background preloader

Camus's "The Stranger": First-Line Translation

Camus's "The Stranger": First-Line Translation
For the modern American reader, few lines in French literature are as famous as the opening of Albert Camus’s “L’Étranger”: “Aujourd’hui, maman est morte.” Nitty-gritty tense issues aside, the first sentence of “The Stranger” is so elementary that even a schoolboy with a base knowledge of French could adequately translate it. So why do the pros keep getting it wrong? Within the novel’s first sentence, two subtle and seemingly minor translation decisions have the power to change the way we read everything that follows. What makes these particular choices prickly is that they poke at a long-standing debate among the literary community: whether it is necessary for a translator to have some sort of special affinity with a work’s author in order to produce the best possible text. Arthur Goldhammer, translator of a volume of Camus’s Combat editorials, calls it “nonsense” to believe that “good translation requires some sort of mystical sympathy between author and translator.”

Albert Camus | The Stranger | Meursault | The Outsider Find your way around Articles and Essays on Camus and his ideas Camus Society MAILING LIST Sign up here to receive important updates about the Camus Society and our new monthly newsletter. Journal of Camus Studies | JCS The Journal of Camus Studies Formerly the Journal of the Albert Camus Society, the JCS is published annually and is available in print or as an ebook. Albert Camus The Stranger | related pages The Stranger | Albert Camus In this essay it is assumed that the reader has not read Albert Camus' The Stranger but is aware that the plot involves a character called Meursault, the shooting of an Arab and a subsequent trial. For Camus, life has no rational meaning or order. It's worth noting here that L'Etranger is sometimes translated as The Outsider but this is inaccurate. In the second half of The Stranger, Camus depicts society's attempt to manufacture meaning behind Meursault's actions. An interesting motif in The Stranger is that of watching or observation.

Book-A-Minute Classics Got another book report to do? English teachers have the inconsiderate habit of assigning mammoth-sized works of literature to read and then actually expecting you to do it. This wouldn't be so bad except that invariably the requisite reading is as boring as fly fishing in an empty lake. Half of those books don't even have discernible plots. And let's face it -- the Cliff's Notes are pretty time-consuming too. Worry no more. "That's nice," you say, "but I don't believe you." Latest additions: 4/6/12 Little Women by Louisa May Alcott. And, on Book-A-Minute SF/F... If you liked Book-A-Minute Classics, try our other Book-A-Minute pages: And try our companion site: RinkWorks Book-A-Minute Classics is a RinkWorks production. Talk Back Talk to us! Legalese Titles and trademarks are the property of their owners.

Pronunciation of ‘s’ sounds impacts perception of gender, CU-Boulder researcher finds A person’s style of speech — not just the pitch of his or her voice — may help determine whether the listener perceives the speaker to be male or female, according to a University of Colorado Boulder researcher who studied transgender people transitioning from female to male. The way people pronounce their “s” sounds and the amount of resonance they use when speaking contributes to the perception of gender, according to Lal Zimman, whose findings are based on research he completed while earning his doctoral degree from CU-Boulder’s linguistics department. Zimman, who graduated in August, is presenting his research Jan. 5 at the annual meeting of the Linguistic Society of America in Boston. “In the past, gender differences in the voice have been understood, primarily, as a biological difference,” Zimman said. Vocal resonance also affected the perception of gender in Zimman’s study.

TransVis | Othello Time Map Existentialist Themes and the Society In Albert Camus’s first novel, The Outsider, his thoughts as an existentialist is demonstrated. The underlying plot of the novel is about the protagonist, Mersault, who commits a murder and then receives a death sentence. As the novel approaches the climax, more ideas of existentialism are revealed, and more is learned about the character. This novel shows how Mersault acts as an outsider to the society, and is then “condemned because he doesn’t play the game” (Camus 118). Albert Camus first develops Mersault as an existentialist hero by using the notion of anxiety. Because Mersault rejects religion, he believes in himself and denies the existence of a higher power. Albert Camus creates Mersault as an existentialist by pointing out his belief in irrelevance. Mersault sees neither a future nor a past in his life; he is only concerned in the present moment. Mersault is an existentialist for he lacks a sense of right and wrong. Camus, Albert. Thody, Philip. Criticism (1959): 151.

