Résumé: The present article examines the subversive power of feminist revisions of the classic fairy tale “Sleeping Beauty” within two retellings, namely Jane Yolen‟s Briar Rose (1992) and Robert Coover‟s Briar Rose (1996). It strives to demonstrate how these authors constructively re-imagine traditional fairy tales, particularly the Brothers Grimm‟s “Briar Rose” (1812), in innovative and often revolutionary ways to question prevailing gender roles and power dynamics. From both male and female perspectives, these distinct adaptations serve as compelling case studies for exploring how contemporary writers skillfully employ postmodern techniques with feminist lenses to infuse their female protagonists with agency, complexity, and a resounding voice. Through breathing new life into a character historically defined by passivity, the paper invites readers to explore the transformative potential of feminist reinterpretations and challenge the conventional narratives that shape our perceptions and roles.

Résumé: The postcolonial theory of translation has emerged as a pattern of systems that enables a translator to re-conceptualize and revisit texts and redirect his attention to the dichotomy of Subject/Object relationships far from the hegemonic language of the logocentric Europe. Reproducing a text through rewriting is subjugating it to the will and intention of the local – the margin / the Other. Culture and Translation are two very polemical elements in perpetual tension due to the amount and the degree of reliability of the transfer from the source text to the target. Many studies have been made to find an issue and an adequate theory of translation to transfer the culture of the source to the target smoothly. However, these studies are not as effective as they might be because translation is rather a maneuvering and a biased manipulation of the text, and what is transferred as culture is just what is conceived or rather perceived by the translator whose background is the cornerstone of his rendering. Postcolonial theory has come in recourse to translation: its basic strategy is translation through dualism and alterity. It is a kind of H. Bhabha’s Third Space or Bill Ashcroft’s Rewrite: revisiting the text and its culture through the Other’s Eye / “I.” But this Rewrite pattern of translation needs more adequate mechanisms to transfer one culture into another language and avoid the constraints imposed by the power of the Subject that hinders the reading, rethinking, and interpreting of the text and is, frequently, hovering around and behind any translation activity.

Résumé: Adaptation is a kind of violation of the unity of the text. Whatever the film producer is doing, his quest is no more than a deconstruction and a reconstruction of the text. This reconstruction is, almost, a new creation of a new type of artistic production. Though the author manifests himself, here and there through the screen, he is devoiced and his identity is fragmented through the making of the scenes and images of the film. Any text has a variety of interpretations. Its plurality is potential with endless possible significations: its signifier has many signifieds. Negotiations, manipulations and focalization of the camera eye decide upon the product orientation of filmconstruction. Reproducing literature into film is, then, very challenging. The novel fictionalizes life, whereas the film literalizes it. The case of Marleen Gorris’s film of Virginia Woolf’s Mrs Dalloway is very illustrative.

Résumé: Community interpreting, also known as public service translation and interpretation in other countries; is a new type of translation studies that emerged as an inevitable result of the post-World War II era, particularly with the growing phenomenon of immigration and refugees, and which aims to provide minorities and foreigners who do not speak the dominant language in the host country with easy access to public services. This research paper investigates the situation of Community Interpreting in Algeria through a survey that sheds light, first and foremost, on the concept of community interpreting, then presents, via a questionnaire - posted online and offline - foreigners' perspectives relevant to comprehension, communication, and interpreting quality in public settings, in addition to evaluating translation and communication processes between service providers and users in hospitals, clinics, courts, police centers, and administration, in order to highlight the degree of significance of this type of interpreting service in Algeria.

Résumé: The present article investigates the poetics and politics of the new canon feminist critical dystopia and addresses its potential for creating a space for activism and rebellion in The Water Cure and Before She Sleeps. Accordingly, the works sheds light on the issue of female oppression in enclosed patriarchal societies and highlights the possibility of escape from the dystopian nightmare. Thus,the paper relies on feminist criticism to analyze the various methods of female objectification as depicted in the novels under study, namely: confinement, surveillance, and sexual dominion. The article hypothesises that the dystopian atmosphere assists writers in creating an authentic image of the genderbiased attitudes and their impact on women, as well as, it proves that women writers of dystopia contribute, positively, in fighting against female oppression begot by patriarchal norms.

