Traducere Arthur&george de Julian Barnes

BARNES’ ‘ARTHUR and GEORGE’

Introduction

A book quite different from others by Julian Barnes, designed, according to some, to please other readers than those who have appreciated the previous books. The book starts from facts: tangles with the justice of a young English lawyer of Indian origin, George Edalji, watched by the police, investigated, prosecuted, jailed and then pardoned for killing horses. In parallel – the fate of Arthur Conan Doyle, best known as the ‘father’ of Sherlock Holmes: from studies of medicine to abandoning them to a life of a writer, so when it comes to defending the justice, Edalji British moment comes.

Arthur and George is best read with patience: even if you already know who’s on the cover of Arthur and George and how their life flows slowly, from the first attempts of self-knowledge and tangles planned for the future of adults. Therefore, we get to know the exact inner workings of the characters and understand them (or dislike) better.

The book is a great study of the British police and justice of the era: with its Indian origin and its strange appearance and foibles, George Edalji represents the favourite victim of the police in the rural areas where he lives and judges who must rule on his guilt, accept evidence of the most fanciful to convict, and take action even in the face of clear evidence of the impossibility for him to be guilty.

The documentation for this book was extremely detailed and Barnes afford to fantasize rather than those who want to know the better life in the Victorian United Kingdom and the life of Arthur Conan Doyle and George Edalji will therefore be served with a healthy portion of data. Some have accused Barnes of preciousness and bibliography abuse towards the doctors, the expense of living. One can stay ‘glued’ to the book two or three days, amused or angry, as appropriate (you can expect to feel the desire to break something, it plays with the nerves, you read about the obtuseness of certain judges or ministers). And, like any other book written by Barnes, scholars equate not pompous, but with a clear style, pleasant and an interesting construction of the novel. Arthur and George would never have had that in the beginning: origins and study of different characters from thousands of years apart – one imaginative, energetic and erudite, the other reserved, serious, lonely.

However, the victim of a terrible miscarriage of justice, incarcerated for several years and then released without explanation and without being guilty, George, to unravel the mystery, turning to Arthur, at the time one of the most famous English – creator of Sherlock Holmes character.

Beyond the plot, Julian Barnes makes an excellent analysis of the Victorian society. In Arthur and George, Edalji’s late meeting at the Grand Hotel, Charing Cross, detained him some problems at the bank. Now, getting nervously in the lobby and his eyes spinning around, you might expect that he’s not hard to identify their guest: unique grimy face, seen in profile, representing a man sitting at four meters away. Arthur is ready to travel the few steps and apologize, but somehow, he fastens the site that something will be of paramount importance in the story of George, real, as happened in the late nineteenth century England.

One of the many valuable writers today, yet a writer as no other, he recognizes the unique literary critics and the public alike. The British writer beloved by the French, which had a penchant small presence without limitation, Julian Barnes’s ‘chameleon English literature’, as an inspired appointed professional reader. The haul novelist who signed short stories, easy delicate and incisive in the meantime, a life lived through and for books, combining his literature styles of today and yesterday’s styles. From the beginning of his career so far, he has published numerous volumes that do not fit into any known category. From the novel’s ideas around love, the vintage novel in an autobiographical fiction, from thrillers under the pseudonym Dan Kavanagh, he signed the brilliant essays about France and the French, Julian Barnes tried everything in literature. After a childhood as normal as possible according to his own confession, he had studied at the City of London School and Magdalena College, Oxford, the shy young man who had a horror of public speaking, has deepened in the world ‘paper’, engaging and working as a lexicographer for the Oxford English Dictionary for three years. Afterwards, he worked as a literary columnist at the New Statesman and the New Review magazine and reviewer for several television stations.

Despite the success, Julian Barnes remained as shy as ever, but an invincible defender of the right to refuse to answer questions about his personal life, socializing only when required at any price. ‘Regarding my temperament, I’m much like my father. I hate fighting. I prefer to see it printed on a page, but I never maintained a friendship or relationship with this medium. I prefer to withdraw in silence than cannon and lightning. I think I inherited my father’, says the writer, scared by the destructive power that the word can have.

‘The big ordeal regarding language, terrified, exasperated and vague or euphemistic by the language that I hear about’ – as the writer imagines it will end, most likely on a hospital bed. Obsessed not by death but by nothingness the writer imagined, through irony and self-irony, and his own obituary, which he expressed before a British journalist: ‘Julian Barnes has been more successful than he hoped…he was so happy as he allowed his own thread…Although I was born selfish, I failed or rather did not want to pass away selfishness…he loved his wife and was afraid of death’.

Biographical Note

Julian Barnes was born in Leicester on January 19th, 1946 in the country beyond France and the Channel called the United Kingdom, Scotland and Northern Ireland. The Winston Churchill Nobel Prize for Literature winner (which was expected for Barnes) was replaced by Atlee and can therefore manage to study at the City of London School, from 1957 until 1964. Then, he went to school at Magdalena College, Oxford, where he obtained a degree – with honours – in 1968, in modern languages​​.

After graduation, Julian Barnes worked as a lexicographer for the Oxford English Dictionary for three years. Since 1977, he worked as a literary editor and reviewer in the New Statesmen and the New Review. Between 1979 and 1986 he worked as a television critic, first for the New Statesmen and then for the Observer.

