The aim of this study is to explore the stylistic identity of four translators of modern Greek poetry into English and to outline each translator’s distinct stylistic profile. In line with views on the subject expressed by Malmkjær (1996) and Baker (2000) a translator’s profile is seen as being composed by consistent patterns that can be identified throughout their work and which leave their personal mark on the text. A corpus-based methodology is used for the identification and exploration of these patterns, through a Specialized Corpus of English Translations of Modern Greek Poetry (SCETOMGP). This corpus contains translations by Rae Dalven, Kimon Friar, Edmund Keeley & Phillip Sherrard (working in collaboration) and David Connolly. The source-texts are taken from C.P. Cavafy, George Seferis, Yiannis Ritsos and Odysseus Elytis, who were extensively translated during the second half of the 20th century. The main purpose of the corpus is to facilitate direct comparison between the retranslations of the same poem. Such direct comparisons form the core of this study and have the advantage of making the issue of source-text influence on each translator directly observable, alongside their other stylistic traits. A detailed account of the theoretical views or reflections each translator has put forth is also presented. Following Holmes (1994) the translator of poetry is seen here as a meta-poet who requires skills similar to those of a critic and an original poet, and certain skills that are specific only to the translator. Consequently, the translators’ views on issues of language, literature, style and translation not only provide the backdrop for exploring any stylistic patterns found in the texts, but are seen as part of their stylistic profile. The distinguishing stylistic features for each translator are explored in both quantitative and qualitative terms. Overall word frequencies for each translator are examined, the stylistic features that are prominent in each case are identified, and their impact is considered. Special attention is also paid to the way those stylistic features that Boase-Beier (2005) calls ‘universal aspects of literature’ are treated by each translator. The next stage of the study involves the identification and sorting out of the patterns of stylistic features that consistently manifest in a translator’s work and examining how these patterns relate to their theoretical views and reflections. In the final stage, the stylistic profile of each translator is compiled by complementing the textual and contextual data together with each translator’s use of paratexts and extra-textual material.

This PhD by publication focuses on over fifteen years of my cultural production, including poetry, translation, critical essays, and work produced in the context of the visual arts. Ranging from my earliest published work in mor (1997) to my most recent writing projects such as pulllllllllllllllllllllllll: Poesia Contemporânea do Canadá (2010) and the “:”s, published in Open Letter (2012). I have consistently produced work in dialogue with the international context of linguistically innovative writing. The fourteen texts collected here provide clear examples of my approach to practice-led research. Accompanying this portfolio, I have produced a critical essay which reflects on the work. This essay employs a modular rather than a standard hypotactic structure to trace the influences on and the connections among the disparate group of texts which make up my portfolio. A crucial element in my work is the notion—expressed by various proponents of Language Writing and other key influences—that literary production and reception are political as well as aesthetic activities. The critical essay thus contextualizes my work in relation to the politicized experimentalism of North American and European poetics, and clarifies how my writing has consistently challenged the social authority of standard

[pt] Nesta dissertação de tradução e crítica de poesia, o objetivo principal é traduzir quatro poemas de W. H. Auden (1907-1973) e comentar as traduções, revelando as estratégias tradutórias adotadas. Desse modo, esboça-se um retrato de aspectos importantes do projeto estético de Auden, tendo em mira questões de forma poética e as relações que a obra do poeta estabelece com a tradição da poesia ocidental. Os poemas traduzidos revelam fases distintas da produção de Auden e percorrem parte significativa de sua vida. Começa-se com As I Walked Out One Evening e Musée des Beaux Arts, escritos e publicados no fim década de 1930, quando, em busca de um novo estilo, para fugir da obscuridade dos poemas de sua juvenília, Auden experimentava com formas populares da poesia de língua inglesa, como a balada, e com formas modernas, como o verso livre, acomodando-as a sua visão de poesia. Em seguida, passa-se por The Age of Anxiety: A Baroque Eclogue, um dos principais poemas longos de Auden, escrito em versos aliterativo-acentuais, durante a Segunda Guerra Mundial, e publicado em 1947. Encerra-se com In Praise of Limestone, um dos primeiros poemas italianos de Auden, composto em versos silábicos, escrito em 1948 e publicado em livro em 1951. Como alguns dos poemas traduzidos na dissertação possuem traduções relativamente consagradas, essas traduções também são analisadas no percurso. O método de trabalho tem como alicerce o pensamento sobre tradução de poesia e a prática tradutória dos irmãos Haroldo e Augusto de Campos e de Paulo Henriques Britto. / [en] In this master s thesis on translation and poetry criticism, the main goal is to translate four poems by W. H. Auden (1907-1973) and to comment on the translations, revealing the translation strategies adopted. In this way, one portrait of important aspects of Auden s aesthetic project is sketched, considering questions of poetic form and the relations that his work establishes with the tradition of Western poetry. The poems translated reveal distinct phases of Auden s production and span a significant part of his life. The study begins with As I Walked Out One Evening and Musée des Beaux Arts, written and published in the late 1930s, when, in search of a new style, to escape the obscurity of his early poems, Auden experimented with popular forms of English poetry, such as the ballad, and with modern forms, such as free verse, accommodating them to his view of poetry. This is followed by The Age of Anxiety: A Baroque Eclogue, one of Auden s major long poems, written in the manner of Old English verse during World War II and published in 1947. It closes with In Praise of Limestone, one of Auden s first Italian poems, composed in syllabic verse, written in 1948 and published in book form in 1951. Since some of the poems translated in this work have relatively well-established translations, these translations are also analyzed along the way. The method employed is based on poetry translation theory and practice of the brothers Haroldo and Augusto de Campos and Paulo Henriques Britto.