Résumé: Leila Aboulela’s novel Minaret is a kind of recovery and discovery of identity in a space different from that of the root—the homeland. For Aboulela, identity is not ever fixed and stable, it, rather, metamorphoses and transmutes under the effect of new spaces. The challenge, the Minaret’s characters have, is dialogically related to the external circumstances that undermine their choices. Najwa, the protagonist of the novel, experiences bouts of negative reactions that push her to live in reclusion. Having chosen to wear the veil (Hidjab), in a society, which demonizes it and considers it as regressive, she has found a way out and become her own.

Résumé: Leila Aboulela’s novel Minaret is a kind of recovery and discovery of identity in a space different from that of the root—the homeland. For Aboulela, identity is not ever fixed and stable, it, rather, metamorphoses and transmutes under the effect of new spaces. The challenge, the Minaret’s characters have, is dialogically related to the external circumstances that undermine their choices. Najwa, the protagonist of the novel, experiences bouts of negative reactions that push her to live in reclusion.

Résumé: This paper focuses on an example of contemporary women’s rewriting in postmodern British literature. It explores the foregrounding of the marginalized and forgotten voices in postmodern rewrites. Playing with intertextual references in Adèle: Jane Eyre’s Hidden Story (2002), the British writer Emma Tennant offers a rewriting of Charlotte Bronte’s classic novel Jane Eyre by transforming a silent character into a central one. Taking her subject the young girl “Adèle”, Tennant seems to debunk centers in the source text and privilege those who had unimportant parts.

Résumé: This paper is concerned with novelistic refashioning of the nineteenth century as a significant trend in postmodern literature. Acknowledged as an innovative literary technique, rewriting has increasingly been used by many postmodern British novelists to engage critically with Victorian texts. This article focuses on the process of the postmodern rewriting of the Victorian text by addressing the novels of Charlotte Brontë’s Jane Eyre (1847) and Jasper Fforde’s The Eyre Affair (2001). Its main purpose is to investigate why the Victorian in particualr holds such an attraction for the postmodernist writers. Our aim is to reveal the numerous similarities between the two novels. What qualities have been absorbed and what have been excluded.

Résumé: This article intends to delve into the intertextual use of a Victorian novel in The Eyre Affair (2001) by the British writer Jasper Fforde. In his intertextual novel, which features as a sequel to Charlotte Bronte’s Jane Eyre (1847), Fforde shows that art is dependent on art and may integrate allusions to prior works. Since the research interest in the existing responses to Victorian narratives is considerably new, my paper aims to give a comprehensive reflection on one of these responses. It contributes to explore the reasons why the Victorian classics still fascinate postmodernist writers, while observing the changes these latter made to please the twenty first century reader. Its main focus is to determine the intertextual dialogue between the two novels focusing on important critical aspects in Jane Eyre such as point of view, the controversial ending, and the migration of characters, which become an inspiration for Fforde to bring Bronte’s tale to life by carrying the idea of intertextuality in The Eyre Affair.

Résumé: The present paper attempts to establish a comprehensive analysis of the mechanisms of female domination in patriarchal communities. The paper takes Gather the Daughters (2017) by Jennie Melamed as its corpus of study. The aims of this work are three folds: First, to delineate the utopian ‘dream’ that stimulated the quest for a distinct premise, or a sanctuary from unfavourable social or political trends that perpetuate the imaginary society. Second, to locate, analyze and illuminate circumstances that lead to the drift towards the dystopian nightmare which is characterized by excessive control, depravation, isolation, manipulation of history, perverse sexual relations and female exploitation. Third, to unravel the causes and the consequences of incestuous relationships that pervade the narrative. The present work has shown that writers of feminist dystopias succeed in communicating the atrocities imposed upon women which are sanctified by the patriarchal rules that govern the dystopian communities.

