By means of the notion of rhythm developed by Henri Meschonnic, this study attempts to analyse Elfriede Jelinek’s translations of the farces of Feydeau (as in “La Dame de chez Maxim”) and Labiche (as in “L’affaire de la rue de Lourcine”). It then aims to understand the mechanisms which underpin the staging of a type of theatre, long considered to be an inferior style of comedy. Finally, it presents answers to the question of knowing to what extent Jelinek’s work as translator has shaped her literary production as a whole.
|Date of Award||27 Mar 2013|
|Supervisor||Anke BOSSE (Supervisor), Jeroen Darquennes (President), Dirk Delabastita (Jury), Indra NOEL (Co-Supervisor), Inge Arteel (Jury), Bernard BANOUN (Jury) & Jean-Louis BESSON (Jury)|