The work of Barnes has over fifteen volumes of prose, short stories and essays, his literary career was crowned by numerous awards and honours:

Somerset Maugham Award for Metroland (1981);

Geoffrey Faber Memorial Prize (1985);

Prix Médicis for Flaubert’s ‘Parrot’ (1986);

EM Forster Award (awarded by the American Academy and Institute of Arts and Letters, 1986);

Gutenberg Prize (1987);

Grinzane Cavour Prize (1988);

the Prix Femina (Trois, 1992).

He was a finalist for the Booker Prize three times:

in 1984 for Flaubert’s ‘Parrot;

in 1998 for England, England;

Arthur and George in 2005.

The French government awarded him the title of Chevalier in 1988, ‘des Arts et des Lettres’ in 1995, Officier de l’Ordre des Arts et des Lettres, and in 2004, he received the title of Commandeur de l'’Ordre des Arts et des Lettres.

Also, in 1993 he received the Shakespeare Prize, awarded by the FVS Foundation and in 2004, he received the Austrian State Prize for European Literature.

Julian Barnes has written under the pseudonym Dan Kavanah, his best known novels are those that make Duffy series.

He currently lives in London. His most recent volume explores questions about nothingness, religion and family.

If between 1979 and 1986, he was a television critic, first for The New Stateman and then for The Observer, the question is what he did between 1971 and 1979?

Julian Barnes is known for his urban type extreme attitudes, ‘pushing’ him into a literary life through an intellectual gossip column in The New Review, a journal whose purpose was to promote minimalist prose and poetry, an author known as a postmodern author, the versatility with which he manages the literary processes, and at the same time, as a humanist writer who is concerned with the search for truth, the construction of personal identity.

He is among the writers for whom writing is simultaneously a fun, a reason to be a form of social existence with a nonchalant intellectualism and far from snobbery frieze as an inseparable part of a firm conception of the world composed. A deeply humanistic dimension of the work of Julian Barnes entitles us to believe, to regard him as a writer who transcends postmodernism, by connecting to the questions, searches and the perspectives opened by the beginning of the third millennium.

Barnes himself has an exasperatingly discrete biography. The reason may be that he does not want to become the main character of a bad deal.

It is obvious that Julian Barnes has documented thoroughly to write Arthur and George, whose skeleton consists of two biographies (one probably recorded more closely by contemporaries, the other much more briefly, allowing the game interpretation), and the first reading tone ascertaining, dryness, lack of romantic thrill (even the love scenes are rendered in the style of minutes) and frequent references to archival documents that urges you to think that the author was satisfied with a reconstitution.

As soon as we realize the hidden agenda beyond the construction of the book, the ability that Barnes is playing the ‘commissioning plot’ of history was to make both protagonists descend among mortals and we know that some people see it as truth, not as bearers of historical significance.

Commentary on the translated note

We should catch up, while we talk about authors and the books about translators and their translated works. What percentage translates from the pleasure of reading and how accurate are the translations? What is true – the idea contained or the literal part? Translating literally is a mistake, one that laughs when you use Goole translator. Respect the idea contained, I say, is more important. The literary talent of the translator’s personal vocabulary are important in a translation. Therefore, the most successful translations are those that are made ​​by writers. Perhaps, the fact that they created it, they have a rich vocabulary and a special talent.

What do you do when translations are not well made ​? When the language is dry, the translation is faulty, the sentence structure is not suitable when the Romanian language and poor vocabulary repetition has errors in the text? Then the translator does a disservice to the work, because by reading the original translation negatively charged, which we actually do not know. Many of us have written or preferred to read books in the original language. It would be desirable to be able to do so worldwide. The truth is, however, that few of us can do this. Some even know the language well enough to understand, preferring the text to be translated into Romanian. It feels closer to the book, talking more understandable, in short – we feel otherwise. The knowledge of a language very well is to think in that language, we do not have to make an effort to continually translate into Romanian and every word, phrase. And the truth is that some have not mastered so well either English or any other language (which some understand very well). That's why we expect more from translators. If a work is translated well we feel as if it was originally written in the proper language. Therefore, some say, translators have the first recreation of a work. Later, while we’re reading the book, recreate to mind the images, the characters, the action described in the book. But those who transmit the work, those who cannot highlight or, alternativelyerstand very well). That's why we expect more from translators. If a work is translated well we feel as if it was originally written in the proper language. Therefore, some say, translators have the first recreation of a work. Later, while we’re reading the book, recreate to mind the images, the characters, the action described in the book. But those who transmit the work, those who cannot highlight or, alternatively, to dismiss the readers, are translators. We have a great esteem for this job and rely heavily on them, wanting to translate as soon as the books are found and want to read them. Also, we compare the work of the translator with the writer. Often a translation is difficult, if well done. Others think the translations of poetry, must respect the idea contained are suitable rhymes.

Each translator works in certain areas. Not all those who know the language very well, can also translate, for example, a technical text. Also those who know better do not necessarily have the technical language and creative talent to translate literary texts. For each type of translation the translator we imagine must have knowledge of the vocabulary in this field – both in language translation and in the language in which it is translated. Knowing the level of excellence of the Romanian language (if we speak of Romanian translations) is essential for a quality translation and the writing talent is another advantage. In a blog of book translators, the articles are very interesting written, beautifully made with a proving talent that hope that they are very good translators.

