The shift in paradigm which gave rise to relativism has brought about a number of reconsiderations of the critical act--reconsiderations which question in a fundamental way the objectivity of the subject, the autonomy of the object of study, and the neutrality of language. Recent advances in the field of translatology participate in this shift in paradigm, insofar as they dismantle the discourse of transparency and restore to translators their primary role in the reception/re-enunciation of the source text. / A study of the production and reception of Anne Cameron's Daughters of Copper Woman (1981) demonstrates the extent to which the translator, in choosing to take on the stakes arising from the source text, becomes responsible for her/his performed act of mediating. / Furthermore, the translator must be prepared to accept the subjectivity of her/his own reading and ideological convictions, and to contest the value of invisibility traditionally attached to the translator' s role. Analysis of the translations of the first ten short stories of Daughters of Copper Woman illustrates how the translator's ideological stance orients her translation choices. In this thesis, the translator's process of textual intervention is examined from two distinct but complementary perspectives--the feminist and the Bermanian.

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