demonstrate the strictly dramaturgic roots of the various translations strategies for Uncle Vania by studying the series of their concretizations, from the source text to the target mise en jeu. The corpus consists of two mimetic translations and a rewriting. The first play is Oncle Vania, translated by Michel Tremblay (1983), where the idiolect of Marina, one of the characters, was translated in joual in order to recreate the dramaturgic effect of the source text. In the second translation, Uncle Vanya, played in English at the Centaur Theater (1993), the lines of professor Serebryakov were translated into French by Jean-Louis Roux, the character's interpreter, and emphasize several of his characteristics. The third play of the corpus is a rewriting of Chekhov's, (Uncle) Vanya by Howard Barker, translated in Quebec by Paul Lefebvre (2001). The vulgarity of the language of this last play was translated in a semantic way, in order to recreate the show/spectator relation particular to the Barker’s Theatre of Catastrophe. These Uncle Vania’s versions are very different from one another and demonstrate that translation, as a process of dramaturgic analysis, can contribute to the criticism and the reflection on the work of Chekhov. In fact, these translations seem to participate more in the global history of the interpretation of Chekhov’s theater in French, than in a sociopolitical reading of theatrical translation in Quebec. In contributing top translation studies by the mean of dramaturgical analysis, this work also sheds new light on the history of theatrical translation in Quebec.

L’objectif principal du présent mémoire est d’observer le processus de traduction d’un texte de nature juridique mis en oeuvre par deux groupes d’étudiants, cinq étudiants inscrits au baccalauréat en traduction et quatre inscrits au baccalauréat en droit. Tout d’abord, nous analyserons les différences qui existent entre les deux groupes dans leur utilisation des ouvrages de référence. Nous observerons entre autres la diversité générale des ouvrages consultés et la connaissance antérieure des ouvrages papier, la répartition par type d’ouvrages (dictionnaire bilingue, monolingue ou autres), la répartition par support d’ouvrages (électronique ou papier), l’utilisation des correcteurs, l’intensité des recherches effectuées et, finalement, le premier ouvrage consulté selon le type et le support. Ces données seront recueillies grâce à la méthode de verbalisation à voix haute et à l’enregistrement de l’écran d’ordinateur, au moyen du logiciel WebEx. Ensuite, nous évaluerons la qualité des traductions en faisant une distinction entre deux types d’erreurs, soit les erreurs de traduction et les erreurs de langue. Nous tenterons par la suite d’établir des liens entre l’utilisation des ouvrages de référence et la qualité des traductions. Nous observerons que les deux groupes utilisent les ouvrages de référence différemment et que les traducteurs ont semblé mieux outillés que les juristes pour remettre une traduction de qualité. / The main goal of this paper is to observe the translation process of a legal text translated by two groups of students: five undergraduate students in translation, and four in the LLB. First, we analyze the differences between the two groups in their use of reference material. Among other aspects, we observe the overall diversity of reference material consulted and previous knowledge of paper reference material, its use by type (bilingual dictionary, monolingual or others), by media (electronic or paper), the use of spellcheckers, the intensity of research and, finally, the first reference material consulted by type and support. These data were collected by using the think-aloud method and by recording the computer screen with a screen recording software: WebEx. Then, we evaluate the quality of the translations by distinguishing between two types of errors, translation errors and language errors. We then try to establish links between the use of reference material and translation quality. We observed that the two groups used reference material differently and that the translators seemed better equipped than the lawyers to deliver a better translation.