This article charts the emergence of a new form of translation research that we term genetic translation studies. It explores the foundations of this approach in the French school of critique génétique, which developed a methodology for studying the drafts, manuscripts and other working documents (avant-textes) of modern literary works with the aim of revealing the complexity of the creative processes engaged in their production. This methodology draws upon different theoretical and interdisciplinary approaches (poetic, linguistic, philosophical, psychoanalytical, phenomenological, etc.) and has since been adapted to the study of other media, including music, cinema, photography, painting, architecture, and the translated text. This article analyses how genetic approaches have been applied to translated texts by both genetic critics and translation scholars. It highlights, furthermore, the opportunities as well as the challenges for literary and other forms of translation research when a genetic approach is adopted.
Was really abandoned? Or is it a new beginning from what had only temporarily been abandoned, the English language? If so, this new beginning would start from the mud, in which the narrator is sinking. Beckett wrote this short text in order to overcome the which follows . His going back to his "mother tongue" brings him back to what he had been able to escape by writing in French. His violence, which recalls the violence of those who were dominated by anger in Dante's hell, is the cause of his sinking in the mud and is the symptom of repression rising to the surface.
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