Résumé: Eurocentrism is a philosophy which makes of the European “I” the only reference for any judgement and evaluation. Europeans consider themselves as the embodiment of good culture while the other, the colonized, the non-European, is the incarnation of brutishness and savagery. In other words, Otherness is an image built up by a referent, who is superior, and who decides about the nature of the other. Subsequently, the imagemaking of otherness is the representation of the person, who projects his mind into it. Eurocentrism legalizes power and legitimizes domination and makes them central for the sake of effectiveness. Moreover, hegemony gives to the colonizer the right and responsibility to civilize the colonized. Colonialist discourse tries to impress and to make the other think of himself as inferior; thus, he needs to be civilized, colonized and guided. To be an “Other” is, then, to be silenced and dependent because there is no open possibility for him to change or to reach the European, the referent. The self-justification of imperialism was an idea of conquest of other people to usurp their riches and lands. Conrad’s background of Heart of Darkness stems from the Euro-centric documents that acknowledge the subjective illegal right to dominate Africa and to make its natives an “Other.”

Résumé: Naomi Shiheb Nye is an American Arab poetess, who lives within the Arab diaspora of Texas in harmony with other Diasporas. Her tie with Palestine is a tie of 14 years stay.Her sympathy with her father, Aziz, becomes the inciting element for her poetry. Besides, her mother, who is an exiled German, has a great effect on the visionary aspect of the nature of her exile. Nye’s reaction to what is happening in Palestine seems to be very paradoxical and challenging in explanation. Her “peaceful” revolt seems to be against Zionism and the ideology of racism, rather than the loss of Palestine. Though she is far from her father’s land, she does not consider herself as a stranger – an other in America, where her father and some other intellectuals installed after the Nekba (War of 1967). These exile writers found this new land tolerant and accepting the melting pot. Such friction between their own culture and the cultures of other diasporas make them reconstruct another identity, which seems to exclude them from both their home and the host country – America. This in-betweenness is a home within literature – a home conceived with art, and where the self-reveals its nature and philosophical outlook through language.

Résumé: This paper deals with the mystical experiences in Virginia Woolf’s artistic creation. Woolf denies any form of modernism that cannot transcend reality. There are moments, where reality is never what it is but a vision — a perspective — whose meaning is beyond the graspable. Reality, thus, becomes un-reality — a halo, and the artist becomes a contemplator — a devotee to such visionary manifestation. Virginia Woolf does not make an exception to this rule. She is par excellence a mystic. The artistic design of her novels, mainly, To the Lighthouse, is of transcendental dimension. Both, Mrs Ramsay’s and Lily Briscoe’s perceptions of life are beyond the palpable: their selves merge within a process of sublimation comparable to that of mysticism. In other words, art (mainly fiction) becomes a process of change from the factual to the transmutable.

Résumé: The aim of this contribution is to examine and unveil the Augustinian time process and self-examination in Virginia Woolf’s “To the Lighthouse.” The latter is a successful (re)presentation of the interrelation between human consciousness and time “control”. The self cannot be defined without time dimension. Woolf seems to confirm that time is more interior than exterior and is an essential part of human being: it is through it that human being is felt as a part of the world. Woolf’s characters are so contemplative. The internal and the external are the focus of time knowledge and self-discovery. The self is an ever “IS” within the presentness of the present: the “was” (past) is only a memory (“the no-longer”) and the “will be” (future) is only the “not-yet” that has to come in order to become a present.

Résumé: Does translation of the literary text really need a theory? If yes which one among so many, which complicate more than simplify the matter? Which strategy do we adopt to at least communicate something of the original to a target reader, who does not know anything of the source language? The key problem is the meaning. Is it really grasped? If yes, is it of the text, or of the author, or of the reader? Meaning is not restricted to linguistic parameters; it is more cognitive and essentially based on the interpreter’s own world knowledge. The text is not only a product but essentially an on-going process of meaning. Though it has precise time and space when produced, it is, nonetheless, timeless and spaceless. When we animate it, through reading, it becomes a text within the scope of a new space and a new time. That is, the meaning in the process of translation becomes anew. The text is autonomous and its autonomy makes it have its own specificity and existence. And so, the meaning in/of the text is ever-changing: there is no one meaning in/of the text, as there is no one reader of the text.

