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The palimpsest quality of Carter’s richly allusive fiction has been well documented. In this sense, they prefigure The Bloody Chamber, which re-envisions the traditional stories of Bluebeard, Little Red Riding Hood, and Beauty and the Beast through the prism of Western art, literature and culture. By contrast, the illustrations are aimed at an adult audience and they self-consciously foreground the formal and visual dimensions of the tales. 4 Ware’s images depart from the conventionalized reception of the fairy tale even more radically than Carter’s translations, which are still governed by the assumption that Perrault’s tales were written for children (she refers to them as ‘nursery stories’). Significantly, Martin Ware’s artwork for The Fairy Tales of Charles Perrault (1977), Carter’s translation of Perrault’s tales published two years earlier, already modernizes them and goes against the Disneyfied reception of the genre. Angela Carter played an important role in the development of this parallel tradition through her collection of fairytale-inspired stories, The Bloody Chamber and Other Stories (1979), which started a veritable fashion that lasts to this day. But it is significant that in the last decades of the twentieth century, the fairy tale was also revived as a genre for adults in the English-speaking world. I discuss the influence of ‘horrorz (.)ĢMost people today, including children, become familiar with Perrault’s contes through illustrated books or animated films. 7 See, for instance, Crofts 2003, Munford 2006, and Kerchy 2011.6 Carter polemically argued that Sade put pornography ‘in the service of women’ in The Sadeian Woman (.).5 It ranges from Shakespeare to Sade, Perrault to Poe, Dickens to Baudelaire, to name a few of its n (.).4 Gillian Lathey remarks that ‘One of the most notable differences between translating for adults an (.).3 The dynamic process of intersemiotic (or intermedial) translation therefore requires a form of active reading on the part of the reader/viewer who is made to move to and fro (Louvel uses the term oscillation) between text and image. She goes on to describe the interplay of text and image in terms of a differential structure of analogy and difference (or, rather, différance) that arises from their tension, so that ‘the passage between the two semiotic codes is to be read in-between’. 2Liliane Louvel, for example, has developed the idea that the interplay of text and image implies operations that are akin to translation in L’oeil du texte (1998), and she has outlined the modalities of this dialogue in Texte/Image: Images à lire, textes à voir (2002), where she argues that ‘the term of translation is flexible enough to describe what happens when we move from image to text and vice versa in a configuration of dialogue and responses, an operation of translation or interpretation’ that stems from their mutual relationships.
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Following Roman Jakobson, translation is no longer limited to interlinguistic mediation but has come to encompass intersemiotic transposition. 3 ‘Le terme de translation est suffisamment plastique pour décrire ce qui advient lorsque l’on passe (.)ġIn recent years, the ordinary sense of translation as the transfer of a text from one language to another has been extended to the arguably even more complex transposition of verbal text into visual image (or vice versa).2 Although Jakobson’s model gives pre-eminence to the linguistic sign, it extends to other forms of (.).La transposition de détails et de stratégies visuelles dans l’écriture donnent ainsi l’occasion de réflexions sur les rapports entre la visualité et la textualité. Plusieurs éléments des illustrations de Ware sont ainsi repris et élaborés dans The Bloody Chamber and Other Stories (1979), la collection de “stories about fairy stories” qui rendit Carter célèbre. Il démontre que les illustrations originales de Ware ne mettent pas seulement en question l’assimilation des contes à la littérature de jeunesse (qui est encore la perspective adoptée par la traductrice dans ce livre), mais permettent aussi de saisir un aspect essentiel mais jusque-là ignoré du procession de création dans l’oeuvre de Carter, à savoir la dynamique qui lie la traduction, l’illustration et la réécriture des contes classiques. Cet article s’attache à l’interaction du texte et de l’image dans les contes de Perrault traduits par Angela Carter et illustrés par Martin Ware (The Fairy Tales of Charles Perrault, 1977), comme une forme de dialogue intersémiotique particulièrement productif.