Artwork is created to be received, a feature that highlights the importance of this complex in the context of studying literature in school. Defined as a specific form of human activity which ‘reproduces the structure that repeats the creative activity of the artist (the ‘co-operation’ and ‘job –creation’), but in an reverse order ‘the artistic perception differs from one handset to another. In teaching acceptance, perception and subjective conditions require knowledge of the technical hurdles inherent in both reading and interpretation (student’s inability to grasp the overall message of the work, difficulties in the interpretation of certain artwork, its sensitivity, blocks of different types, aesthetic primitive text, undeveloped features and so on and so forth), an acceptance learner as a passive reference element, as a recipient of the simple aesthetic message but as a partner for a dialogue that will contribute to the understanding and interpretation of literary works.

In terms of the subjective conditions of perception, experts in the field note:

a) interest, which focuses on the receiver object ( ‘communicating text’, ‘What is it?‘), and respect, which keeps a specific work of art, it prevents confusion with physical things in the universe every day. From this condition follows a first requirement/first important goal/teacher activity: stimulating pupils’ interest in the literary work . Or, by looking hurried and distracted the literary work can only lead to a rigid interpretation of opaque and superficial;

b ) the hedonistic orientation and communicative interpretation: the reader expects from contact with the work, the pleasure, the aesthetic satisfaction. ‘Amazement defines quality aesthetic pleasure: the feeling of surprise that interest shall maintain without consciousness, would not be able to process an aesthetic awareness information work and contemplative look closely follows it and asks interpretation, foreshadowing the peace and quiet joy will confine with the completed’.

Secondly, the art consumer feels the need to communicate spiritually with the author, to exchange impressions with other readers. Questions that require personal opinion of the student impressions left by work or his attitude, for example, to the literary (‘What do you think about the character?’), attitudes towards colleagues (‘What do you think each of you about the character in question?’), literary critics (‘What's the attitude of the literary critics X, Y to the character?’), the author’s opinion ( ‘reveals the writer’s attitude in the way the character was built?’) are designed precisely to meet this need to share their impressions, removing a conclusion after comparing the point of view with the other;

c ) the cognitive orientation understood as an interest receptor of the opera as a source of new knowledge (about a new writer, about a different view of the problem, about the characteristics of an aesthetic little or no known formulas and so on and so forth). Of course, the novelty, curiosity maintaining the emotion that will animate the dominant student work should be on the forefront;

d ) the axiological orientation expressed by the reader identifies with the characters in the opera, which are closer in terms of its value orientation and incite co-participation to the conceptual universe of the work (‘How would you act instead of the character?‘, ‘Why did you do namely it?’, How do you rate this behaviour?’, Which character in any case you cannot identify why?’);

e) the desire of the reader more or less distinctly to project their own imaginative force in the work, co-participating thus an act of ‘post-creation’.

The upper level of reception is the creative artistic work. At this level, students are able to solve complex problems and logical operations to observe structures and operate with abstract concepts decoding ambiguities literary texts, issues and formulate valuable judgments. Of course, some of these may be targets, others – subjective. Translations have always interested comparative interests, although some authors have tried to deny this.

Comparative studies of binary counter to the idea of ​​translation ‘(which does not seem entirely fair, because according to the binary method, a good comparative should read the original works to be studied, although some attempts to carry out studies based comparative translated texts). No comparative studies on translation have ever ignored the contrary, it has always included within the scope of its concerns. But the comparatists pursued other purposes, inquiring and other aspects of the translated text, as opposed to linguists, which focuses mainly on issues of fidelity moving text from one language to another, and the means used linguistic and stylistic translations. Although not ignoring the comparative linguistic aspect of a translation in comparative studies, it matters not that the job of translation as ‘reality translated text’ existence in other literature, that functionality works in another system translated literally. However, all dealing with translations (linguists, comparatists, teachers, translators themselves) intersects in one way or another in their work. Comparative translations will address a broader point of view and from the perspective of literature receivers.

The literary analysis highlights courts again, the ability to keep the translation of literature and at the same time expressing the national element embedded in the key pieces of literature, therefore, (to) communicate any (new) cultural context. A translation is achieved through the bridge between cultures, a permanent bridge that facilitates communion of aesthetic values​​, a communication aesthetic factor identified from one language to another, the knowledge and re-cognition of the universal in every language, which contributes to customize both language in general linguistic context and the (search and/or blasphemous) ‘globalization’ of cultural -linguistic.

In a world governed by permanent changes, whether imposed by internal factors inside and adaptation of the individual or imposed by external social, historical, cultural, directly or indirectly sources as a result of the evolution and progress of humanity, each situation required a specific ‘adaptive response’ to the individuals and their understanding about the need for traffic information, ideas, knowledge, from one culture to another and vice versa, for instance, a form of synchronization, in every way that matters. It wants to be the first in the translation as a phenomenon began to gain land. By translation we mean, then, that the phenomenon which has the power to remove discrepancies between languages​​, cultures, mentalities, perceptions varied forms a mosaic in the world in which we live. We wish to emphasize, however, that we do not aim to the translation as a phenomenon that would level up the confusion, so to change the beautiful pieces of colour glass mosaic in one colour, thus destroying the course, which made it valuable. We are only talking about an ‘update common ground’ in the ethical and aesthetic comprehension of the universal values​​.