Résumé: Does translation really need a theory? If yes which one among so many, which complicate more than simplify the matter? Which strategy do we adopt to at least communicate something of the original to a target reader, who does notknow anything of the source language? In any case, the crux of the matter is meaning: how can we get it? Is it really grasped? If yes, is it of the text, or of the author, or of the reader? Are understanding and meaning interchangeable? Is understanding a diagnostic process of the meaning?

Résumé: This paper primarily deals with the methodology of a translating Legal Public Service document from Arabic into English language. In the study is of two folds: the first part is devoted to the theoretical bases of translation and interpretation in the public services, mainly in the legal field. The second part is the practice through a genuine analysis of the corpus namely “Work Permit” issued from the Directorate of Work in Algeria. This analysis highlights the distinctive difficulties and problems that may arise during the translation process. Finally, a glossary was set out to sum up the main terminology and expressions found in this corpus.

Résumé: هناك مقاربات ونماذج كثيرة لتقويم جودة الترجمة، تؤسس لكيانها النظري على نظريات في الترجمة وفي اللسانيات، وتسعى إلى تقديم مقاربة علمية وموضوعية. فما هذه المقاربات والنماذج؟ ما هي إمكاناتها وحدودها؟ فيم تأتلف وفيم تختلف؟ يهدف هذا المقال إلى التعريف ببعض أهم المقاربات والنماذج لتقويم جودة الترجمة بنوعيها الكمي وغير الكمي بالاعتماد على المنهج الوصفي التحليلي . وقد خلُصت الدراسة إلى أهميّة التقويم التّرجمي بنماذجه المختلفة وضرورة توظيفها عوض الاعتماد على الذوق والاستحسان الذاتي والنسبي الذين يتعذر تعميم نتائجهما.

Résumé: Any translation is subject to mental processing. In a literary text, this processing is very problematic. Words and expressions that vehicle such transfer do not (re)produce the source faithfully. The received image could be perceived and conceived differently because of language suggestiveness. Undoubtedly, Cognitive Process of thinking is helpful in understanding and actualizing thoughts into words and expressions. But how could it be with metaphor? Is it transferrable? Are we able to reproduce and transfer the same image from the source to the target? Metaphor is shaped and mapped within the culture that produces it, but differences in culture become the clue of the problem. The way to conceptualise and perceive it is dialogically related to the degree of differences and similarities of the SLT (Source Language Text) and TLT (Target Language Text). Keywords: Conceptualisation, Metaphor, Translation, Language Transfer, Cognition

Résumé: Translating for children is very complex. It is a matter of an adult who translates for a child, who is innocent, curious and disposed to live in a world of never-never time and never-never land—a world of wonder and enchantment. The translator, thus, must take into consideration both the linguistic and cognitive abilities of the child. Unlike translating for adults, children’s translation makes the translator mentally a child and should look at any translation through an eye/ ‘I’ of a child, which is something unique. Tradaptation, translation through adaptation, for children is often considered a key issue in children's literature. Translation ought to be manipulated so that it holds its core, the original, and opens itself to the target language. Two perquisite principles are recommended for children’s translation: the first is the adaptation of the source text and makes it educationally useful for the child and the expectation of society. The second is the linguistic adjustment of the text to the child’s comprehension. For the sake of illustration, I have used the fairy tale: “Little Red Riding Hood” as a case study. This tale is both problematic in its roots /origins and its various differing translations.

Résumé: Legal translation refers to the translation of texts within the legal sphere with a particular terminology and special register. It is, therefore, a challenging field in the domain of translation. Its specificity, its linguistic nature and terminology are the major problems that face a legal translator... To have a successful legal translation, the translator must be open and straightforward. He must be familiar with legal terminology in both Source Language Text and the Target Language Text., and have basic law of legal systems in both of them. He should possess, behind his native legal system, a wide knowledge in legal systems of other countries, and be ‘aware of’ the various contexts which belong to diverse legal systems. He must be competent in legal writing style of the target language. Besides all these, the translator should avoid lexical, semantic ambiguity as well as impressive and irrelevant results.

