Cet ouvrage est basé sur l’analyse les quatre premiers romans de l’écrivain brésilien Machado de Assis (1839-1908) – Ressurreição (1872), A mão e a luva (1874), Helena (1876) et Iaiá Garcia (1978) – avec l’intention de comprendre la relation de ces livres avec le mouvement romantique brésilien. Bien qu’ils aient été écrits à une époque où le romantisme au Brésil touchait à sa fin, ces livres ont été considérés par les critiques du début du XXe siècle comme étant des romans romantiques étant donné la récurrence d’éléments narratifs qui ont structuré ce mouvement lequel a vu le jour au Brésil en 1836. Pourtant, bien que la présence de tels éléments dans l’œuvre de la jeunesse de Machado de Assis puisse être constatée, ils n’obéissent pas la démarche technique de ce mouvement littéraire. Il est donc nécessaire de discuter dans quelle mesure et sous quelle forme ces éléments sont présents dans les premiers romans de l’écrivain. Pour cela, la discussion sur le processus de création du mouvement romantique brésilien, directement lié à l’affirmation d’une identité nationale propre à l’Empire brésilien (1822-1889), représente un thème clé pour comprendre l’importance de la couleur locale, et plus particulièrement du paysage brésilien, dans le noyau esthétique du mouvement romantique dans ce pays. À partir des grandes lignes de ces éléments structurants du romantisme brésilien, l’analyse des premiers romans de Machado de Assis met au jour une révision critique de la tradition romantique par l’auteur, dans son projet de développer une littérature originale, créative, indépendante et universelle. / This work analyzes the first four novels of the Brazilian writer Machado de Assis (1839-1908) – Ressurreição (1872), A mão e a luva (1874), Helena (1876), and Iaiá Garcia (1978) – aiming to understand the link between these books and the Brazilian romantic movement. Although the novels were written at a time when Romanticism in Brazil was coming to an end, they were classified by critics of the early 20th century as romantic works because they contained recurrent narrative elements based on that movement which began in Brazil in 1836. Nevertheless, although such elements can be observed in the early work of Machado de Assis, they do not meet the technical procedure of the overall romanticist literary movement. It is thus necessary to discuss the extent to which these elements are deployed in the writer's initial novels. In order to do that, this work analyzes the process of creation of the Brazilian romantic movement, which is directly associated with the Empire of Brazil (1822-1889). This is important to understand the role of the local color, and more specifically of the Brazilian landscape, in the aesthetic basis of the Brazilian romanticism. From the outline of this basic structure of Brazilian romanticism, the analysis of the early novels of Machado de Assis shows that the author critically reviewed the romantic tradition to develop an original, creative, independent and universal literature. / Este trabalho analisa os quatro primeiros romances do escritor brasileiro Machado de Assis (1839-1908) – Ressurreição (1872), A mão e a luva (1874), Helena (1876) e Iaiá Garcia (1978) – com a intenção de compreender a relação destes livros com o movimento romântico brasileiro. Apesar de terem sido escritos na época em que o romantismo no Brasil chegava ao seu fim, esses livros foram classificados pela crítica do início do século XX como obras românticas dada a recorrência de elementos narrativos aparentados a este movimento que, no Brasil, teve início em 1836. No entanto, ainda que se possa observar a presença de tais elementos nas obras de juventude de Machado de Assis, eles não obedecem ao proceder técnico desse movimento literário. Então, cumpre-se discutir em que medida e de que maneira esses elementos estão presentes nos romances iniciais do escritor. Para tanto, a discussão sobre o processo de criação do movimento romântico brasileiro, diretamente associado à afirmação da identidade nacional e do Império brasileiro (1822-1889), consiste numa questão relevante a fim de se compreender a importância da cor local, e mais especificamente da paisagem brasileira, no cerne estético do romantismo nacional. A partir do delineamento desse elemento estrutural do romantismo no Brasil, a análise dos primeiros romances de Machado de Assis permite constatar de fato o seu intuito de revisitar de forma crítica a tradição romântica no intento de desenvolver uma literatura original, criativa, independente e universal.