The operational analysis points out some original text receiving more options regarding the translation, which is not out of normality, conversely, any new approach to a particular text will result in a new textual product.

Translatable versions of original literary texts can be distanced from the source text so much that it becomes unrecognizable for any bi – lingual and bi -cultural skills.

A translator should have a look on the entire macroscopic and one microscopic individual parts of a work to be translated, and could achieve this goal if they call the reading side, that other signed works by the same author, reviews of the text in question, are ‘historical documents which enable targeted intervention as an opening programmatic text, without recourse, but the lamentable biographical interference .

Moreover, the translator would have to travel as far as possible, the route that it initially followed the writer just for understanding intrinsic aspects of the work. But this information will be used by the translator in order to obtain a fair original translation and not for the purpose of pursuing a translation of the original spelling. Thus, ‘translations should neither increase the difficulty of understanding a poem (by exaggerated disclosure) nor to facilitate understanding by exaggerated disclosure (for instance, the clarity of certain meanings or connections which the poet wished to remain ambiguous or veiled by spelling of denotation and connotation quite clear and so)’. As well we might conclude that the difficulty is due to the shape of equivalence literature in which the original cast, thereby returning us to the dilemma of the conceptual translation of poetry aimed versus prose translation. According to this dilemma conceptual translation of the work, although problematic issues involved are as necessary spirit of a culture that plastic speaking, the human body exercise: you can live without them, but how it would be disharmonious and existential? A translation of poetry is not intended to rival the original works. But it is also true that the original literature as air needs permanent confrontation plastic possibilities of its language forms of foreign culture, spiritual gymnastics that are translations.

The phenomenon of translation manages to activate and re-activate languages​​, literature, and systems with different cultural systems required in different contexts. The values ​​re-activated by means of translations belong to cultural systems from which they will not be uprooted once the universal circuit entered in translation, but would acquire other meanings when it’s accessed, thus (re) known. So unless those translations which do not amount to an acceptable quality level (referring to courts pseudo-transducer formulas uninspired or unsupported technical versions, linguistic, stylistic, and so on and so forth). Any new approach, any new stooping purpose of interpretation of a literary text, so any translation is a win, both the translator and the author and reader as the receiver. We often encounter situations where the translated text deviates from the author’s intention, we asked the question of how you should precede the translator. The idea that initiated a research is that the translator must perceive implications in the text, his interpretations are possible and choose keywords so that they remain accessible to the reader. Obviously, one might submit that the interpretation is the mission that accrues literary critic times, not the translator. Translation, in our opinion, is a complex process in which grammaticality interpenetrates within cultural elements.

Translation studies guidelines

The presentation of the diachronic, cultural and linguistic translation space of the Romanian language will focus specifically on lessons referred to translators and, in terms of synchronicity, will examine not only reflections regarding the practice of the translation, but also aspects of the theory of translation. The socio-cultural perspective, the analysis will support ethno-translation, ethno- linguistics and ethno-graphic language. A translation between related languages ​​emphasizes the dynamic equivalence translation that focuses on the target text receiver and draws on its horizon of expectation. This approach stresses the link between the translation as a linguistic activity, and problems in a cultural and social relationship between language, especially vocabulary, and culture of the popular ‘material’, the correlation between language and social context and their reflection in the translation. We don’t intend to demonstrate (not would only be a plus in an approach), but only to record similarities between the Romanian problem in the space transducer and transducer issue from other linguistic areas. Back often on common ground as which the notions evolving the translation depends not necessarily on a fixed corpus of texts and their solutions can solve any problem enunciating, with the intention to give the phase underlines again the need for simple juxtapositions and the empirical theory in the ability to notice, the antinomies trivial on a translatable character, and – especially – to highlight (not pluck them!) the roots of the reflection on the practice and theory of the translation into Romanian. Formal aspects, functional and structural style statements are important factors as text analysis, analysing sentence structure projecting some information about the features that you approach the text (simple or complex), composition (structure), text (content elements removed relief), the order of presentation of information in text, and so and so forth), increased features (accent, tone, emphasis, intonation) as well as some figures are style (such as those that may indicate assumptions). Meanwhile, some extra textual features may be associated with certain sentence structures.

The translator analyses the initial intonation as a means of organizing the text to mark information structure and divide the text into separate units breaks; intonation can also be a semantic core brand proposition and can disambiguate different meanings of the sentence (serious/ironic). Intonation signals towards the speaker’s attitude towards the message. Usually, the analyses of two elements, namely vocabulary and sentence structure sometimes includes the tone of the text.

Among the English contemporary writers, Julian Barnes is among the most appreciated. Some are somehow in love with him, still amazed at his ability to experiment, though for their own pleasure, structures, styles and themes so different from a novel to another, but in volumes of essays. Constants are just subtlety, irony, not an ostentatious way that suggests major themes of meditation. This is done in Arthur and George, a novel solidly built and documented, an original blend of biography, reconstructing the Edwardian era, the first decade of the twentieth century and detective investigation. Barnes has built this tenth novel from a real funny story, Edalji’s business, judicial error such as ‘Dreyfus affair’ in France, but remained obscure.

