Adaptation studies has recently turned an eye towards translation theory for valuable discussion on the role of movie makers as translators. Such discussion notes the difficulties inherent in adapting a medium such as a book, a play, or even a theme park ride into film. These difficulties have interesting parallels to the translation of one language into another. Translation theory, in fact, can shed important light on the adaptation process. Intrinsic to translation theory is the dichotomy between domesticating translation and foreignizing translation, the two major styles of translation. Translation scholar Lawrence Venuti, the author of these two terms, argues that while the former is an "ethnocentric reduction of the foreign text to receiving cultural values, bringing the author back home," the latter is "an ethnodeviant pressure on those values to register the linguistic and cultural differences of the foreign text, sending the reader abroad" (15). Venuti suggests that foreignizing translations, ones that maintain distinct cultural difference within the translated target text, are more desirable and ultimately commit less violence on the source text and language. This paper analyzes the 1940 film The Thief of Bagdad, a British remake of a 1924 Hollywood film by the same name, for its elements of foreignizing translation. Producer Alexander Korda, acting as a kind of translator, made this film during the height of the British national film movement. Supported by this movement, and inspired by his own personal vendetta against Hollywood, Korda took an American blockbuster and re-vised it with distinctly British thematic elements. Because his ultimate audience was an American one, however, I argue that his film took an American source text, The Thief of Bagdad (1924), and foreignized it, hoping, in the process, to establish British cinema as a major player in the international film world.

Este estudo compara a mímese poética do mundo árabe-islâmico, especialmente no livro de contos As mil e uma noites, com a mímese poética do mundo hispano-americano na obra literária de Jorge Luis Borges. A obra anônima das Noites tornou-se a principal referência para especular tanto as formas e as estratégias de construção narrativa quanto os conteúdos temáticos na criação poética do escritor argentino. Devido à magnitude da produção literária borgeana, este estudo considerou o livro El Aleph (1946) e três contos de El libro de arena (1975)- El espejo y la máscara, Undr e El disco. O trabalho se propõe afirmar que a poética árabe-islâmica, enquanto acervo da cultura universal constituiu-se num dos elementos vitais para a construção da poética narrativa de Jorge Luis Borges / This study compares the poetic mimesis of the Arabic-Islamic world, specially the book of tales The Arabian Nights, with the poetic mimesis of the American- Hispanic world in Jorge Luis Borges literary production. The anonymous literary composition The Arabian Nights became the main reference to speculate both the form and the narrative construction strategies as well as the thematic contents as a poetic creation of the Argentinian author. Due to the magnitude of the borgesian literary production, this study has only considered the book El Aleph (1946) and three narratives of El libro de arena (1975) El espejo y la máscara, Undr and El disco. As a result, the study proposes to state that the Arabic- Islamic Poetics, albeit a universal cultural patrimony, constituted itself in one of the vital elements to the construction of Jorge Luis Borges Narrative Poetics

Este estudo compara a mímese poética do mundo árabe-islâmico, especialmente no livro de contos As mil e uma noites, com a mímese poética do mundo hispano-americano na obra literária de Jorge Luis Borges. A obra anônima das Noites tornou-se a principal referência para especular tanto as formas e as estratégias de construção narrativa quanto os conteúdos temáticos na criação poética do escritor argentino. Devido à magnitude da produção literária borgeana, este estudo considerou o livro El Aleph (1946) e três contos de El libro de arena (1975)- El espejo y la máscara, Undr e El disco. O trabalho se propõe afirmar que a poética árabe-islâmica, enquanto acervo da cultura universal constituiu-se num dos elementos vitais para a construção da poética narrativa de Jorge Luis Borges / This study compares the poetic mimesis of the Arabic-Islamic world, specially the book of tales The Arabian Nights, with the poetic mimesis of the American- Hispanic world in Jorge Luis Borges literary production. The anonymous literary composition The Arabian Nights became the main reference to speculate both the form and the narrative construction strategies as well as the thematic contents as a poetic creation of the Argentinian author. Due to the magnitude of the borgesian literary production, this study has only considered the book El Aleph (1946) and three narratives of El libro de arena (1975) El espejo y la máscara, Undr and El disco. As a result, the study proposes to state that the Arabic- Islamic Poetics, albeit a universal cultural patrimony, constituted itself in one of the vital elements to the construction of Jorge Luis Borges Narrative Poetics

