nÃo hà / O presente trabalho objetiva investigar especificamente os culturemas do PortuguÃs Brasileiro (PB). Coletamos esses componentes culturais em trabalhos cientÃficos brasileiros, com o intuito de inventariÃ-los consoante orientaÃÃo teÃrica de Luque Nadal (2009) e Pamies BertrÃn (2008). O levantamento desses sÃmbolos extralinguÃsticos do PB nos mostrarÃ, alÃm de parte significativa do espelho cultural do Brasil atravÃs do lÃxico, a flutuaÃÃo terminolÃgica da categoria aqui explorada. A descriÃÃo e categorizaÃÃo desses elementos nos apresentarÃo, portanto, o reflexo linguÃstico do fenÃmeno. AlicerÃados nas bases teÃricas da Lexicultura e da Fraseologia, pretendemos tambÃm problematizar as implicaÃÃes teÃrico-metodolÃgicas provocadas por essa alianÃa. Se a bagagem histÃrica e cultural de uma sociedade à inserida na lÃngua por meio de diversos fenÃmenos, como culturemas e fraseologismos, resultando na impossibilidade de pensar a lÃngua desagregada desses princÃpios, entÃo, nÃo à ousadia defender essa relaÃÃo necessÃria, haja vista o papel desempenhado pelos culturemas, qual seja, o de atuar como veÃculo de transmissÃo de cultura de um povo, alÃm de cumprir satisfatoriamente a funÃÃo de viabilizar um trÃnsito entre os dois idiomas: materno e estrangeiro. Ademais, sua aprendizagem em LE contribui significativamente para o desenvolvimento da competÃncia comunicativa â objetivo principal das aulas sob a perspectiva de uma abordagem comunicativa. A relevÃncia de nossa reflexÃo se impÃe na medida em que à reconhecidamente sustentÃvel que conhecimento de uma lÃngua extrapola o domÃnio de regras gramaticais e o conhecimento lexical; trata-se, em Ãltima instÃncia, do conhecimento de aspectos culturais, entre os quais està o linguÃstico. / This research aims to investigate the Brazilian Portuguese (BP) culturemes. We collected these cultural components in Brazilian scientific papers with the intention of inventorying them according to the theoretical orientation of Luque Nadal (2009) and Pamies BertrÃn (2008). According to Pamies Bertran (2007), culturemes are culturally motivated extralinguistic symbols, which are the basis for the different languages to generate new phraseological units. The survey of these extralinguistic symbols of BP will show us, besides a significant part of the cultural mirror of Brazil through the lexicon, the terminological fluctuation of the category exploited in our work. The description and categorization of these elements will therefore present the linguistic reflex of the phenomenon. Based on the theoretical bases of Lexiculture and Phraseology, we also intend to problematize the theoretical and methodological implications of this alliance. If the historical and cultural baggage of a society is inserted into the language by means of various phenomena, such as culturemes and phraseologisms, resulting in the impossibility of thinking the language disaggregated from these principles, then it is not boldness to defend this necessary relation, given the role played by culturemes, that is, to act as a vehicle for the transmission of culture of a people, and satisfactorily fulfill the function of enabling a transit between the two languages: mother tongue and foreign language. In addition, learning a foreign language contributes significantly to the development of communicative competence - the main objective of classes within a communicative approach. The relevance of our reflection is imposed insofar as it is admittedly sustainable that knowledge of a language goes beyond the domain of grammatical rules and lexical knowledge; in the last instance, the knowledge of cultural aspects, among which is the linguistic one

Les compétences linguistiques sont fondamentales à l’exercice du métier de traducteur. La connaissance de la culture d’origine et d’arrivée est elle aussi d’une importance primordiale pour transmettre la richesse d’un ouvrage. La question de la place du culturel dans la traduction est abordée par les chercheurs en traductologie depuis une trentaine d’années, et les critères définis sont de plus en plus précis. Cependant, le couple spécifique que constitue le polonais vers le français n’est encore que peu étudié. Nous nous interrogeons donc sur l’expression des connaissances culturelles et contextuelles dans la traduction lors du passage du polonais vers le français. Pour ce faire, nous nous appuyons sur un corpus issu majoritairement des littératures de grande diffusion : notre questionnement porte sur la place de la culture, tant individuelle que nationale, quand l’objectif premier du texte est autre que culturel, ainsi que sur l’importance apportée à sa traduction. Notre réflexion s’appuie sur les oeuvres d’un grand auteur de fantasy, Andrzej Sapkowski, Polonais à la renommée mondiale,et aux traductions ver s le français de ses oeuvres. Nos observations sont par ailleurs complétées par une analyse de la même problématique dans le polar et le roman historique. La question que nous posons est la suivante : dans des textes polonais dont l’objectif premier n’est pas la transmission de la culture, mais le divertissement du public, quels types de connaissances culturelles et contextuelles sont présents, quelle place occupent-ils et comment sont-ils transmis en français ? Nous nous demanderons également quelle est l’incidence s’ils sont occultés. Afin de répondre à ces interrogations, nous proposons une classification des références culturelles et contextuelles qui correspondent à une typologie possible du culturème dans la traduction polono-française, applicable à d’autres littératures que celles de grande diffusion. Pour chacune des catégories et sous-catégories distinguées, nous analysons des exemples précis d’application dans notre corpus. Ceci nous