In an interview, the novelist said that they struck the common points of the two cases: a serious offense – spying for the French, English animal mutilation repeated; a racial issue – Dreyfus was a Jew by origin, Edalji was the son of an Indian Parsi; both defendants are sentenced to hard imprisonment, although they are not guilty and defend everyone which come in contact with the famous writer, triggering great public scandals echoing Zola in France, Arthur Conan Doyle in the UK. For Arthur the title is really the father of Sherlock Holmes, and George (Edalji) has removed the guilt of the writer, became a leading member of the establishment striving by all means, including self-investigation of the facts, let it be justice. Barnes describes the two trajectories of the existential clothing which seems to have nothing in common, alternating chapters with Arthur and George.

The first, born to a good family impoverished due to the alcoholic father, interned in an asylum, with stray minds; the second one, the son of a severely Anglican pastor of Indian origin and a Scottish born and educated individual in England as British and ignoring that which is experienced persecution in the small town community Wyrley was due to his dark skin. Arthur is a boy who enjoys sports, impetuous, with animated chivalric ideals, adventurous ophthalmologist, poor student then, very fond of his mother, who would like to offer a sufficient life. He reaches that point not due to medicine, but writing: The Adventures of Sherlock Holmes brings glory, fortune and a knighthood. George is a good and obedient son, a conscientious student and a young lawyer correct in all but ‘suffers’ from shyness, discretion, with a fragile physique, lack of imagination and ‘oriental’aspect, in addition to loneliness. The life story of the two separated characters flows until the middle of the book. When George, accused of repeated mutilation of horses and cows in the area, he was tried and convicted despite lack of proof, writes Arthur Conan Doyle in prison and subjected them in his attention. From this point, they encounter each other.

II. Text confrontation

Julian Barnes, ‘Arthur and George’, translation by Virgil Stanciu, Nemira Publishing, 2013

Conclusions

In an acceptable translation of Arthur & George, in my opinion, I leave the last word to the reader and I think of a version with reproduction ambiguity embedded in it, in the sense that it gives Virgil Stanciu this concept which helps readers to form their own opinions and become, in turn, some experts. A retranslated not just changes its nature, transforming it into something else, but acquires a way to reshape our perception of possible worlds created by the book readings and previous translations . Translating the untranslatable is an attempt to locate and identify nuanced profile of new identities. I ‘glanced’ at the distant shores in order to imagine the possible encounters, and then we expect social and communicative exchanges with others about which we know nothing.

I would say that a good translation should be, at the same time flexible and inflexible, making it so faithfully unfaithful. This allows mediation between cultures and communities of the speakers in order to overcome the limits of narcissistic individuality in an attempt to reach new literary horizons, only when the translation will reach the state of communication, i.e. when communicative function will finally be fulfilled and will arrive in the collective imaginary .

I thought, like many foreign colleagues, that they must recreate something incongruous in the Romanian version, just because ‘mistakes’ in Arthur & George (most evident the absence or presence of the article) have a revealing meaning. Sometimes, indeed, in Arthur & George is entrusted the intentional ambiguity with apparent mistakes, inaccuracies or grammatical oddities . It is a fairly common mistake among English speakers, it will prove a very ordinary Google search. Now the problem is reproduction errors in some respects, different status that they have in other languages and in English. In our language, often grammatical errors have a more obvious status to English and must be careful not to give the impression that the speaker is to say, an illiterate. It was, in this case, a need to ‘moderate mistake’ and trying to get this effect transferring grammatical mismatch clearly serious, the choice of auxiliaries.

If one wants to shock or not the reader not only in terms of content and technical literary associations, but also visually and graphically, suppressing not only punctuation, apostrophes, I believe that the answer is ‘yes’. Barnes wanted to shock readers at all levels and spell my choice goes in the same direction, wanting to replicate unfamiliar effects similar to those of the original. So I ventured over both graphically and grammar, reinventing spellings, forcing the syntax and so on and so forth. It's risky recreation, but justified. The status of the English literary language has loosen the mental twists and turns of a translator. How to speak, idiolect, I say, is, in itself, a new language based more on oral language than the one written. All this convinced me to make extreme choices on different levels: typographical, lexical, syntactical and finally musical style to answer the manuscript. Such extreme choices produce, certainly, a very strange text reader in Romanian. It is an effect, as I said, that we find the right style of the original specific content, the final conclusion of a narrative structures that disturbs English and undermine the stability of our literary expectations .

It aspires to the condition of free orality, such as the restrictions of writing as we know them. Those that seem true original spelling are often attempts to follow the unwritten speed of thought.

We all have tried to adapt the language to express the complexity of semantic arrival of the original text, a meaning that goes, first of all, by using certain words ( endowed not only with a signified, but also a signifier, that is a sound and specific form), then the choice of syntactic structures (expressing a point of view, a certain representation of reality, a vision of the world) and, finally, by its appeal to certain figures of speech ( figures of speech and figures of thought ) and paced some writing of a given type. Thus, the reader will be the one who will move to the writer.

