Réflexions sur la traduction du jeu vidéo en tant que nouveau média de représentation littéraire
DOI:
https://doi.org/10.12797/MOaP.25.2019.46.04Keywords:
Inter-semiotic translation, literature representation, videogames, fantasy novel, thrillerAbstract
Reflections on Video Games Translation as a Literary Representation in the New Media
Large-scale development of video games can be considered as a somewhat new phenomena, even though video games have been gaining more and more adepts during the last few decades. Since the very beginning, videogames have sought for inspiration in literature, with games such as “The Hobbit” released in 1986 on Amstrad CPC. Back then, it was a raw media that didn’t offer much possibilities to the players as well as to the developers. Today, millions of people – not to say billions – play videogames in the entire world. Technologies related to videogames development are more and more complex. Now, the player doesn’t only have to complete simple objectives like with arcade cabinets back in the 1970’s. He can control complex characters and have them evolve in rich environments. Videogame universes are often based on literature, and thus become a representation of literature that has to consider every aspect of the works it interprets: graphisms (sets and characters), music, gameplay, but also language, the main area of interest for translators. We look into the games ABC Murders and The Witcher III in order to examine different aspects of books transcribed in videogames and their inter-semiotic and interlingual translation.
Downloads
PlumX Metrics of this article
References
Baudou, J. (2016), « La fantasy, historique et définition du genre », disponible en ligne : http://www.lecturejeunesse.org/articles/la-fantasy-historique-etdefinition-du-genre/.
View in Google Scholar
Benvenuti, S., Rizzoni, G., Lebrun, M. (1982), Le Roman criminel. Histoire, auteurs, personnages, L’Atalante, Paris.
View in Google Scholar
Genvo, S. (2003), Introduction aux enjeux artistiques et culturels des jeux vidéo, L’Harmattan, Paris.
View in Google Scholar
Guttfeld, D. (2012), Elementy kulturowe w angielsko-polskich przekładach science-fiction i fantasy [fr. Éléments culturels dans la traduction de la science-fiction et de la fantasy de l’anglais vers le polonais], Wydawnictwo Naukowe Uniwersytetu Mikołaja Kopernika, Toruń.
View in Google Scholar
Jakobson, R. (1963), Essais de linguistique générale. 1. Les Fondations du langage, Éditions du Minuit, Paris.
View in Google Scholar
Karpyshyn, D. (2017), Mass Effect, l’intégrale du premier cycle, Bragelonne, Paris.
View in Google Scholar
Larsson, S. (2013), Millénium, l’intégrale, Actes Sud, Arles.
View in Google Scholar
Mesplède, C., Tulard, J. (2019), Roman policier : les grands articles, Encylopaedia Universalis France.
View in Google Scholar
Sapkowski, A. (2011), Rękopis znaleziony w smoczej jaskini. Kompendium wiedzy o literaturze fantasy, SuperNowa, Warszawa.
View in Google Scholar
Sapkowski, A., Bereś, S. (2014), Historia i Fantastyka, SuperNowa, Warszawa.
View in Google Scholar
Sarapuk, A. (2017), Connaissances culturelles et contextuelles dans la traduction lors du passage du polonais vers le français, thèse soutenue le 13 décembre 2017, disponible en ligne : https://hal.inria.fr/tel-01787764/.
View in Google Scholar
Testard-Vaillant, P. (2017), « D’où viennent-ils ? », Les Cahiers Science et Vie, n° 166., pp. 42-43.
View in Google Scholar
Todorov, T. (1976), Introduction à la littérature fantastique, Éditions du Seuil, Paris.
View in Google Scholar
Romans du corpus :
View in Google Scholar
Christie, A. (2014), ABC contre Poirot, Le Livre de Poche, Paris.
View in Google Scholar
Sapkowski, A. (2008), L’Épée de la Providence, trad. A. Dayet A., Bragelonne, Paris.
View in Google Scholar
Sapkowski, A. (2003), Le Dernier Voeu, trad. L. Dyèvre, Bragelonne, Paris.
View in Google Scholar
Ressources en ligne : Allociné : http://www.allocine.fr/film/fichefilm_gen_cfilm=140296.html.
View in Google Scholar
Syndicat des Éditeurs de Logiciels de Loisirs SELL (2016), http://www.sell.fr/news/bilan-2016-annee-record-dans-lhistoire-du-jeu-video.
View in Google Scholar
Syndicat des Éditeurs de Logiciels de Loisirs SELL (2019), https://www.sell.fr/sites/default/files/essentiel-jeu-video/sell_essentiel_du_jeu_video_2019_0.pdf.
View in Google Scholar
Jeux vidéo* :
View in Google Scholar
Deux Ex: Mankind Divided (2016), Eidos Montréal, Square Enix.
View in Google Scholar
Fallout 4 (2015), Bethesda Softworks.
View in Google Scholar
Mass Effect (2007, 2010, 2012), Bioware, Electronic Arts/Microsoft Game Studios.
View in Google Scholar
Medal of Honor (1999, 2000, 2002, 2003, 2004, 2005, 2006, 2007, 2010, 2012), Danger Close, Electronic Arts.
View in Google Scholar
Resident Evil (1996, 1998, 1999, 2000, 2002, 2005, 2009, 2012, 2015, 2017), Capcom.
View in Google Scholar
Resonance of Fate (2010), Tri-Ace, Sega.
View in Google Scholar
Space Wars (1974), Cinematronics.
View in Google Scholar
The Witcher (2007, 2012, 2015), CD Projekt Red.
View in Google Scholar
Films :
View in Google Scholar
Alibi (1931), Leslie S. Hiscott, Twickenham Film Studios.
View in Google Scholar
Millénium, le film (2009), Niels Arden Oplev, UGC Distribution.
View in Google Scholar
Le Crime de l’Orient Express (2017), Kenneth Branagh, Twentieth Century Fox.
View in Google Scholar
Wiedźmin (2001), Marek Brodzki, Heritage Films.
View in Google Scholar
*Les jeux vidéo sont présentés comme suit : titre de l’oeuvre (année[s] de parution), Société de développement, Maison d’édition (il est possible que la même entité assume ces deux rôles).
View in Google Scholar
Downloads
Published
How to Cite
Issue
Section
License
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.