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Resumen: This article is dedicated to the issue of the adequacy of self-translations of Vladimir Nabokov's small forms of fiction. Different types of transformations of short-story titles in the creative work of the bilingual writer were chosen as the object of the research. The article is characterized by a multidisciplinary approach, uniting aspects of linguistic, literary and cultural studies in the investigation of the self-translation phenomenon, an approach that provides for scientifically-grounded conclusions. The authors of the paper build a typology of structural and semantic changes reflecting the features of Nabokov's interpretations of his own texts. Contrastive comparative, structural, intertextual and cognitive methods were employed as the main research methods. This complex approach to text analysis used in the paper permits an expansion of the idea of the semantics and poetics of separate texts as well as a collection of stories as a whole. The authors pay special attention to investigation of the following types of correlation between the original title and its equivalent: semantic specification, semantic narrowing, semantic broadening and modulation. The authors note that Nabokov in many cases does not follow his own principles of "literality". The specializing character of correlation between the original text and the translation is predetermined by the author's aspiration to convey the exact sense and to emphasize separate connotative shades of meaning, while devices of modulation and semantic broadening perform the function of an author's comment.

Resumen: Voluptuous Pleasure: The Truth about the Writing Life de Marianne Apostolides se compose de neuf histoires « vraies », inspirées de la vie d'Apostolides et de sa famille : l'action se situe entre la réalité et la fiction. Ce livre, tout en racontant des histoires, remet en question l'acte d'écrire et le concept d'histoire lui-même. Le fil conducteur est le rapport au père de l'auteure et à sa terre natale, la Grèce. Sur le plan traductif, les dialogues occupent une place essentielle. C'est en effet grâce au naturel et à l'authenticité des paroles rapportées (inventées?) par Apostolides que l'on saisit la personnalité et la profondeur des personnages. Dans cet article, j'aborderai mon processus de traduction de ce livre pour les éditions La Peuplade en m'attardant à la nouvelle Two Dialogues: On Bravery. Puisant dans les cadres théoriques et méthodologiques de la recherche-création, je propose de retracer mon processus de recréation des dialogues en analysant plusieurs versions françaises produites au cours de l'été 2014. J'observerai l'évolution de mon postulat traductif en décrivant et en catégorisant les stratégies adoptées en cours de traduction, puis en les contrastant avec celles qui ont été privilégiées dans la version finale

Resumen: The futility of decades of government efforts to disseminate Chinese literature has triggered discussions among Chinese scholars on how to translate and who should be entrusted with this task. Some blame the failure on traditional concepts of translation that overemphasize faithfulness to the original to the point of disregarding target cultural conditions, but others insist that China should have control over its cultural export and that Sino-English should be used to internationalize English. Findings show that traditional concepts should not be blamed, as aggressively source-oriented strategies have been used in outbound translation only in recent years, and that this shift in translation norms in government-initiated outbound translation has spread to non-literary text types, and also to Hong Kong and Taiwan. The same kind of aggressiveness has recently been displayed in other forms of cultural export, triggering resistance in other cultures. All these changes may be attributable to a heightening of cultural self-image. What is needed to address the issue is cultural self-reflection, which will lead to the awareness that economic growth does not immediately bring cultural prestige, and that source-initiated cultural export efforts may make little difference in central cultures. Cultural awareness at a higher level can be achieved only through empathy.

Resumen: The purpose of this paper is to analyze Perez Galdós's systematic omission of wellerisms in Las Aventuras de Pickwick (1868), the first translation of Dickens's The Pickwick Papers ever made into Spanish. Wellerisms are without a doubt the best-known phraseological units in Dickens. Apart from their comic and subversive function, they play a role of paramount importance in terms of characterization too. Their rendering in another language is thus fundamental. However, only four examples - out of more than thirty- are preserved in Perez Galdós's text. This loss is scrutinized here. The analysis is divided into two parts. First, some wellerisms from the original novel are compared to those in both Perez Galdós's translation and Grolier and Lorain's Aventures de Monsieur Pickwick, for there exists a suspicion that Perez Galdós used this French version as source text for his translation. As will be shown, this suspicion is confirmed. Next, the omission of some examples is analyzed against the backdrop of both the French translation and the original text, so as to provide some feasible explanations for such a loss. As will be demonstrated, Perez Galdós did not realize the stylistic importance of these phraseological units in The Pickwick Papers.