This thesis presents the mystic poetess Mahadevi Varma, whose poetic work is of the Chhayavad period of Hindi poetry. The thesis introduces the reader to the dynamics of modern Hindi poetry. The main focus is on Varma's life and includes an analysis of her poetic work. The paper addresses Varma's use of traditional Indian literary elements in a modern context, which represents characteristic features of Chhayavad in general. A distinguishing factor of this thesis are translations of Mahadevi Varma's poems from Hindi into Czech. The translations are not direct translations but take poetic license to retain the spirit of the poetry in Czech.

Este trabalho consiste de uma tradução comentada de vinte e três poemas gregos dos períodos Clássico e Arcaico. Essa tradução foi realizada buscando recriar o ritmo e a sonoridade dos textos originais, mas sem se afastar demasiadamente do plano do sentido, de modo que não é uma recriação livre. O trabalho é introduzido por um breve estudo a respeito do ritmo e da sonoridade, tanto na literatura grega quanto em termos gerais. / This work is comprised of a translation, followed up by a commentary, of twenty-three greek poems from the Classical and Archaic periods. The translation was carried out with a view to recreate the rhythm and sound of the original texts, without, however, allowing it to stray too far from the meaning, lest it would become a free recreation. The main work is introduced by a brief study regarding rhythm and sound, both in greek literature and in general terms.

Esta tese oferece um panorama de ideias sobre a tradução do verso livre em inglês para o português com base em uma pesquisa feita com dez tradutores brasileiros, por meio de um questionário com 13 perguntas abordando diferentes aspectos do tema. A pesquisa contextualiza as respostas com um perfil detalhado de cada um dos tradutores que participaram dela e uma análise contrastiva do grupo em conjunto, com base nos conceitos de habitus e campo, desenvolvidos pelo sociólogo Pierre Bourdieu, aplicados à area da tradução. A tese conclui que a visão dos entrevistados reflete aspectos do conceito de verso livre, que engloba uma série de estilos poéticos, e enumera os pontos mais relevantes no conjunto das respostas, como a divisão dos poemas em versos livres em categorias, a necessidade de identificar o princípio de organização do poema e considerações a respeito da tradução do ritmo. / This thesis makes an overview of ideas on the translation of free verse from English into Portuguese based on a survey with ten Brazilian translators, who answered a questionnaire with 13 questions about different aspects of the subject. The study contextualizes the answers with a detailed profile of each participant, based on the concepts of field and habitus, developed by sociologist Pierre Bourdieu, applied to translation. It concludes that the answers reflect aspects of the concept of free verse and identifies the most important points, like the division of free verse poems into categories, the need to identify the organization principle of the poem, and considerations on translation of rhythm.

Este trabajo se centra en la traducción al español del poema de Andrew Kaufman “Signs of the Cross”, que se encuentra en su libro Earth’s Ends. El poema presenta una visión familiar, al mismo tiempo que extranjerizante, de los pueblos latinoamericanos a los que describe. Se tratan en él temas como el cambio constante, la desacralización de lo sagrado, la reescritura de la historia, la resiliencia de algunos de los pueblos latinoamericanos, el peso del pasado sobre ellos, así como la presencia del cristianismo y los símbolos de la cruz presentes en acontecimientos históricos importantes, la religión, la vida cotidiana y la naturaleza. Junto con la traducción del poema, se proporciona un análisis detallado de las nueve partes que lo componen, así como comentarios sobre las principales dificultades de traducción. Se emprendió la tarea de traducir como un ejercicio de back-translation figurativo, mediante el cual se devolvió el poema al idioma de la cultura que lo inspiró: el español, idioma que además ayuda a completar el significado del texto.

Esta tese oferece um panorama de ideias sobre a tradução do verso livre em inglês para o português com base em uma pesquisa feita com dez tradutores brasileiros, por meio de um questionário com 13 perguntas abordando diferentes aspectos do tema. A pesquisa contextualiza as respostas com um perfil detalhado de cada um dos tradutores que participaram dela e uma análise contrastiva do grupo em conjunto, com base nos conceitos de habitus e campo, desenvolvidos pelo sociólogo Pierre Bourdieu, aplicados à area da tradução. A tese conclui que a visão dos entrevistados reflete aspectos do conceito de verso livre, que engloba uma série de estilos poéticos, e enumera os pontos mais relevantes no conjunto das respostas, como a divisão dos poemas em versos livres em categorias, a necessidade de identificar o princípio de organização do poema e considerações a respeito da tradução do ritmo. / This thesis makes an overview of ideas on the translation of free verse from English into Portuguese based on a survey with ten Brazilian translators, who answered a questionnaire with 13 questions about different aspects of the subject. The study contextualizes the answers with a detailed profile of each participant, based on the concepts of field and habitus, developed by sociologist Pierre Bourdieu, applied to translation. It concludes that the answers reflect aspects of the concept of free verse and identifies the most important points, like the division of free verse poems into categories, the need to identify the organization principle of the poem, and considerations on translation of rhythm.

Este trabalho consiste de uma tradução comentada de vinte e três poemas gregos dos períodos Clássico e Arcaico. Essa tradução foi realizada buscando recriar o ritmo e a sonoridade dos textos originais, mas sem se afastar demasiadamente do plano do sentido, de modo que não é uma recriação livre. O trabalho é introduzido por um breve estudo a respeito do ritmo e da sonoridade, tanto na literatura grega quanto em termos gerais. / This work is comprised of a translation, followed up by a commentary, of twenty-three greek poems from the Classical and Archaic periods. The translation was carried out with a view to recreate the rhythm and sound of the original texts, without, however, allowing it to stray too far from the meaning, lest it would become a free recreation. The main work is introduced by a brief study regarding rhythm and sound, both in greek literature and in general terms.

No description available.