The translation of the meaning and the literal translation is the two poles which exist only in the abstract plan : in reality, translators are sensitive criteria never forgets full text point of departure, as the letter following criteria are necessarily inclined in various points of their text to modify the vocabulary, syntax, figures of speech and the rhythm of the original to account for the request destination language . While Stanciu tends to rewrite the text to go according to their own conception of language destination, and thus to remove most of the features of the original language, personally, though being forced to change in various parts of the translation lexicon, syntax, figures of speech and rhythm starting text will intervene only where really necessary, an effort to reproduce the lexical choices, syntactic, rhetorical and rhythm of the original. The result will be the same.

Each translation does not correspond therefore a verbatim translation, but rather as an attempt to reproduce the text of arrival largest possible number of lexical features, syntactic, rhetorical and rhythmic text out.

Stanciu and I tried the possibilities of language, not a pervert or undermine how often they say, that's what writers do. Thus, the student of style, instead of defining the style of grammatical facts label misconduct identified in a given text as an alleged violation of the rigid code, explains the possibilities inscribed in language .

All I tried to reproduce the text style finish . The translator who accept the challenge will be met, inevitably, four types of problems: the lexical and grammatical order, the order rhetorical and rhythmic order .

Having available the means of information and expressions in a particular stage of evolution of language and culture, in this case, the translation is not a further synchronic object and diachronic study only of the function in social and cultural translation and stylistic aspects.

A translator cannot be exempt from the operation of interpretation of the text if he wants to get a good version of it in the target language.

I am trying to prove here that in order to have a good translation, I must report the implications of the text in front of which one finds itself, as well as its possible interpretations. Fully aware that the risk to object that the interpretation of the text is the task of hermeneutics or literary critic and not that of the translator, one cannot dispense with the operation of interpretation of the text if one actually wants to provide an adequate translation of it in the target language.

The translation process is often more complex than one would say at first.

The complexity of the language and cultural issues add to the complexity. The ‘transfer’ of the message in a new language must be operated simultaneously at several levels, linguistic (lexical morph syntactic, pragmatic, sociolinguistic, etc.) and cultural (anthropological, sociological, textual, etc.). The latest must always rest on top, which is fundamental to communication. If the first interpretation is developing cultural levels, in reality it also has deep roots in the language areas in network connections. The whole synergistic organization of the language is itself, in turn, an intimate vision of the world under the influence of that culture.

A consequence of this is the translator, one must want to make a type of an interpretive translation and must be very well informed on all aspects regarding effectiveness and competence.

For certain groups of cultural referents, on the contrary, I noticed that they were involuntarily treated in a specific manner. Certain categories of reviewers are likely to cause confusion more than others.

Certain categories of cultures can know an alteration of the signifier (appropriate spatial referents). They are replaced by formulas translations tautological (true thing again cultural referents). Some group cultures in the same area can be associated with the same equivalent translation, sometimes incorrectly.

I have seen, however, that there are a number of inaccuracies, probably generated by the manner of writing of the author. Most of the errors detected are within the terms of cultural connotations. Another problem I noticed here consists in the analysis of various occurrences of cultures or aesthetic or spatial-temporal variation and politeness is a tendency often found in the author’s writings. As a translator, besides the fact that we are facing serious difficulties, we have a great responsibility, because we represent one of the few people able to compare the translation with the source text and to judge the quality of the result of our personal work.

An average reader can generally see if the cognitive structure that interprets the text in the target language is adjacent or not original; the translator’s responsibility is to judge the fault created between the cognitive structure start and one that is built during the reading of text in the target language.

The translator is the first and often only one person called upon to judge the extent to which the cognitive structure is preserved in the equivalence set.

It must be recognized that those who dare to undertake the translation of great writers face unimaginable challenges for the uninitiated: a language and a very different culture, as I tried to show here, revealed various problems or inaccuracies in translation, however, does not prevent us from perceiving the human qualities and the writer, and the virtues of a language. In order to translate, we must acknowledge the main idea behind the book.

Julian Barnes succeeds to recreate in Arthur & George a situation which occurred in late 19th century and became known in the U.K. as ‘The Great Wyrley Outrages’. By tracking the main events, Barnes´s work appears to be realistic; in the meantime, it explores the psychological characteristics of the two mains characters, Arthur and George. Personal situations and personalities are used to recreate the situation leading to the wrong outcome of George Edalji, and the ‘help’ given by the famous author, Sir Arthur Conan Doyle, who claimed to be a solicitor in the name of Edalji.

Postmodernist features ‘rule’ this novel, where there are not accurate replies or absolute truths. Appearing to be irrefutable is the prejudice and the lack of interest regarding the judicial system which should be fair and reliable in a civilized society such as the English society of those times.

The dominating ideology of the detective story, a sub-genre where logic prevails, is also questioned in Arthur & George. The objectivity of knowledge leads to in determination and, at the end, what stands out is the acceptance of the limits of human knowledge, regarding the interpretation of facts. As a consequence, the reader feels compelled to join Doyle’s quest, if not for the truth, at least for justice.

