Translating Colour: The Case of Manette Salomon
This article proposes to explore the Goncourt brothers’ “écriture artiste” in their art novel Manette Salomon (1867) and to analyse why and how they translate colour and how colours are used in their text. Are colours for the Goncourts gratuitous or do they produce meaning? Are they expressive colou...
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| Опубликовано в: : | URI:https://journals.openedition.org/polysemes, |
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| Главный автор: | |
| Формат: | Article ou chapitre numérique |
| Язык: | Anglais |
| Опубликовано: |
Polysèmes
2016
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| Предметы: | |
| Online-ссылка: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Итог: | This article proposes to explore the Goncourt brothers’ “écriture artiste” in their art novel Manette Salomon (1867) and to analyse why and how they translate colour and how colours are used in their text. Are colours for the Goncourts gratuitous or do they produce meaning? Are they expressive colours? Are colours connected to nature or at odds with it, are they a complement to literary “realist illusion” (Mitterand 1994). We first analyse how the Goncourt brothers use colour as a visible trace of the integration of painterly processes in their writing practice. We then consider how their use of expressive colour constitutes a move away from realism towards literary and visual modernism. We then see how they translate colours using synaesthesia in their writing to convey, evoke, replace or enhance sight with other senses. |
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