La traduction des néologismes présents dans la littérature fantastique est un sujet qui a, au mieux de nos connaissances, été très peu étudié. Jusqu'à présent, la plupart des recherches à ce sujet sont des études de cas précises qui sont souvent difficilement applicables à l'ensemble du domaine. Pourtant, ces néologismes peuvent représenter un enjeu considérable pour les traducteurs qui y ont affaire. Nous jugeons donc pertinent, considérant la popularité du genre fantastique, d'explorer quelles stratégies de traduction sont les plus efficaces dans ce contexte. Nous nous servons considérons représentative du publié e au XXI e siècle : , comme base pour notre étude de cas sous genre fantastique, d'une œuvre que nous de la high fantasy The Stormlight Archive telle qu'elle est de Brandon Sanderson. Nous recensons les néologismes formels contenus dans les trois premiers tomes publiés et traduits de cette série et analysons les stratégies employées par la traductrice Mélanie Fazi pour les rendre en français , de même que l'efficacité de ces traductions. Nous avançons que dans le cadre d'une œuvre de fantasy se déroulant dans un univers inventé, un postulat de traduction d'orientation cibliste est à prioriser. Les stratégies néologiques utilisées en anglais n'ont pas nécessairement à être imitées en français, et plusieurs variétés de néologismes français peuvent être créés à partir d'un même type de construction morphologique anglaise. Nous présentons plusieurs exemples de stratégies possibles et analysons leurs forces et leurs faiblesses respectives, autant d'un point de vue morphologique que pratique. Nous nous servons des informations ainsi amassées pour rédiger ce mémoire, qui, nous l'espérons, pourra servir de guide pour aider les futurs traducteurs de romans fantastiques à traduire les néologismes auxquels ils seront confrontés. Notre guide ne se veut toutefois ni exhaustif ni prescriptif, et ne constitue qu'un document pouvant servir de soutien aux traducteurs. / The translation of neologisms featured in fantasy literature has, to the best of our knowledge, been the subject of few studies. Until now, most research on this topic consists of specific case studies that can hardly be applied to the entire field. Nonetheless, these neologisms represent a great challenge for translators. We therefore deem pertinent, considering the popularity of the fantasy genre, to explore which translation strategies can be the most efficient in this context. As the basis of the case study, we selected a work we consider representative of the current high fantasy subgenre: The Stormlight Archive by Brandon Sanderson. We identify the formal neologisms featured in the first three books of the series and analyze the strategies used by translator Mélanie Fazi to render them into French, as well as the efficiency of these translations. We argue that, with a fantasy work set an imaginary universe, a domesticating approach should be prioritized. Indeed, neologizing strategies used in English do not necessarily have to be reproduced in French, and many types of neologisms in French can be created from one type of morphological construction in English. We discuss several examples of possible strategies and analyze their respective strengths and weaknesses, both from morphological and practical standpoints. Our goal is that the information contained in this thesis can serve as a guide for future translators faced with neologisms in fantasy. However, this guide is neither exhaustive nor prescriptive; it is but a document aiming to support translators.

The contents of this thesis will detail the entire process I took in making the first episode of Unintentional Community. I have broken up my process into six parts. Part One will discuss the inspirations for the show as well as how it came about. Part Two will cover all of the pre-production work that my team and I went through. Part Three discusses the entire process of my shooting experience as a director and actor. Part Four details the long post-production process. Part Five talks about the show’s bible. Finally, Part Six lays out our entire plan for how we intend to shop Unintentional Community.

Project/Thesis (D. Min.)--Abilene Christian University, 1999. / Includes abstract. Includes bibliographical references (leaves 81-84).

Due to the recent growth in popularity of hard magic in fantasy literature, the aim of the present study is to analyze how Brandon Sanderson utilizes his Laws of Magic to construct conflict that can be resolved using hard magic systems in Mistborn: The Final Empire. The pursuit of the study is to fill a gap in the field, as prior research on Sanderson’s writing and the function of hard magic is limited. In addition to the Laws of Magic, the study applies narratological theories about plot and conflict to determine whether Sanderson successfully avoids deus ex machina through clear definitions of magical limitations and foreshadowing of exceptions. The study concludes that Sanderson effectively ties the reader’s process of understanding the magic to the relationship of the two protagonists, where the more experienced magic user acts as a mentor for the less experienced one. By only conveying to the reader what characters know, Sanderson leaves room for twists where it is revealed that the characters were operating with an incomplete understanding of their own magic, allowing for unforeseeable, yet foreshadowed, new uses of their magic at the story’s climax. The discoveries of the study provide useful insight into how Sanderson works with his own Laws of Magic, which can be applied by writers that wish to use magic as a similar tool to construct and solve conflict in their own stories.