permet de mettre à jour les pratiques les plus courantes dans la traduction des littératures de grande diffusion, et peut-être d’envisager d’autres approches. / Linguistic skills are essential for translators. However, a profound knowledge of source andtarget cultures is also fundamental for transmitting all the richness of a work. Researchershave been working on the importance of translating culture for thirty years, and the criteriathey define are more and more precise. However, translation from Polish into French has beenlittle studied. Therefore, we examine the expression of cultural and contextual knowledge inPolish-to-French translations. To do that, we mainly use a corpus of broadcasting texts andquestion the importance of both individual and national culture when the primary goal of textis not cultural transmission: how to translate such cultural elements? We focus our researchon the works of the famous Polish fantasy writer Andrzej Sapkowski and their Frenchtranslations. We also include thrillers and historical novels in our research. In Polish textswhere the primary objective is not transmitting culture but entertaining a wide range of public,what kind of cultural and contextual knowledge is expressed, what importance does it haveand how is it translated into French? We also question the impact of the absence of suchcultural elements in the translations. To answer all these questions, we establish aclassification of cultural references that can be considered as a possible typology for thecultureme in translation from Polish into French that may apply to other types of texts. Foreach category and subcategory, we analyze specific examples from our corpus of texts. Thisallows us to recognize most frequent practices in broadcasting literature translations, andperhaps offer new approaches.

Malgré l’ancrage de la médiation et de la médiation culturelle en traductologie surtout depuis le Tournant Culturel, il manque encore à ces notions une définition traductologique arrêtée. Partant des apports provenant de différents domaines – notamment la communication culturelle – et prenant appui sur une théorie causale de la traduction, nous proposons une réflexion en trois temps sur le traducteur comme médiateur culturel et sur ses interventions délibérées, dans une approche identitaire, textuelle et fonctionnaliste. Nous sondons la particularité de la construction identitaire du traducteur, acteur marqué par sa formation linguistique et par ses normes socioculturelles d’origine, mais très empathique envers l’Autre et son système normatif. Dans ce premier volet, les stratégies traductives sont étudiées en miroir des stratégies identitaires déployées par le traducteur pour préserver cohérence et valorisation de sa construction identitaire. Ensuite, nous considérons le texte et le type de texte à traduire comme des créations culturelles que le traducteur re-présente à sa communauté, en lui rendant la différence abordable aux niveaux formel, lexical et discursif. Pour ce faire, il déploie une panoplie de stratégies traductives variant de la norme rédactionnelle la plus conformisante à la plus différenciatrice. Dans ce deuxième volet, la préface du traducteur est étudiée comme un lieu de médiation directe, pour informer et recommander la lecture. Enfin, nous analysons deux finalités traductives par lesquelles le traducteur agit sur l’identité culturelle de sa communauté par le biais de sa re-présentation : la formation intellectuelle et la déconstruction/re-construction identitaire. Que ce soit à travers de simples textes ou des institutions à caractère éducatif, l’objectif premier du traducteur est d’informer le lecteur et, par cette information, il agit sur la re-définition de fondements essentiels de sa construction identitaire. / Though mediation and cultural mediation seem to be enrooted in Translation Studies especially since the Cultural Turn, a specialized definition of these notions is still missing. Based on their definitions in other different domains – especially cultural communication – and on a causal theory of translation, we present a three-fold thesis on the translator as a cultural mediator and on his deliberate interventions. The three axes we develop here are based on identity, textual and functionalist approaches. First, we analyze the specificity of the identity of the translator seen as a construction that is not only marked by the linguistic formation and the sociocultural norms of his original community, but also by the actor’s empathy towards the Other and his system of norms. In this first fold, translation strategies are studied as mirrors of identity strategies the translator follows in order to keep the coherence and the valorization of his identity construction. Then, the texts and types of texts are considered as cultural creations that the translator re-presents to his community through making cultural differences understandable on the formal, lexical and discourse levels. To do so, he uses different writing norms from the most conforming to the most differentiating one. In this second fold, the translator’s preface is seen as a privileged place for a direct mediation, in which he already informs his reader about the translation he’s about to read and recommends the reading. Finally, we study two translation functions through which the translator acts on the cultural identity of his community based on his re-presentation of the text: the intellectual formation of the reader and the de-construction/ re-construction of his identity. By the means of a simple text or of an educational institution, the translator’s first aim is to inform the reader, and through this information, he acts on the re-definition of essential foundations of his identity construction.