Résumé: My modest paper raises a crucial problem in the field of legal translation. No one of us can deny that any transfer of a word or an expression, from one language to another, is very perilous and has a great responsibility to bear. In my paper, then, I’ll try to get within the different layers that compose legal texts and elucidate some of the ambiguities they enfold.

Résumé: The aim of my paper is to lay bare the complications and complexities in translating a literary text. A literal text is, no doubt, straight and unambiguous. Thus, its translation is not so tricky and problematic. But the literary text is another matter. Its literariness and wonder of words are real difficulties for a thorough and faithful translation.

Résumé: This paper revolves around the problem of translation and the difficulty to transmit, faithfully, the text to be translated. So any translation have been made and remade. Whether in languages that have the same origins, or languages that differ in roots, translation remains an inextricable difficulty. This fact induces me, in this paper, to raise the problem of translation and try to lay bare the real obstacles the translator encounters in dealing with the literary text. To elucidate such problem, I have gathered the major factors that I consider as the crux of the matter of translation. These factors are: interpretation, Autobiography, style, figures of meanings, and finally figures of sounds

Résumé: Translating is finding out equivalence between the word, or the expression, and what it holds as meaning dictated by the context. It is the fact to look not just for the accurate meaning that is identical to the source language in strength, but to find out adequate word and meaning in the target language as well. A good translation is the one that is able to fuse and transfuse the source text into another language and makes the foreign reader strongly believe as if it was the original. This can never and should never be done, if the translator does not respect what the text says and reproduces the intentions of the text itself.

Résumé: Does a literary text really need a methodology for/in its study? Does literature need theories? Are they necessary in teaching? Is it fair to push students to see the text through the eyes of others? Does student need autonomy is understanding the text? Whatever you select as an approach or a theory, the text remains autonomous and resists any interpretation. The text is a mine, where the reader tries to dig and probe inside its multilayered unsubstantial depth. The more you dig and disturb its quietness and quietude, the more you discover unexpected elements that are hidden under its sediments. In other words, the depth you reach is the depth you want to reach, but not really the depth of the text. So, which meaning do we get from reading? Is it of the text, or the author, or the teacher or the student? Interpretation is not a logical process that looks at variations at different levels of meanings? Frequently, it cannot be done without free intentional process of meaning regeneration. The reader/the teacher recreates a story through his reading: this story cannot be labeled as the author’s: the text is beyond any grasp. So, what do we teach of the text? : the form or the content, or rather the context? Where does meaning lie? Is it in the form or the content or the context, or beyond all of them? What parameter can we use to find the relevant key and the right way to penetrate the text and decipher its meaning(s)?

Résumé: Does a literary text really need a methodology for/in its study? Does literature need theories? Are they necessary in teaching? Is it fair to push students to see the text through the eyes of others? Does student need autonomy is understanding the text? Whatever you select as an approach or a theory, the text remains autonomous and resists any interpretation. The text is a mine, where the reader tries to dig and probe inside its multilayered unsubstantial depth. The more you dig and disturb its quietness and quietude, the more you discover unexpected elements that are hidden under its sediments. In other words, the depth you reach is the depth you want to reach, but not really the depth of the text. So, which meaning do we get from reading? Is it of the text, or the author, or the teacher or the student? Interpretation is not a logical process that looks at variations at different levels of meanings? Frequently, it cannot be done without free intentional process of meaning regeneration. The reader/the teacher recreates a story through his reading: this story cannot be labeled as the author’s: the text is beyond any grasp. So, what do we teach of the text? : the form or the content, or rather the context? Where does meaning lie? Is it in the form or the content or the context, or beyond all of them? What parameter can we use to find the relevant key and the right way to penetrate the text and decipher its meaning(s)?