To achieve high quality translation takes up roughly the following steps: an analysis of the text source – detect any gaps or inconsistencies; reveal the weaknesses and ambiguities of expression and so on and so forth; documentation – identification of sources of documentary art; dictionaries for terminology databases for the field; extracting terms and phraseology of the source code along with their context of use; finding definitions of terms extracted; establish equivalence in the proper target language translation; revision of the translation; final typing the text into the target language.

The activities preceding the translation often have the largest share in the working time and human resources involved. Of these, documentation and terminology are the most laborious work, how these activities are carried heavily influence the quality of the translation. For everything to be brought to completion in a short time and to reuse any items of the work done in specialized translation becomes imperative to use tools to assist translators throughout their work. Such tools include: translation memory, terminology recognition tools during the process of translation, terminology databases, etc.

It is mandatory that a text specialized translator know very well the domain / subdomain to which the translation is made. First, one must understand the text needed for translation, identify the concepts and terms to properly handle both source and target language. For this, one must resort to various documentary sources to help establish the hierarchy of names established by conceptual systems and identify terms and phraseology etc. The information upon concepts and terms can be obtained from both written and oral sources. All sources must be assessed in terms of quality criteria and purpose.

It is good practice when drawing up sheets to record information obtained during the research, the study of selected sources. An entry in such a documentary record contains all the information relative to an object documentary (usually a term): the reference to the document that has been met and the position in the document, definition, explanations, descriptions and so on and so forth, all accompanied by specifying the source. The fact sheets will be used to prepare inventories upon terminology. The translation of specialized texts involves conducting preliminary work and documentation for achieving domain terminology. To achieve a high degree of professionalism, these operations must be carried out rigorously, respect the rules which are already known and accepted. Furthermore, it is indicated that these activities are performed by professionals.

Translating the sense means, therefore, to ignore the point of the original, the " body " of words that compose it . In this way, the author, necessarily, will be moving to the reader, because the translated sentence structure will not have a direct relationship with the original sentence structure, but the structure will be just more ‘normal’ in arriving at expression meaning the original sentence. Hence, on the one hand, the meaning of the original text is inevitably influenced, changed or distorted in the language structures arrival, on the other hand, any kind of influence on the language of origin and destination language is necessarily eliminated. We both tried to reproduce the text of arrival all the characteristics of the text starting language ( vocabulary, syntax, figures of speech, rhythm ) and the differences are not many.

III. Textul bilingv/The bilingual text

IV. Cronologie/Chronology

A very different but equally successful work, Arthur and George (2005) is based on a true story of two very different men whose paths crossed unexpectedly.

Sir Arthur Conan Doyle, celebrated author of the Sherlock Holmes stories, and George Edalji, a half-Indian rural solicitor who was wrongly convicted of mutilating livestock in Staffordshire. The false accusation was thought to stem from racial prejudice and Conan Doyle stepped in to help, becoming a real-life amateur detective in order to get justice for Edalji.

Arthur and George, like most of Barnes' work, is rich and multi-layered: Barnes combines his depiction of this fascinating true detective story with a vivid and well-researched chronicle of Edwardian society, as well as delving into the complicated personal life of Conan Doyle, and once again exploring the nature of love.

Barnes' prose is elegant, witty and playful, and he often employs techniques associated with postmodern writing – unreliable narrators, a self-conscious linguistic style, an inter-textual blending of different narrative forms – which serve to foreground the process of literary creation, the gap between experience and language, and the subjectivity of 'truth' and 'reality'. However, despite this playful experimentation with language, style and form, Barnes' fiction is also grounded in psychological realism and his themes are serious, poignant and heart-felt: he frequently addresses the nature of love, particularly its dark side, exploring humankind's capacity for jealousy, obsession and infidelity, alongside the perennial quest for authentic love.

One of the many valuable writers today, yet a writer like no other, recognized for the unique literary critics and readers alike. British writer beloved by the French, which had a penchant small without limitation existence, Julian Barnes is the ‘chameleon of English literature’, according to numerous critics.

Julian Barnes argues that one of the most interesting things about the art of writing is the very laborious process which reaches the final work, a process which compares the way a pianist plays to practice their repeated nuances of his performance, even if it is mastered very good.

He compares the first draft with the birth of a child, and the thing that makes you go along the following drafts is self – belief that the first version is good enough.

For the British author, fiction is more real than journalism, because it assumes an in-depth analysis of the world and observing some features that are not obvious and can reveal the second or third reading, while journalism is trying to simplify the world exposed in such a way that it can be immediately understood.

Arthur and George would never have met: the origins and study of different characters to thousands of years apart – one imaginative, energetic and erudite, the other reserved, serious, lonely.

However, the victim of a terrible miscarriage of justice, incarcerated for several years and then released without an explanation and without being guilty, George, to unravel the mystery, turns to Arthur, at the time, one of the most famous English individual – the creator of Sherlock Holmes character.

Beyond the plot cop, Julian Barnes makes an excellent analysis of the Victorian society.

An extraordinary ‘twist’ from the masterful writer which was short-listed for the 2005 Man Booker Prize. Late-Victorian Britain is brought to vivid life in the true story of the intersection of two lives: one an internationally famous More…

The victimization of George takes the form of nasty letters, the theft of a school key, and finally, the accusation that he has mutilated animals.