[pt] Na dissertação, busca-se verificar, partindo da trilogia As Mil e Uma Noites – O inquieto (Vol. 1), O desolado (Vol. 2) e O encantado (Vol. 3) –, dirigida pelo cineasta português Miguel Gomes, como a obra trata o processo da montagem para pensar as questões políticas de Portugal. Abordaremos a montagem como uma prática de construção do pensamento – a partir de Didi- Huberman – para além de uma etapa da produção fílmica. Cabe aqui refletir, em que medida, através de elementos heterogêneos como a utilização do livro como dispositivo narrativo, o cenário, a escolha de atores e não-atores e o embaralhamento entre a realidade e a ficção, os filmes produzem o dissenso (no sentido de Jacques Rancière) fazendo pensar as relações entre estética e política. Nossa hipótese é de que esses filmes retomam lugares concretos para reconstruílos de forma inventiva, forjando a possibilidade de um espaço em que a esfera coletiva tenha peso efetivo – tensionando assim as relações de poder estabelecidas. / [en] Having the trilogy As mil e uma Noites: O inquieto (Vol. 1), O desolado (Vol. 2) e O encantado (Vol. 3) [Arabian nights: The restless ones (Vol. 1), The desolate one (Vol. 2) and The enchanted one (Vol.3) directed by the Portuguese movie maker Miguel Gomes as a starting point, this research aims to analyze how his work deals with the editing process as a tool to think over political issues in Portugal. From Didi-Huberman perspective, the editing as a thought-building practice will be dealt as beyond a mere phase of the movie production. At this point, reflections can be made on what extent the usage of heterogeneous elements, such as the use of the book as a narrative device, the setting, the choice of actors and non-actors, and the shuffle between reality and fiction, films can produce dissent (as in Jacques Rancière) and, as a result, leading to reflections about the relationship between aesthetics and politics. The hypothesis is that these pictures have their take on certain concrete places by rebuilding them inventively, thus enabling a modulate space in which the collective sphere has an effective weight able on tensing the established power relations.

La plupart du temps, la littérature dite de l’immigration en Allemagne a fait l’objet d’études générales regroupant plusieurs auteurs. Ce travail, entièrement consacrée à l’œuvre de l’auteur germanophone d’origine syrienne Rafik Schami (né en 1946) entend réindividualiser l’œuvre de cet auteur et l’aborder dans son historicité et son évolution. Jouant sur ses origines ‘orientales’ et les mettant sans cesse en scène tout en écrivant en allemand, Rafik Schami s'inscrit dans la tradition d’un discours sur l’Orient et sa réception occidentale. A partir d’une double approche – l’une sociopoétique, l’autre relevant d'une analyse littéraire interne des textes – nous interrogeons d’une part les postures ‘interculturelles’ de l’auteur et ses rapports avec la tradition orale, entre Orient et Occident, et d’autre part, nous entendons démontrer comment son oeuvre met en question les rapports de pouvoir inhérents au couple que forment le centre et la périphérie. A la frontière entre une littérature populaire aux visées mercantiles et une littérature exigeante, les fictions interculturelles de Rafik Schami sont une tentative, parfois équivoque du fait des stratégies employées, de faire découvrir au lecteur occidental un 'ailleurs'. Que cet ailleurs soit le monde du travailleur étranger ou de l’immigré en Allemagne, un monde arabe vaguement délimité et mis en scène en tant qu’une « Arabie », ou encore la Syrie, Damas et ses environs, cet ailleurs est au cœur d’un projet culturel et politique qui voudrait sensibiliser le plus grand nombre aux destins des minorités et des sans-voix. / Often times, German so called ‘literature of migration’ has been the subject of general studies which regroup several authors. This work, exclusively dedicated to the work of the Syrian-born (1946) German-speaking author Rafik Schami, intends to reindividualize the work of this author and to consider it in its historicity and evolution. Building his work largely upon his 'Oriental' origins all-whilst writing in German, Schami instrumentalizes his prose, intertextual references and his own public and literary persona to connect himself to a certain lineage of discourse on the Orient and the Western reception responding to that discourse. From a dual approach – one socio-poetical, and the other text-analytical –, we examine on one hand the many postures of Schami's 'intercultural' authorship as they relate to storytelling between the East and the West, and on the other hand consider his work as an inquiry of power relations inherent to the interplay between the center and the periphery. Somewhere between popular literature and belles-lettres, the intercultural fictions of Rafik Schami are an attempt, even at times ambiguous, to introduce the Western reader an ‘elsewhere’. This 'elsewhere', sometimes portrayed as the world of the worker or the immigrant in Germany, some others as an Arab world vaguely defined and staged as an "Arabia", and most frequently as Syria, or Damascus and its surroundings in particular, forms the core of Rafik Schami's work. It is through the 'elsewhere' that Schami aspires to raise cultural awareness in his readers, and aims to interest them in the lives of the minorities and of the unvoiced groups and individuals whose stories he tells.

