A Room of One's Own, Un Cuarto propio, Une chambre à soi : circulations, déplacements, réévaluations
Abstract
On tend à classer l’essai de Virginia Woolf A Room of One’s Own dans la catégorie du pamphlet féministe sans autre forme de questionnement. Son message et son sens semblent fixés et indiscutables. Or, à lire ensemble ses traductions en espagnol et en français, à suivre les transformations du texte dans l’histoire de ses réceptions, le lecteur en vient précisément à se défaire de cette évidence. Comment les contextes de réception et de traduction ont-ils infléchi l’esprit et la lettre de l’œuvre ? Comment ses contours ont- ils été remodelés au fil de ses actualisations ? En quoi l’exemple de ce texte avec ses traductions illustre-t-il l’essentielle instabilité de l’œuvre ? C’est à ces questions que nous entreprendrons de répondre ici.
Virginia Woolf’s essay A Room of One’s Own is traditionally read as a feminist satire of patriarchy: its message and this meaning seem to be indisputable. But if we consider this work with its translations in french by Clara Malraux and in spanish by Jorge Luis Borges, if we consider the essay in its planetary circulation, we are led to question this perspective. How did the context of production of the transla- tions in french and in spanish have transform the work and its apprehension? What kind of modifications do we observe at each of these reinscriptions of Woolf’s essay in a new context and in a new literary tradition? And how does this specific case exemplify the essential instability of any literary work? These will be the questions we shall ask and answer in this paper.
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