Meanwhile, Arthur is becoming more and more famous for creating Sherlock Holmes, whom he tries to kill off once and is forced to resurrect because of his fans’ outcry. He marries, fathers two children and then, when his wife is invalided by consumption, falls madly in love for the first time with Jean Leckie.

The novel’s style is smoothly revelatory. We slowly come to realize that George is half-Indian and that Arthur is the famous Doyle, that the woman he loves, chastely, is not his wife and, sadly, that George will not prevail over the forces ranged against him.

Julian Barnes is a gifted writer of enormous accomplishment. This novel is thoroughly engrossing, filled with Barnes’s trademark themes of identity and love, longing and loss, and ultimately, an examination of man’s inhumanity to man.

Julian Barnes has written numerous novels, short stories, and essays. He has also translated a book by French author Alphonse Daudet and a collection of German cartoons by Volker Kriegel. His writing has earned him considerable respect as an author who deals with the themes of history, reality, truth and love.

Julian Barnes uses them to portray England a century ago, the prejudices, institutions, politics, bureaucracy, the literary world, social cleavages, morals of hypocrisy – all well woven in the investigation and steps that Conan Doyle and his secretary, Wood, do to bring light and truth to the public required to change the English justice system ( the ‘Edalji case’ resulted in the establishment of a Court of Appeal that was not there before, and led eventually to the reform of the Criminal Code). The truth in the documentary and fiction, extravagant scenes of faith in Conan Doyle’s spiritualism or the complications of dating, the candour of George, who has unflinching faith in the system, are so masterfully connected

Bibliography

1. Alexandru I. Philippide (1986), În dialog cu contemporanii, vol. I-II, ediție îngrijită, prefață, traduceri, note și indice de I. Oprișan, București, Minerva;

2. Barnes, J. (2006). Arthur & George. London: Picador. http://www.proquest.com;

3. Bassnett, Susan & Lefevere, André (éds.) (1990) Translation, History and Culture. London & New York: Cassell;

4. Brown, P. & Levinso, S.C. (1987) Politeness: Some universals in language usage. Cambridge: Cambridge University Press;

5. Byatt, A. S. (1995). A New Body of Writing: Darwin and Recent British Fiction. New Writing 4: An Anthology. Eds. Antonia Susan Byatt and Alan Hollinghurst. London: Vintage 439-448. http://www.jstor.org;

6. Coșeriu, Eugeniu, (2009). Omul și limbajul său: Studii de filozofie a limbajului, teorie a limbii și lingvistică generală, antolog., argument și note de Dorel Fînaru, Iași, Editura Universității”Al. I. Cuza”;

7. Hutcheon, L. (1988). A Poetics of Post-modernism: History, Theory, and Fiction. NY: Routledge. http://www.jstor.org;

8. Hutcheon, L. (1988). A Theory of Parody: The Teachings of Twentieth Century Art Forms. London and NY: Methuen. http://www.jstor.org;

9. Hutcheon, L. (1988). Narcissistic Narrative: The Metafictional Paradox. NY: Routledge. http://www.jstor.org;

10. Hutcheon, L. (1991). Discourse, Power, Ideology: Humanism and Post-modernism. London. http://www.jstor.org;

11. Hutcheon, L. (1992). Historio-graphic Meta-fiction: Self-reflexive, Parody, Inter-textuality. London. http://www.jstor.org;

12. http://literature.britishcouncil.org/julian-barnes.

Bibliography

1. Alexandru I. Philippide (1986),În dialog cu contemporanii, vol. I-II, ediție îngrijită, prefață, traduceri, note și indice de I. Oprișan, București, Minerva;

2. Barnes, J. (2006). Arthur & George. London: Picador. http://www.proquest.com;

3. Bassnett, Susan & Lefevere, André (éds.) (1990) Translation, History and Culture. London & New York: Cassell;

4. Brown, P. & Levinso, S.C. (1987) Politeness: Some universals in language usage. Cambridge: Cambridge University Press;

5. Byatt, A. S. (1995). A New Body of Writing: Darwin and Recent British Fiction. New Writing 4: An Anthology. Eds. Antonia Susan Byatt and Alan Hollinghurst. London: Vintage 439-448. http://www.jstor.org;

6. Coșeriu, Eugeniu, (2009).Omul și limbajul său: Studii de filozofie a limbajului, teorie a limbii și lingvistică generală, antolog., argument și note de Dorel Fînaru, Iași, Editura Universității”Al. I. Cuza”;

7. Hutcheon, L. (1988). A Poetics of Post-modernism: History, Theory, and Fiction. NY: Routledge. http://www.jstor.org;

8. Hutcheon, L. (1988). A Theory of Parody: The Teachings of Twentieth Century Art Forms. London and NY: Methuen. http://www.jstor.org;

9. Hutcheon, L. (1988). Narcissistic Narrative: The Metafictional Paradox. NY: Routledge. http://www.jstor.org;

10. Hutcheon, L. (1991). Discourse, Power, Ideology: Humanism and Post-modernism. London. http://www.jstor.org;

11. Hutcheon, L. (1992). Historio-graphic Meta-fiction: Self-reflexive, Parody, Inter-textuality. London. http://www.jstor.org;

12. http://literature.britishcouncil.org/julian-barnes.