Le Zhuang zi, ouvrage qui porte le nom de Zhuang zi, l’un des plus grands philosophes chinois vivant au IVe siècle av. J.-C. environ, a été universellement reconnu pour son imagination exubérante et sans limites, pour son style d’écriture plein d’humour, de même pour son usage efficace du « sanyan » (三言, les trois paroles) dans la construction des textes narratifs. Plus important encore, il présente une conception unique du cosmos et des dix mille êtres, ainsi qu’une observation perspicace du monde humain. Cet ouvrage a attiré, dès l’origine, bon nombre d’annotations et d’interprétations de la part des lettrés aux différentes époques en Chine. Incontestablement, les efforts scientifiques antérieurs ont permis au Zhuang zi de subsister durant une vaste étendue temporelle. C’est grâce à eux en effet qu’une base de données riche et précieuse a été mise en place pour sa réinterprétation et sa retraduction dans le contexte actuel de mondialisation. Néanmoins, le Zhuang zi per se étant un classique porteur de sens multiples est, par conséquent, susceptible d’interprétations diverses. En raison des approches variées adoptées par différents annotateurs, des malentendus, voire des interprétations erronées ont eu lieu dans leurs travaux d’érudition, ce qui fait peu ou prou obstacle à la diffusion intraculturelle et interculturelle du classique.La présente étude commence par un examen des principales découvertes sur le Zhuang zi, allant de la période pré-Qin jusqu’à l’époque contemporaine. Cette tentative de découvrir les traits saillants de ses interprétations dans différents contextes historiques de la Chine a pour but d’inspirer la retraduction intralinguale et interlinguale du classique. Ensuite, une discussion autour de la vision sur le rapport entre le langage et le sens du Zhuang zi, ainsi qu’autour de l’exemple des trois commentaires est déployée, suivie de l’observation de ses versions anglaises et françaises, y compris leurs réalités communicatives dans l’univers de la langue cible, d’où il résulte que les traductions intralinguale et interlinguale remplissent chacune des fonctions différentes dans la communication transtemporelle et trans-spatiale du Zhuang zi. Pour faire avancer la discussion, cette étude met l’accent sur l’aspect étymologique et sur le processus évolutif des trois notions philosophiques essentielles qui ont toutes, en faisant souvent l’objet de l’interrogation dans le milieu sinologique, une occurrence très élevée dans l’ouvrage, à savoir « dao » (道, le dao), « tian » (天, le ciel) et « de » (德, l’efficience). Cette partie expose principalement leurs usages dans les classiques confucianistes, dans le Lao zi et dans le Zhuang zi, avec l’analyse des gains et des pertes de leurs traductions, afin de mettre en lumière un cadre de référence pour une compréhension et une interprétation plus approfondie des notions philosophiques du Zhuang zi. Enfin, cette étude se réfère étroitement aux paragraphes et à leurs versions françaises/anglaise pour une interprétation multilingue des vues de Zhuang zi sur les questions telles que « la vie et la mort », « l’utile et l’inutile » et « le beau et le laid », dans l’intention d’illustrer une approche traductionnelle aux thèses philosophiques du Maître. Il est affirmé que les notions philosophiques dans l’ouvrage dépendent fortement du contexte et que la recontextualisation est donc essentielle pour le processus d’interprétation et de traduction. Il est également affirmé que les thèses philosophiques du Zhuang zi constituées à partir de perspectives variées mais complémentaires appellent ainsi l’utilisation du paratexte et de la traduction étoffée pour reproduire la réalité du classique dans les situations de traduction. Cette étude affirme aussi la valeur de la traduction multimodale dans la communication efficace du Zhuang zi. / The Zhuang zi adopts its name after Zhuang zi, one of the greatest Chinese philosophers who lived in about the fourth century BC. The classic has been universally recognized for its boundless and exuberant imaginations and its humorous style of writing, particularly as evidenced by its effective use of the “sanyan” (三言, the three words) in the structuring of the narrative content. More importantly, it presents a unique conception of the cosmos, the ten thousand things and an insightful observation of the human world. Since it was known to the public, it has been followed by a variety of annotations and interpretations from different scholars in the Chinese history. Unquestionably, previous academic efforts have made the Zhuang zi survive a vast space of time and accumulated a richness of valuable data for its reinterpreting and retranslation in the present-day context of globalization. Nevertheless, the Zhuang zi per se is a classic of great meaning potential; therefore, it is open to diverse interpretations. Since different annotators and interpreters took different attitudes and approaches to the classic, misunderstandings and misinterpretations have taken place in their works of scholarship, more or less impeding the intracultural and intercultural dissemination of the classic.The present study commences with a review of the major findings on the Zhuang zi, ranging from the pre-Qin period to the contemporary era, as an attempt to discover the salient features of interpretation in different historical contexts of China so as to inspire the intralingual and interlingual retranslation of the classic. Then, it moves on to a discussion of the Zhuang zi’s standpoint on the relation between language and meaning, and the example of three commentaries, which is backed up by an observation of its English and French versions and their communicative facts in the target language world, with the resulting claim that intralingual translation and interlingual translation perform different functions in the trans-temporal and trans-spatial communication of the Zhuang zi. To push the discussion forward, this study turns its focus to the etymological aspect and evolutionary process of the three key philosophical notions in the classic, that is, “dao” (道, the dao) “tian” (天, heaven) and “de” (德, potency), all of which record a high frequency of use and highlight the relevant activity of inquiry in the community of Chinese Studies. This section mainly explores their patterns of use through reference to the pre-Qin Confucian works, the Lao zi and the Zhuang zi, and analyses both the merits and demerits of their different translated versions so as to illustrate a frame of reference for a deep understanding and interpretation of the Zhuang zi’s philosophical notions. Finally, this study closely refers to the classic’s relevant paragraphs and their English/French versions for a cross-linguistic interpretation of the Zhuang zi’s views on questions like “life and death”, “useful and useless” and “beauty and ugliness” to illustrate a translation-based approach to the master’s philosophical theories. It is claimed that Zhuang zi’s philosophical notions are highly context-dependent and therefore recontextualization is essential to the process of interpretation and translation. It is also claimed that the Zhuang zi’s philosophical theories are made from varied but complementary perspectives and therefore call for the use of paratexts and thick translation methods to reproduce the reality of the classic in translation situations. This study affirms the value of multimodal translation in the effective communication of the Zhuang zi as well.