William Gibson on Why Sci-Fi Writers Are (Thankfully) Almost Always Wrong | Underwire Author William Gibson poses for a portrait at the Last Bookstore in Los Angeles.Photo: Jason Redmond/Wired William Gibson, one of science fiction’s most visionary and distinctive voices, maintains that he and his fellow writers don’t possess some mystical ability to peer into the future. “We’re almost always wrong,” said Gibson in a phone interview with Wired. Gibson coined the term cyberspace in his 1982 short story “Burning Chrome” and expanded on the concept in his 1984 debut novel, Neuromancer. In that book, which quickly became a classic, inspiring pop culture and science fiction for decades to come, Gibson predicted that the “consensual hallucination” of cyberspace would be “experienced daily by billions of legitimate operators, in every nation” in a global network of “unthinkable complexity.” Yet Gibson says he simply got lucky with his prescient depiction of a digital world. Wired: Do you think the category “science fiction” is useful anymore? — William Gibson

The Syro-Aramaic Reading of the Koran The Syro-Aramaic Reading of the Koran: A Contribution to the Decoding of the Language of the Koran English Edition of 2007 (Die syro-aramäische Lesart des Koran: Ein Beitrag zur Entschlüsselung der Koransprache (2000)) is a book by Christoph Luxenberg. This book is considered a controversial work, triggering a debate about the history, linguistic origins and correct interpretation of the Qur'an. It has received much coverage in the mainstream media.[1] The book argues that the Qur'an at its inception was drawn from Christian Syro-Aramaic texts, in order to evangelize the Arabs in the early 8th century.[2] Summary[edit] Richard Kroes summarises the argument of the book as follows: According to Luxenberg, the Qur'an was not written in classical Arabic but in a mixed Arabic-Syriac language, the traders' language of Mecca and it was based on Christian liturgical texts. Thesis[edit] Luxenberg remarks that the Qur'an contains much ambiguous and even inexplicable language. A review by Prof. Dr.

Thirty Times ‘More Fair than Black’: Othello Re-Translation as Political Re-Statement Camus - The Stranger (aka Outsider) - discussion | Literary Centennials Meursault, the anti-hero of Camus masterpiece L’etranger continually puts the reader on the back foot: as he appears as an intensely self-interested man, but also an innocent abroad, he can be an extremely sensual man, but also a callous individual, he seems to be both a rebel and a man desperately trying to conform, above all he is an absurd man and we witness his growing self-awareness of the world around him that he struggles to come to terms with. The novel takes the form of a bildungsroman, as we witness his growth through adversity following the choices he makes in a life, which he comes to believe is absurd.. I read this back in the 1970’s and found I could identify with Meursault the sensual self-interested young man of part 1 of the novel, however I could not get to grips with his seeming acquiescence to his fate in part 2, putting it down to the establishments vindictiveness towards a young man, who appeared to rebel against society.

Tragedy's decline and fall King Oedipus appears at the door of his palace to listen to the Chorus of Old Men of Thebes, who have come to him in their time of terrible trouble. They are asking for his help, they say, not because they think of him “as a god”: . . . but rather judging you the first of men in all the chances of this life and when we mortals have to do with more than man. It turns out that, unwittingly (as more or less everything in the play is unwitting), the Chorus is right. Picking up and playing with the myth in the early 20th century, Freud uses Oedipus to deny original innocence. What the Greek protagonists all have in common is social status: they are kings, queens and heroes. Another particular aspect of ancient Greek drama is that it was played out on a stage with actors who were masked in order precisely to prevent any of the specificity and individuality we prize so much today. Small screen Greek tragedy hasn’t had much of an airing on our most popular medium recently. Bold and beautiful