The aim of this paper is to carry out a qualitative and quantitative analysis of the semantic and pragmatic aspects of a translation from Spanish into Swedish. Taking advantage our extensive knowledge of the local area we selected a book about the cultural heritage of Seville. Owing to the differences in the two cultures we expected to find numerous foreign cultural words – that we call culturemes – throughout the book that have no direct equivalence in Swedish. Our intention was to detect them and describe by means of several examples the translation techniques we used in order to adapt the target text to the Swedish reader. At the end we also carried out a quantitative analysis of the 252 culturemes we found, with a table showing which translation techniques dominate, and the frequency of occurrence of other techniques. We aimed to transfer as many culturemes as possible in order to give the target text some local color. This is the strategy called foreignization, recommended by Venuti. Throughout the translation and analysis process we concluded that the translator must have a sound linguistic and cultural knowledge of both the source and target languages in order to successfully resolve cultural differences and create an idiomatic and pragmatic translation.

[pt] Recurso pictórico elaborado no século XVIII, a cor local amplia seu escopo original relativo ao campo pictórico e passa a compor e regular a produção textual de escritores, historiadores, literatos e viajantes. Seu emprego em suportes textuais desenvolve e acentua a dimensão visual da narrativa e, portanto, pode ser concebido como uma expressão moderna das antigas associações entre cor e palavra, narrativa e pintura. O objetivo desta tese é, pois, investigar o emprego da cor local em tipos discursivos diversos, notadamente nas obras de José de Alencar e Euclides da Cunha, salientando a dimensão visual implícita ao recurso narrativo. A fim de compreender o investimento narrativo na visualidade, é válido recuperar, a partir da Antiguidade, os modos de ver e fazer ver que comportam topoi como o ut pictura poesis e o ut pictura historia, construções como a sunopsis e a enargeia, além de expedientes como, entre outros, a autópsia e a écfrase. A cor local, eis a hipótese inicial desta tese, incorpora e expressa parte destes modos e recursos e, portanto, é capaz de reproduzir e reelaborar, na época moderna, o anseio visual por meio da narrativa. A pesquisa pelos modos de ver e fazer ver requer, como temáticas relacionadas que perpassam este estudo, a consideração do estatuto e da importância atribuída à visão e ao olhar como elementos cognitivos e comprobatórios, além das relações entre sujeito e objeto na constituição do conhecimento. As produções ficcional de Alencar e factual de Euclides permitem, então, demonstrar tanto a amplitude do recurso narrativo, empregado em tipos discursivos diversos, quanto as variações relacionadas ao seu uso, ou seja, como a delimitação de uma determinada paisagem altera o conteúdo da forma da cor local. / [en] Pictorial device designed in the eighteenth century, the local color has expanded its original scope for the pictorial field and begins to compose the production of historians, writers and travelers. Its use in textual media develops and enhances the visual dimension of the narrative and can be considered as a modern expression of the ancient associations between color and word, narrative and painting. The purpose of this thesis is to investigate the use of local color in different discursive types, especially in the works of José de Alencar and Euclides da Cunha, stressing the implicit visual dimension to the narrative device. In order to understand the narrative investment in visuality it is worthed to recover from antiquity the ways of seeing and make see that includes topoi as the ut pictura poesis and ut pictura historia, resources like sunopsis and enargeia, and expedients as, among others, the autopsia and ekphrasis. The initial hypothesis of this thesis is that the local color expresses these modes and features and therefore is able to reproduce and redevelop, in modern times, the visual desire through narrative. The search for ways of seeing and make see requires, as related themes that pervade this study, the consideration of the status and the importance attributed to the vision as a cognitive element and proving, beyond the relations between subject and object in the constitution of knowledge. The fictional writings of Alencar and factual writings of Euclides allow then to demonstrate both the extent of the narrative device, employed in various discursive types, as the variations related to its use, that is how the delimitation of a particular landscape changes the contents of the form of the local color.