O presente trabalho tem como objetivo investigar as características da tradução intralingual (JAKOBSON, 1960), mais conhecida como adaptação (MILOU, 1973), da obra Maigret tend un piège, de Georges Simenon (1955). A análise, que busca a ocorrência dos universais da tradução (BAKER, 1998) simplificação, normalização, explicitação , foi feita pela observação de dados obtidos com as ferramentas da linguística de corpus, em especial o programa WordSmith Tools®. Além da adaptação, a versão original e a tradução para o português brasileiro (ALMEIDA, 1966) compõem o corpus de estudo da pesquisa, que conta ainda com dois corpora de referência, um em francês e outro em português, utilizados para obter as palavras-chave dos textos em estudo. A obra integral foi comparada à tradução interlinguística e à tradução intralinguística, e o resultado aponta para características comuns entre as duas formas de tradução e características peculiares da adaptação. / The main purpose of this work is to investigate the characteristics of intralingual translation (JAKOBSON, 1960), widely known as adaptation (MILOU, 1973), extracted from the book Maigret tend un piège written by Georges Simenon (1955).The research, which aim is to verify the occurrences of universals of translation: simplification, normalization and explicitation (BAKER, 1998) is based on the data that have been provided through the use of several corpus linguistic tools in special the WordSmith Tools®. In addition to adaptation, the original version and the translation into Brazilian Portuguese (ALMEIDA, 1966) constitute the corpus of this research that still includes two reference corpora one in French and the other one in Portuguese. Both were used to achieve the keywords of the texts under investigation. The original work was compared to the intralingual and interlingual translation. The results indicate that there are similarities between the two forms of translation and common characteristics of adaptation.

O presente trabalho tem como objetivo investigar as características da tradução intralingual (JAKOBSON, 1960), mais conhecida como adaptação (MILOU, 1973), da obra Maigret tend un piège, de Georges Simenon (1955). A análise, que busca a ocorrência dos universais da tradução (BAKER, 1998) simplificação, normalização, explicitação , foi feita pela observação de dados obtidos com as ferramentas da linguística de corpus, em especial o programa WordSmith Tools®. Além da adaptação, a versão original e a tradução para o português brasileiro (ALMEIDA, 1966) compõem o corpus de estudo da pesquisa, que conta ainda com dois corpora de referência, um em francês e outro em português, utilizados para obter as palavras-chave dos textos em estudo. A obra integral foi comparada à tradução interlinguística e à tradução intralinguística, e o resultado aponta para características comuns entre as duas formas de tradução e características peculiares da adaptação. / The main purpose of this work is to investigate the characteristics of intralingual translation (JAKOBSON, 1960), widely known as adaptation (MILOU, 1973), extracted from the book Maigret tend un piège written by Georges Simenon (1955).The research, which aim is to verify the occurrences of universals of translation: simplification, normalization and explicitation (BAKER, 1998) is based on the data that have been provided through the use of several corpus linguistic tools in special the WordSmith Tools®. In addition to adaptation, the original version and the translation into Brazilian Portuguese (ALMEIDA, 1966) constitute the corpus of this research that still includes two reference corpora one in French and the other one in Portuguese. Both were used to achieve the keywords of the texts under investigation. The original work was compared to the intralingual and interlingual translation. The results indicate that there are similarities between the two forms of translation and common characteristics of adaptation.

The central focus of this Master's thesis is to describe, explain and classify intersemiotic translation within current translation studies. Given the interdisciplinary nature of the thesis, the theoretical part draws inspiration also from aesthetics, semiotics, adaptation, literary and film studies. Our findings are applied to the empirical material - interlingual and intersemiotic translation of Leaving by Václav Havel. Both translations are thoroughly analysed and the identified shifts are classified into categories primarily inspired by Anton Popovič's model of translation (1975, 1983). Comparison proved that the approach to intersemiotic translations/film adaptations as interlingual translation works. Although, there was a need to create new categories for some shifts in the film adaptation. Based on that, we propose a new model of intersemiotic translation, which could serve as inspiration for further research.