Made available in DSpace on 2016-04-26T20:21:38Z (GMT). No. of bitstreams: 1 Luciana Hsiao Tebaldi de Queiroz Barbosa.pdf: 968055 bytes, checksum: d2e2e0b42fc0b5138415c4f8eb77ff77 (MD5) Previous issue date: 2013-05-16 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This dissertation investigates the notion of justice embedded in the Arab-Islamic philosophy from the standpoint of the representational imagery provided in the One Thousand and One Nights (often known in English as the Arabian Nights). In so doing, this paper provides a comparative analysis of the ontological gnoseology of law and justice in the philosophical thinking of Western civilization and the Arab-Islamic culture to establish the dynamic character and autopoietic quality of the objects. The bibliographical research and the comparative method are of great importance on the research methodologies presented in this dissertation. The importance is justified by the fact that the Western civilization has a poor understanding of the islamic law and the concept of justice in Islam, and therefore this dissertation intends to contribute to a better understanding of such concepts. However, the study has an innovative trend, having as the core a prominent literary of Arab-Muslim culture which is the fantastic book One Thousand and One Nights. The value of justice is relative, since the presented hypothesis is answered by the autopoietic character of the Law and by consequence, of the justice. As a result, we can gather a better understanding of the context of the Arab-Muslim world, for greater tolerance among the people and exercising the gift of charity, the supreme manifestation of love, being able to contemplate a more peaceful and harmonious coexistence of human beings on earth / A presente dissertação tem por objetivos a intelecção da justiça no pensamento filosófico oriental árabe-muçulmano, sob o espectro do Livro das Mil e Uma Noites e a análise comparativa entre a ontognoseologia do direito e da justiça no pensamento jusfilosófico ocidental e na tradição oriental árabe-islâmica, buscando o caráter dinâmico e a poética dos objetos. A pesquisa bibliográfica e o método comparativo perfazem eminentes nas metodologias de pesquisa que instruem o presente trabalho. A importância justifica-se no fato de que o mundo ocidental pouco compreende o direito islâmico e o conceito de justiça no Islã, e por conseguinte, o presente trabalho pretende contribuir para uma melhor compreensão de tais conceitos. Contudo, o estudo possui um viés inovador, que é ter como cerne o expoente literário da cultura árabe-muçulmana que é o fantástico livro das Mil e Uma Noites. O valor da justiça é relativo, pois a hipótese aventada responde-se pelo caráter autopoiético do direito e por consequencia, da justiça. Como resultado, pode-se inferir uma melhor compreensão do contexto do mundo árabe-muçulmano, para uma maior tolerância entre os homens e o exercício do dom da caridade, a suprema manifestação do amor, tendo-se possibilidade de vislumbrar uma convivência harmônica e mais pacífica dos homens sob a face da terra

Cette thèse analyse le mythe fondateur des Mille et une nuits, ou « mythe de Shéhérazade », par une approche psychanalytique et comparatiste. Nous mettons en évidence que le récit-cadre des Nuits constitue un récit mythique, miroir de l’imaginaire collectif, qui révèle la place de la femme, du féminin et du maternel dans le processus de civilisation.En effet, les Nuits s’ouvrent sur un double adultère et un double meurtre: deux femmes, sultanes, trompent leur époux avec un esclave noir. Ce désir féminin transgressif est le déclencheur de tout le recueil. Il constitue le péché originel qui entraîne la déchéance et le chaos. Shahrayar, tel le patriarche de la horde primitive freudienne, se venge et instaure le meurtre de la femme comme loi. La parole infinie de Shéhérazade, à la fois amante et mère, crée une zone transitionnelle féconde et mène le sultan à renoncer à la jouissance éphémère pour entrer dans le champ de la sublimation et du symbolique. Par la fonction symbolique du langage, la conteuse conduit le tyran à advenir sujet, parlêtre, soumis aux lois fondamentales de la civilisation.Nous analysons l’évolution de la dialectique du féminin, du maternel et des lois symboliques dans les réécritures, imitations, pastiches, perversions, parodies, tragédies, suites et adaptations musicales du mythe de Shéhérazade du XVIIIe au XXIe siècle. / This thesis analyzes the founding myth of the Arabian Nights, or « myth of Scheherazade », with a psychoanalytical and comparative approach. This research points that the frame story of the Nights is a mythical story that constitutes the mirror of the collective imagination, which reveals the place of the woman, the feminine and the maternal in the process of civilization.The Nights open on a double adultery and a double murder scene: two sultanas commit adultery with a black slave. This transgressive feminine desire is the trigger of the Arabian Nights' collection. It constitutes the original sin that leads to the forfeiture and the chaos. Shahrayar, such as the patriarch of the Freudian primal horde, decides to take revenge on them and institutes as a law the murder of women. The infinite word of Scheherazade, who is at the same time lover and mother, creates a transitional fertile space and leads the sultan to give up the temporally enjoyment to enter the field of the sublimation and symbolism. With the symbolic function of the language, the storyteller leads the tyrant to become parlêtre, subject to the fundamental laws of civilization.We examine the rewritings, imitations, pastiches, perversions, parodies, tragedies, continuations and musical adaptations of the myth of Scheherazade from eighteenth to the twenty-first century, to analyze the dialectic’s evolution of the feminine, the maternal and the symbolic laws.