Abstract not available.

Generally speaking, the translator figure does not appear in translation definitions and models. To counteract the illusion of the "translator's invisibility" (Venuti), this study will try, through the analysis of rhythm, to provide elements that establish the translator figure's subjectivity at work in the translation. Since the purpose of this work is to verify whether rhythm is an individuation factor of translators, the corpus is comprised of several translations of three works by three different authors: a naturalist (Darwin), a philosopher (Hegel) and a novelist (Kafka). The corpus sets a diachronic differentiation, but the translations selected for every original text are contemporaneous of each other in order to verify whether rhythm allows for the establishing of a difference between translators on a synchronic level. The part of subjectivity that the analyses have actually highlighted in every one of the translations shows that rhythm can no longer be seen as a mere ornament nor does it fall within the domain of stylistics where it has been confined until now. Rhythm discursive functions are either in the field of narration (as an element of focalization) or in the field of argumentation (as a modelization factor). Rhythm can also have an epistemological function as, in conjunction with other textual features, it modifies the knowledge subtly represented in the original text. Rhythm unequivocally brings out the translator's very own voice. (Abstract shortened by UMI.)

This thesis, a "commented translation", is comprised of two main parts. The first part features the translation of two lyrical essays, "Noces a Tipasa" and "L'ete a Alger", from French Algerian writer Albert Camus' four-essay set entitled Noces. The second part consists of commentary: three chapters treat individual, but interrelated aspects of the source text that were particularly challenging to translation. The first chapter examines four thematic undercurrents that dominate Camus' writing; the second chapter analyzes the stylistic devices Camus favoured to highlight those undercurrents; the third chapter studies the Cagayous vernacular used in the essays. The concept that grew out of the translation and underlies the commentary is that context and style are inseparable in a literary text such as Noces; both must be clearly understood and adequately represented in translation for together they create the unique, complex and multi-dimensional meaning and message of the text.

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Thesis (Ph. D.)--New York University, 1936. / Bibliography: p. 112-115.

Tesis - Universidad de Barcelona. / Includes bibliographical references.